a joint portfolio of
Stefan VasiÄ‡ M.Arch and Igor Sjeverac M.Arch
Stefan Vasić M.Arch
Sjeverac Igor M.Arch
January 26, 1989.
December 14, 1990.
+381 63 7111225 email@example.com
+381 64 9363263 firstname.lastname@example.org
Bulevar kralja Aleksandra 420 11050 Belgrade, Serbia
Zmaj Jovina 18 22304 Novi Banovci, Serbia
education 2012-2014 Master of Architecture degree Faculty of Architecture, University of Belgrade, Serbia
2012-2014 Master of Architecture degree Faculty of Architecture, University of Belgrade, Serbia
2009-2012 Bachelor of Architecture degree Faculty of Architecture, University of Belgrade, Serbia
2009-2012 Bachelor of Architecture degree Faculty of Architecture, University of Belgrade, Serbia
2004-2008 Mathematical and Natural Sciences Third Belgrade Gymnasium, Belgrade, Serbia
2005-2009 Mathematical and Natural Sciences Zemun I Gymnasium, Zemun, Serbia
work experience 2017- present | architect Blakstad Haffner Arkitekter, Belgrade, Serbia
2017- present | architect Blakstad Haffner Arkitekter, Belgrade, Serbia
2014 – 2016 | Teaching assistant Faculty of Architecture, University of Belgrade, Serbia
2014 – 2016 | architect IQ Architects, Belgrade, Serbia
2014 | intern CDG Group, Changzhou, China
2012 – 2016 | Teaching assistant Faculty of Architecture, University of Belgrade, Serbia
2012 | intern Artekon MD, Belgrade,Serbia
2012 | intern Atelier Eva Vaništa Lazarević, Belgrade, Serbia
language proficiency Serbian - mother tongue English - excelent German - basic
Serbian - mother tongue English - excelent French - basic
achievements 2017. -Unforgetting Aelita, colaboration on a site-specific art exhibition at the Legat Zorić-Čolaković, with Mark Brogan 2016. -International Architecture Exhibition, Venice Biennale – authors of the exhibition “Heroic: Free shipping” inside the Serbian pavilion, with Ana Šulkić -buyout on a competition for a conceptual urban and architectural design of the hotel resort “Capital estate” in Becici, Budva, Montenegro – as part of the IQ Architects team 2015. -finalists at Think public space competition, Zagreb (Croatia), with Olga Marelja -finalists at “Sparx smart pet kit” design competition, with Nikola Tucović 2014. -Malta Design Week, Malta - featured work exhibited at the exhibition “Almost transparent blue” 2013. -honorable mention at a student competition for the “NELT” winery, with Natalija Paunić and David Brbaklić -honorable mention for IMGGI library interior competition, with David Brbaklić 2012. -finalists of the competition Mikser Festival / “Urban bundle” -Mixer Festival, Belgrade - work exhibited on an international exhibition of young designers “Ghost Project” 2011. -Belgrade Design Week, Belgrade - work exhibited at the exhibition “100% Future Serbia” -featured in “Memory of the City” publication ISBN 978-86-912137-2-5 -Post Factum: examination of further development of the monument Bogdan Bogdanovic, student workshop, Studio PROCESS, BINA 2010. -Mixer Festival, Belgrade - work exhibited on an international exhibition of young designers “Young Balkan Designers”
01 built 1 Heroic : Free Shipping 2 Wolf Yoga Company
02 competitions 1 Nelt winery 2 International Wildlife Center 3 ISOVER multi comfort house 4 Three squares
24 30 34 38
03 interiors 1 Bunge Oleina 2 Institute of Social Sciences
04 theory 1 Working class catwalk 2 Almost transparent blue
01/1 HEROIC : FREE SHIPPING built
Serbian pavilion at the 15th International Architecture Exhibition La Biennale di Venezia, Italy with Ana Šulkić M.Arch
exhibition commissioner: Ivan Rašković deputy commisioner: Dejan Todorović scientific committee: Ljiljana Miletić Abramović, Igor Marić, Aleksandar Bobić, Maja Ćirić, Milan Đurić, Vladimir Milenković, Vesna Cagić Milošević organisers: Ministry of Culture, Republic of Serbia Museum of Applied Art, Belgrade The Union of Architects of Serbia
9 The flood is afoot. The insides of the arc, hideout of the rebellion, radiate hope. Trench of the revolution has been drawn, from the lower deck we row towards the treasure, bathing in Blue, which has no boundaries and not a single drop of bad blood.
