Page 1


Index

A brief overview of Layers How to read this catalog

6 10

- -

9 11

Keyword sources 11 - 19

algae 22 - 25 bridge 26 - 33 cave 24 - 37 debris 38 - 41 diving 42 - 47 edge 48 - 51 humans 52 - 57 neretvablue 59 - 65 neretvagreen 66 - 71 stone 72 - 77 terrace 78 - 83 trash 84 - 87 tree 88 - 93

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A brief overview of layers

Relating to a new space is often aided by the residues of past spaces and the built archive of associations. It is complex and multi-layered. We can mirror this population of layers, or material assemblage, to our conception of memory and creation of narratives. This described memory is essentially an embodied one, it can relate to other layers, but finds meaning in symbiosis to its own environment. The entering of a new space, such as the project location in Mostar, Bosnia and Herzegovina, and the positioning of the body in various sections herein has led to a personal fascination of the interchanging of layers in this location. In contrast to investigation done in Delft before the field research, I witnessed while being in Mostar that the intersections are much more complicated. First the narrative of the border became a foregrounding object of confusion during my stay. The ongoing territorial dispute between the three major ethnicities in Mostar, the Bosniaks, the Bosnian Croats, and the Bosnian Serbs has most certainly not been resolved, not after the Dayton Peace agreement , but it seemed not to be this acute inflammation. There were no barbed wires that prevented movement between people. Rather, it was a subject to be read from more subtle material layers in the environment, known to all who set foot in Mostar and was aware of its history. You could tell the

division from empty spaces, written slogans, littered trash, and unused pathways. Around these layers, life seemed to have sought an equilibrium and stories and opinions have been buried in favor of a main narrative of peace. While placing my body in the unknown environment of Mostar, I moved around and tried to touch as many layers to evoke these buried narratives. My encounters were intimate and intertwined with my body, perceived as female and colored. People have told me things, about their jobs, their childhoods, the best places in town, but where they placed their silences turned out to be as meaningful. I have tried to interact with the earth, the solid rock, the name scratched in with a key, the greenbluewhite cold waters of Neretva, the plastic bag floating to elsewhere as if they are all narrators and evidences. I understood that during our stay we were part of an ethology of life in Mostar. Feeding into this research is thus my body and personal collection of imagery, encounters, and narratives collected from Mostar. On various levels, the movement of layers creates relationships, which add to the memory of the space. The horizontal movement of the layers can be defined as the movement from place to place, carrying and forming connections. The vertical movement of layers can be defined as movements throughout time, introducing the fluidity inherently present in memory. Below I give an outline of the layers present in

6


the location area to be able to further reflect on their importance in the creation of histories or memories. The Stari Most is one of the bridges crossing the Neretva. It is one of the most recognizable and, after the Croat-Bosniak war and its destruction, the most discussed restauration in Bosnia. The original Ottoman bridge was constructed out of stone along with two fortified towers several hundred years ago. Before the war, the main layers of meaning were crossing the bridge to trade or to pass to the other side of the city, to gather in the cafÊ Cardak, to swim underneath or to jump off the arch of the bridge. During the war, the bridge was used to carry victims and goods to safety. The appearance of the bridge changed several times during the war due to impact of the shelling, but also due to the safety needs of the citizens. Citizens placed a cover over the bridge or wrapped car tires around the arch. The bridge became physically layered, aside from its mental layers. Divers have kept on diving off one of the shelled buildings next to the Halabija tower. The Stari Most was ultimately destroyed in 1993 but resurrected in the 2000s with foreign aid and interest. The physical layer of connection was reinstated, but the mental specificity of connecting became tainted by the ethnic separation, which became part of the city’s mental archive. The signifying of the bridge as the restored crossing between two ethnicities is reason for the lack of physical expression of the mental layers, essentially setting in stone a perpetual equilibrium, or fossilization of meaning. This narrative built further on the assumption that this bridge was the border and that with