Authorsâ€™ Comment We were gathered as three young, just graduated architects from the same generation, and we described our own front without any idea that implied anything other than what was known to us, though it might have been expected. In that sense, this project above all else sets generation boundaries and describes a pressing problem, which is global in its spatial distribution. This makes it a strong impression of the moment, not only in regard to architecture today, but also to us as the authors to whom this topic will not be of interest already â€œtomorrowâ€?, as we will outgrow it. It happened to us now, when it only could have happened, in a moment of total passion and youthful enthusiasm to expose our own insecurities. Our project reflects on the problematic position of young architects in professional circles; it sheds light on the severity of the system they are facing and puts forward deviation as an only space for further actualization in a climate of hyper-connectivity and relentless competition, thereby resisting the absolutist character of postindustrial capitalism.
Position The mainstay of the project is in the analysis of the contemporary situation and in recognizing the sociological phenomena surrounding the burning problem of the way architecture as a profession treats the newcomers to the field. The kind of intimate addressing contained within motivational letters, where individuals offers their skills to the market, written on the border between the two states, dream and reality, rational and emotional, here and there; goes along with the idea of floating in a frozen moment of time inside the pavilion, while being a sample of the system that it problematizes. They are the first step towards accepting the unsafe professional positions reflected in endless professional trainings and internships for architects that are served as the only way to one day, maybe in their 30s, get permanent employment.
Forte The sound of the revolution is not just any kind of murmur, a rhythm can be discerned, singularity of the manifold. When you notice the known sound of paddling itâ€™s easy to catch the rhythm and follow the wave. As a possible way out of the feeling of systemic constriction, a route of joint sailing opens up. Pavilion crowded with architects, initiators of the revolution, echoing in the presence of a crowd, celebrates their energy and perseverance, highlighting the importance of the existence of a joint effort. The workflow in architectural computer programs has a specific rhythm. Each command that is being typed becomes a separate rhythmic figure, rapid or slow, soft or swift. Confirmation of each command resonates and gives the rhythm which binds individual sound figures into rhythmic sentences harmonized with a strong collective rhythm.
Trace Under the “heroic” slogan of progress, the XX century has dreamed the dream of redefining life through architecture. It gave birth to heroes, who disappeared as individuals over time. Besides a few giants, now runs the reality of a multitude of unknown heroes. Soldiers of fortune, freelancers, heroes of the one to one scale. Perhaps a great idea is lacking, but the charge of the rebellion exists. We see the potential in the power of the individuals who resist the current order and accept the full weight of the situation they are in as inevitable. Their strength to persevere in a dream of materialization / execution of architecture is frightening. The pavilion aspires to raise awareness for the presence of ‘’redundant’’ architects, it celebrates their energy and persistence in desire to make a change, it becomes a symbol of leaving a trace.
01/1 WOLF YOGA COMPANY built
Belgrade, Serbia with Stefan Vasić M.Arch
photos by Dimitrije Puzović M.Arch
02/1 Nelt winery competitions
Belgrade, Serbia with Natalija Paunić M.Arch and David Brbaklić M.Arch
“If there is a singular definition of a landform building, is it an artificial mountain or a slightly curved hill?” Stan Allen, “Nature in the plural”
arrival of ingredients trucks
access with vehicles parking
visitor movement wine shop / restaurant
02/2 International Wildlife Center competitions
Kruger National Park, South African Republic with Olga Marelja M.Arch
Kruger National Park can be seen as a sea of wild nature due to its size; a sea with one big island – Muntshe Hill. The concept is an attempt to create a new type of nature, a small island which is the essence of what the park offers. The idea of a small island in the “Kruger sea” presents the design of a man-made structure that draws from it’s surrounding nature and creates a new landscape. We’re no longer imitating nature, but meeting it for the first time. We have created conditions that perhaps don’t belong, and in doing so, developed a new reality which functions perfectly with its true original form. The new landscape that we are creating can help to meet, explore and understand the specifics of nature. The architecture of the small “island” utilizes the latest developments in structural geometry along with traditional South African construction techniques in order to implement contemporaneity.
“You have to know the material before you can alter it.”
Generating form repetition, we tried to create conditions for the smooth functioning of the scheduled program. The main feature of the architecture represents a dome that covers the open space and enables work in all conditions. It also incorporates a circular shape which has its own symbolism in African tradition. The use of nature is intensified near the object, so it acts as a buffer zone and semipermeable membrane. It defines a common ground for those inside the object and its surroundings. After a certain time, architecture with flora and fauna will create a totally new environment that allows teaching and exploring from another perspective. “The island of new nature” allows Kruger National Park to have one environment suitable for all species of plants and animals.