7

its destruction the citizens were on their furthest point from reconciliation. Currently, the bridge is restored in its original state and being pushed as the restored (tourist) icon of the city and at the same time the icon of peace and reconciliation. The Neretva is the main river flowing through the Bosnian city Mostar, which played an important role, before and during the Croat-Bosniak war, in the lives of Mostar citizens. Personal accounts of citizens have mentioned that the river was used for several leisure activities before the war. The connecting Radobolja River was used for drinking and sanitation. During the war the usage of the Neretva partially shifted to the Radobolja function of sanitation and drinking water. Yet, pictures show that people still used the spots near the Stari Most for leisure. The caves were used as hiding spots from the shelling from the direction of the surrounding mountains. The coasts and dams were used by armies to defend the city. After the war, the Neretva became increasingly touched by the new privatization of Bosnia due to shifting post-war politics. This has resulted into pollution of the river, usage of the river for hydroelectric dams, and disuse of the shores. Still, the mental image of the river has been one of pure natural strength and beauty albeit incongruous with its physical state. The terraces seem to dominate the landscape between Neretva, the old town, Stari Most, and the adjacent neighborhood Ograda. A post-war intervention, the terraces stem from a more naturally formed coast on which roughly the same activities of leisure and spectating were performed by visitors. The terraces topographically


mediate the height difference between the river and the upper located Ograda. Along the separate levels one can find natural borders of green patches, trees, and the water of the Neretva and Radobolja seeping in. Small stone steps intervene between each ascending level of the terrace until a paved road is reached, going up to the debris of the Gojka Vukovića settlement. Littered on several places one can find material evidences of visitors, mainly trash from food packaging and cigarette buds. A special quality of the terraces is the transitioning of the space during higher tides of the Neretva, usually after heavy rainfall. This is due to the specific topography of the location, earlier mentioned. We find the terraces in several, separate modes of accessibility and visibility, creating new spaces when submerged and therefor additional characters of site with their own narrative capabilities. The ruin of the settlement Gojka Vukovića 11, accessible from the main road Gojka Vukovića and from the terraces if not flooded is at first sight a space literally and figuratively opposite from the Stari Most yet connected in several ways to be explained later on. The debris hailing from the Bosnian war is evident, few walls of the originally grand assemblage of complexes are still present. Going inside, the inhabitance of the location is taken over by several bodies, human and nonhuman, each leaving their marks of having been there. We consider examples of these marks the graffiti, the trash (mainly from food and drink packaging, cigarettes, and household objects), the growing of trees, bushes, and weeds, and the excrements and footprints of animals.

In the Stari Most, the terraces, the ruin, and the Neretva River, we can find subtleties of various subject-object dichotomies: fixed-fluid, human-nature, conscious-unconscious, and “actively knowing-subjects and passive objects-thatare-known” (Mol, The Body Multiple). This innate questioning of the stability of a territory relates to one of Cache’s main topics in his seminal work Earth Moves. There the predicament explored is “how to show or create the kind of movement that is prior to the representation of stable objects, and so to introduce a new dynamic conception of both image and architecture”. This movement in territories otherwise perceived as stable proposes “possibilities of seeing”. This powerful concept of transitional, generative quality in movement or otherwise called ‘disruption’ is being explored in this theoretical essay due to its possibilities in transitioning territories of trauma. Where the stone bridge carries the image of stability, eternity, and elevation, the proximity of the river, or waters as material paradoxes this connection by signifying fluidity, carrying information, embodying the process of transitioning. At heart of this being-in-transit are the terrace and the ruin. The “stability” of the firmer parts, “its ability to re-feature in experience from moment to moment, is an enabling condition for the ephemerality of the […]” river and the spaces in-between found at the location of the ruin (Manning and Massumi, A Thought in The Act). The blurred dichotomy can in this way be investigated by highlighting the question of the material assemblage’s horizontal and vertical

8


process of movement; for example, spaces transitioning from debris caused by the shelling of the bridge to a submerged piece of stone and eventually gravel holding on to its position on the river bank. Taken from the essay acompanying this catalog, Transitioning: acts of disrupting a narrative or material assemblage through cataloguing, cutting, and sequencing

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How to read this catalog

The format of this catalog corresponds with a method of archiving tested for the Embodied Archive. The specific aim was to correspond the transitional, generative capability of material layers, which form items in the Embodied Archive. Normally, an archive is especially rigid through the fixed methods used to compile information systematically and scientifically. Here we play with this fixed-fluid dichotomy, also found in the layers in Mostar, to disrupt the system of cataloguing and show through disruption affective relationships between the material layers. We also insert bodies and personal narratives to undo the sterile environment of scientific, historical information, which turn into fixed narratives. We give agency to humans, nonhumans, and their stories alike. This disrupting is done by shuffling items, repeating, and using various, at times conflicting types of layers against the backdrop of categorization in maps, keywords, and metadata.

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keyword sources maps · books


Location

Ulica Kujundziluk a

Ulica

Ulic

a St

Onescukova

ari

Dizdarev

Mos

t

ska

Kalhan

Ulica

Ulica

vina

a

Ulic

Juso

Ulica

Ulica

Ramica

ca

Uli a

fic

Se

Ulica

ce

Bra

Ulica

ca

Uli

Juso vina

Cem

alev

ica

ca

Uli

Go

jka

M

ars

ala

Krese eta

Ism Ulica

Tita

ca

Uli

Bore Vuko vica

13


Stari Most and Neretva

Stari Most Halabija

Tara

14


Pre-war activities along Neretva

ming swim g athin sunb

in g div

d llowe

a eing fore b ost e b s pot t Stari M ing s a f 4 div diving o e n o

mm swi

mm swi

i ng

swim ing to ic n learn ic and p bbq

ing

im sw mi ng im sw

diving

mi ng an bbq

15

d pic

nic


War activities along Neretva

d

Ha

c jili za

. ul

battling around Bunur

series of hiding places in caves

clothes sniper shot lady while washing water

carrying goods and bodies

battling around Lucki

C

Si n

ov iM

ah

ale

a Tekij

SR

spring used for washing/drinking

Most Hasana Brkića

16


Post-war activities along Neretva

tle lids

picnic place bbq construction waste beer bot

thesfimeslly waterfall hpaerme built n th

old bridge foundations s on training spot divers ati d n ou ef g d i ls br fal ter old a w all sewage pipes sm chilling weed

p sup

felled tree res c tu stru ort smelly spring pipes

st y rof o

am

let

l re lau

foo dtr ays

r te wa ste a w

bottles and trash po walnuts ol trash kak cave itrees fish canal angr in ga ing y old rden man of abandoned orchard c

bro on ke stru n m ct arb ion le wa

t ou

ru te wa ste wa

m

er nd

qu os

e

ste

food

kay akin

gc

ase

party trash tourists MO bottles ST AR cigs Id te

ivi

was

pre ss

ive

ure

re e

r

coo ke

rm anu

al

fruit tree garden

pr es su fo re bo am co ttle n ok ew er sp ap er

it kiw

fru it t

int or

r r te ea ciga sw

re e

ka ki

ng

bridge remains aste ion w

ct

ru const

tree ranateranate tree pomeg pomeg

open playground

mosque

bridge remains open playground bench

broken bridge open museum

area beacpohols

a rock neretv

open playground

17

diving platform


Literary keywords along Neretva

troubled

lig

d rri ho

big

ht rogckoslden

aves roar binwdw eed

emerald

ep

w llo yeue bl

paradise gardens

ling babber wat

dy tiful la beau

y young bo

rocks

bu

sharp

old marcanof the new moon

fl e ng r kli on rs r e e r in o m v e s w av di pp ve br o lea oath c

sky

de

a sw w o l wil

wild

sands breath e v ff i ca ingcl sh walking

y errfling t t busoa

wave smashed blackberry thorns

s e et lu -b ck cri een reen gr ilky g ears t m

wa te caring mother rfal

l

waves m foa

l

il

c

e

ky ds rie y

h c

ering

m shim

n

io t

canyon E

ID W F O L W

songs

to the sea 18


Used literature

19


keyword metadata


algae

7 images · ISO 40 · ISO 160 · 1 book


20181023_114139

20181023_114149

20181025_143301

23

20181023_114143

20181023_114833

20181023_114435

20181023_114254


24


The river is green emerald because of the algae growing here.

25

Of algae, the genera Nitella and Chara are common


bridge

18 images · ISO 40 · ISO 400 · 3 books


2

20181021_123407

20181025_151243

20181027_132223

img006

img035

img037

img062

img112

27

img063

img113

img064

img144

img065

img145

img038

img082

IMG_6970


28


29

Gdje je most?

Where is the bridge?

Možda je most namjerno zatražio skrivalište zaronivši o modru rijeku da ne vidi i ne čuje naše sramotno zavadene narode

Perhaps, intentionally The Bridge sought shelter When it dove into The dark blue river Not to see and hear Our shamefully Confronted nations

Možda je preselio u Raj i tamo čeka nadahnute mostare. Koliko če dugo potrajati da se dogodi preporod?

Perhaps it has moved to the Heaven And there it awaits Inspired bridge-keepers. How long will it be Before the rebirth commences?

Željka Hohnjec Kakarigi Zagreb, 1993

Željka Hohnjec Kakarigi Zagreb, 1993


30


And here, where you are sitting now, here sat Franz Ferdinand. Really.

Only the crazy people come up here. Between the Earth and the Sky.

31


32


33

Kameni most ponovo nad rijekom simbol trajanja

Stone bridge again over the river symbol of duration

-

-

Sunce pozlati krst na zvoniku stare crkve

The sun glints cross on the bell tower old church

-

-

Praznično jutro Obasjava stari grad bijela svetlost

Festive morning The old castle dies white light

-

-

Glas mujezina sa džamijske šerefe u susret zori

Muezzin’s voice from the mosque’s sheriff to meet dawn

Vesna Oborina Mostar, 2005

Vesna Oborina Mostar, 2005


cave

7 images · ISO 40 · ISO 200


img077

35

img051

img023

img042

img080

img130

img138


We used to hide (here)

36


In the Summer we come around here and swim, dance...have fun.

37


debris

6 images · ISO 40 · ISO 400 · 1 book


20181021_123407

20181025_142822

img005

20181025_143343

img060

img110

39


40


Excerpt from The Poet From Mostar There are birds on the useless telephone wires and children below in the yard of my former building. The gap echoes and glares. There was the caved-in roof, the blackened apartments, the crumbling staircase. Vedran Husić, 2014

41


diving

11 images · ISO 40 · ISO 400


2

img063

43

img064

20181027_132223

20181029_141012

img035

img037

img038

img105

img113

IMG_6970


44


I wanted to become a diver. How? You let people know, people who know the divers. It’s a small city, word spreads, and then you train. It’s a hard job, you need to be ready to dive. 365 days.

It’s not only a physical training, to dive, but the soul is tested as well. We only accept good people.

The divers watch the bridge. We keep the visitors safe.

45


46


47

Neretva

Neretva

Nada mnom, u bašti, mašu breskve pune Zelenih lepeza i prvog zarutka; Pripilo se sunce i u lisne krune Kao da bi htjelo sve zlato da utka.

Above me, in the garden, the peaches are waving full Of green fans and the first blushes; The sun is clinging to the leafy crowns As if it wants to weave in all its gold.

Ja, naslonjen na zid, prekrštenih ruka, Gledam kako doli, o hridinu šuplju, Neretva se lomi, a s visokih kuka Naga djeca skaču i s vikom se kuplju,

I, leaning against the wall, with crossed arms I watch as, down on shallow rocks The Neretva breaks down, And from high points, Naked children dive and joyfully swim...

Dok najmanje jedno po prudu se valja Galebovi kruže. Nekoliko pralja Pratljačama mlate, i o greben greda

While at least one of the ponds is good Seagulls circle. Several women washing Trackers are milling, and on the beam of the beam

Razbija se eho, mre. Rijeka čista, Prepuna smaragda, putuje i blista, I red bliskih kuća u njoj se ogleda.

Smashing the echo, the net. The clean river, Full of emeralds, it travels and shines, And the row of close houses reflects in it.

Aleksa Šantić Mostar, 1912

Aleksa Šantić Mostar, 1912


edge

10 images 路 ISO 40 路 ISO 200 路 ISO 400 路 1 book


20181024_172820

20181025_143523

img010

img024

img061 img023

img063

49

img105

img144

img145


50


Most of his poems are about the past: two lovers illuminated by the milky glow of a lamp on Lucki Bridge; an impromptu family picnic on the pebbled bank of the Neretva; an aproned baker on Fejić passing loaf after loaf to a blueuniformed delivery man. Prof.Abdić says that the nature of memory and time is like the nature of darkness and water and I don’t quite know what he means. Vedran Husić, 2014

51


humans

21 images 路 ISO 40 路 ISO 200 路 ISO 400 路 1 book


20181025_143523

20181027_132223

img016

53

img063

img064

img136

img145

20181023_114833

20181024_172820

20181029_140906

20181029_141012

img058

20181027_132339

20181023_132344

20181027_132639

img035

img038

img105

img113

img030

img087


I was born in 1964. In Mostar. Five years ago, I came back here. Civilization is when you respect nature. Other beings. Do you understand, my darling?

54


Want some? Where are you from? Ah... We come here often, to relax. Life can be busy, you know How does the water feel like? Cold?

55


56


57

Excerpt from Nikada nećeš razumjeti, Zašto sam Zaljubljen u mostar

Excerpt from Nikada nećeš razumjeti, Zašto sam Zaljubljen u mostar

Možeš povjerovati švedskom Neskladu i hladnoći mojoj švedskoj Dvojniku mome koji je uzaludno Nagovara da me počinješ Zaboravljati samo Nikada Nikada nećeš razumjeti Zašto sam zaljubljen u Mostar

I can not believe the Swedish disharmony and the coldness of my Sweden Mimicking my futility The urges you start to Forget me just Never You will never understand Why I am in love with Mostar

Meho Baraković Mostar, 2004

Meho Baraković Mostar, 2004


neretvablue

21 images 路 ISO 40 路 ISO 200 路 ISO 400 路 3 books


20181023_114149

img058

59

1

20181023_113727

20181024_172820

20181025_151243

img012

img017

img024

img078

img080

img089

img110

img114

img129

img131

IMG_6970

20181023_113941

20181023_114254

20181025_161229

img051


60


And I can remember sometime when the Neretva was not blue or green, but somewhat purple, even yellow. I swear to God!

61


62


63

Ja Uputiteljica

I, the Traveler

U vrelo Života

The heat Life

U svijetle Plamenove

The light Flames

U djetel Livade

The child Meadows

U sutone Tajane

The morning Secrets

U isteke Neretve

The expiry Neretva

Opačine sve Nestadoše

All wickedness It’s gone

U Gorama Mojim

In the mountains Of my own

Rad prisustva

A labor is present

Moga

Of mine

Mila Vlasic Mostar, 1999

Mila Vlasic Mostar, 1999


64


65


neretvagreen

21 images · ISO 40 · ISO 160 · ISO 200 · ISO 400 · 8 books


20181023_114139

20181023_114143

20181025_142954

20181025_143301

20181027_132339

67

20181023_114833

20181023_114435

20181025_142231

20181023_132344

20181027_132639

img005

img015

img016

img023

img061

img077

img105

img110

img118

img119

img141


68


69


Excerpt from U dosluhu rijeke i mosta Uskoro su iskakivali iz vode sa nevjericom na licu. Jedan od starijih kupača pokazivao je na ivicu Malog Sokola, tamo gdje prozirna zelenkasta ždrebica Radobolja nestaje u tajnovitom zelenilu Neretve. Salko Selimović, Mostar, 1981 Excerpt from U dosluhu rijeke i mosta Soon they were coming out of the water with disbelief on their faces. One of the older swimmers pointed out at the edge of Little Hawk, where the transparent greenish filly Radobolja disappears in the mysterious emerald Neretva. Salko Selimović, Mostar, 1981

70


Stone crescent that reconciles the blue sky with the green river

71


stone

19 images 路 ISO 40 路 ISO 200 路 ISO 400 路 6 books


20181021_123407

20181024_144827

20181025_142608

20181025_142822

20181025_144050

73

20181025_142822

20181025_143343

20181025_154706

20181025_161229

img005

img010

img024

img042

img057

img060

img110

img118

img119

img130


74


75


Dah Života Zemlje Hercegovine Ja Sam i ritam kamenjara od iskona ja sam ja, bijelo djetinjstvo bijelo djetinjstvo, ljubav svijetla misao ja, pčelinja košnica plodno zrnje iz ambara kadulja neiskorijenjena ja, potomak gange i prela pripjev, miris duhana čuvarka ognjišta pradjedova ja, trpko vino neispijeno ja, nikada izrečena ja, Neretva neistočena živodarna ustajem s izlaskom Sunca kao i preci moji iz prastarih vremena nosim u sebi sunčevinu i osmijeh za sutrašnji dan Mila Vlasic Mostar, 1999

The Breath of Life on Herzegovina ground, I am and the rhythm of the rocky stones I am I, white childhood white childhood, love bright ideas I, bee hives fertile grain from the barn unused sage I, a descendant of gangs and princes a chorus, smell of tobacco guardian of the hearth of the fathers I, a bitter wine unnoticed I, unpronounced I, an unequipped Neretva I get up with the rising of the Sun as well as my ancestors from ancient times I carry the sun and a smile for tomorrow’s day Mila Vlasic Mostar, 1999

76


77

Vejtar bez sna

Wind with no dream

Mjesec silazi niz oštre litice, sav u Neretvi.

The Moon is descending down the sharp rocks, whole in Neretva

-

-

Posrće, pada diže se, pada – kozle na kamenjaru.

Stumbling, falling getting up, falling - a kid on the rocky paths.

-

-

Huči Neretva. Vrbe u prvim resama šeću obalom.

The roaring of Neretva. Willows in their first fringes walking along the river-side.

Mirsad Denjo Mostar, 1995

Mirsad Denjo Mostar, 1995


terrace

14 images 路 ISO 40 路 ISO 200 路 ISO 400 路 1 book


20181025_143523

20181025_143343

20181027_132639

img005

img110

79

img016

img111

img030

img074


80


81


82


83

Tvoja Neretva

Your Neretva

Biće zapisano da si i Mrtav da si i divno mrtav bio Zagledan i Zaljubljen do besvjesti zaljubljen u vodu u Vodu zaljubljen u Neretvu koja teče u Neretvu koja kroz nas otiče u Jadransko more u naše Kretnje Otiče

It will be written that you are Dead that you are beautifully dead I was Watchful and In Love senselessly stuck in the water in the water in love in the Neretva that flows in the Neretva which goes through us to the Adriatic Sea in our Gestures Go

Zaljubljeni držeći se čvrsto za ruke sa Mosta gledali su vodu bojeći se da ne prepoznaju Sebe u Nekome Drugome u Vodi koja otiče

In love holding hands tightly from the Sea, they watched the water fearing they do not recognize themselves in Someone else in the Water that flows

Šta si tražio na dnu vode nikada niko neće Saznati niti Sluhom niti Ranjivošću dotaknuti

What were you looking for at the bottom of the water? No one will ever Find out nor Hear about it nor touch it with Vulnerability

Mišo Marić Mostar, 2006

Mišo Marić Mostar, 2006


trash

23 images · ISO 40 · ISO 200 · ISO 400


20181025_141906

20181025_141921

20181025_142005

20181025_142022

20181025_142104

20181025_142148

20181025_142231

20181025_142345

20181025_142538

20181025_142608

20181025_142822

20181025_142910

20181025_142921

20181025_142954

20181025_150124

img014

img015

img017

img018

img029

img131

img143

img061

85


86


87


tree

12 images 路 ISO 40 路 ISO 200 路 ISO 400 路 1 book


img057

89

1

2

img012

img034

20181025_150124

20181027_131913

img051

img073

img074

img140

img141


footsteps snapping twigs branches dried leaves I can barely see the river roaring behind the trees

90


91


Coffee? There is a filter now, since 4 years. Previously everything would wash in, from the hospital. Everything. I will show you when we go out in a bit. They built a big dam, several cities make use of it. I will show you the filter. What do you do? They built dams, the Neretva produces electricity now. When I was young, the Neretva was very beautiful. There were not many houses, there was no hospital, there were no factories along the river. We used to spend each holiday at the Neretva. Bosnia was part of Yugoslavia. We used a tributary of Radobolja for drinking water. For the past 10 years the Neretva has been unsuitable to swim in.

92


93


Profile for Setareh Noorani

Catalog of a Space  

Material and Time between Stari Most and Neretva Neretva Recollection studio, TU Delft, precedent studies 2018/2019

Catalog of a Space  

Material and Time between Stari Most and Neretva Neretva Recollection studio, TU Delft, precedent studies 2018/2019

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