Programme a - entrance b - reception c - restaurant, cafe d - kitchen, storage e - toilet f - storage g - tourist apartments h - tourist dorms
i - volunteere dorms j - dorms for froffesionals k - apartments for proffesionals l - animal care m - work area n - exhibition, conference hall o - specialized service and storage p - departure and parking
dome structure: wood construction / reed roof
flora: clustered vegetation edible plants edible plants for animals sponaneously sprouted plants authentic kruger vegetation
02/3 ISOVER multi comfort house competitions
GlĂźckstein Quartier, Mannheim, Germany with David Brbaklic M. Arch and Masan Petrovic M. Arch The concept was to observe the two separate parts given by the project task: park with the residential buildings and the commercial buildings across the road as a whole. This led us to the decision to make a pedestrian friendly connection between the green areas of the park and the plaza closed off with two historical buildings that had to be preserved and the commercial buildings. The connection would go underneath the 6 lane road (4 lanes for cars and 2 for tram) enabling undistrubed communication between the two zones. The commercial buildings were convieved as a solid object, whose interior would be a part of the public spaces, instead of being 6 separated blocks that have their own atriums and take valuable public space away, as the former master plan suggested. The inner space of the commercial building would be filled with program such as a supermarket / shopping mall, while its roof would form a logical continuation of the public space around.
02/4 Three squares competitions
Republic / Terazije / Nikola Pašić Belgrade, Serbia with Olga Marelja M. Arch, Ana Šulkić M. Arch, Aleksandra Bogranović M. Arch, Natalija Paunić M. Arch, Marija Bjelić M. Arch, Sanja Berić M. Arch, Nikola Tucović M. Arch
03/1 Bunge Oleina interiors
Moscow, Rusia as part of IQ Architects team
03/2 Institute of Social Sciences interiors
Belgrade, Serbia as part of Neo Architects team
04/1 Think public space: “Working class catwalk” with Olga Marelja M.Arch
Negative utopias and forewarning images of the horrors which architecture was laying in store for us with its scientific methods for the perpetuation of existing models. Superstudio
The term square has been playing a leading role within the paradigm of public space since ancient times. At the intersection of all roads, squares represent a meeting place, a place of speech, and a place where the ideas are being conveyed. Through history and up to this day, the main feature that distinguishes it from all other peripheral public spaces remains the commodity exchange. In modern day society, the squares are often recognized as sites of conflict of interests. Architecture frames the space and forms the stage for a clash of economic and political paradigm. The square, as the epitome of an open public space, is being moved from a particular context but with the retention within the paradigm of European city. Architecture has never had a revolutionary tendency, but rather the function of support and maintenance mechanism of the ruling system. In fact, public spaces represent the main place of interaction, where we can effectively serve the information of which is almost impossible to escape. Logic area is conditioned by the logic of the capital: the squares do not appear to be neither democratic, nor ideological creations, but rather a prelude to a shopping mall.
Billbordization of architecture As the anti-capitalist group called Billboard Liberation front (kapiram da se tako zove ta neka grupa) state in their manifesto, we can: shut down, smack, shoot, and hack or in other ways avoid television, computers and radio. We are not compelled to buy magazines or subscribe to newspapers. Of all the media types used to disseminate the ad, there is only one which is entirely inescapable – billboard. At the end of 70’s, Jenny Holzer sets her work so that the people could “bump into” her while performing their everyday activities. The statement: “Protect me from what I want” represents a terse, almost reactive recognition of the author. It is this form of advertising that puts the architecture in an entirely new context with regards to contemporary practice. Architecture as such becomes a mere medium of advertising. Commercials are infinitely multiplied, becoming ever larger, consequently leading to the loss/deletion of its identity when it comes to urban environment.
Architecture as a polygon of communication Kevin Lynch said that the reference points which existed in modern cities are lost with regards to the postmodern city. We are no longer dependent on natural phenomenons such as rivers and mountains or architectural objects (square, amphitheater). In the multitude of references, the architecture has allowed the square to become a training ground for communications in a sea of signs. Architecture acting on its historical remnants supports the close and unavoidable bond between people and (multi) corporations. Architecture supports the brand, adds to its value, but at the same time remains dependent on the existing capital investors. Financial power of the investor exceeds the architectural value of the buildings. Public space eludes the brand. Society accepts andembraces consumerism as unavoidable –ism of the twentieth century. Everything is at our fingertips and open spaces are being designed to support the accelerated interaction. A place where ugly becomes beautiful, the unbelievable becomes reality, where lies are reality. The connections that have up until now been problematic are being produced and adjusted to meet our needs, all as part of the synthetic process. The decision to neglect a problem in order to achieve certain goals on a short notice represents an equally radical solution. Or is it just a paradox building a new paradox? It is simply not natural to avoid the problem, make in nonexistent! This is creating a new reality, a new truth which is free of borders, where we are free to reach most desire. An explicit copy of an ideal life, selfishly taking all that is sweet, and appealing to the eye. Grotesque sparkling ambiances ready to host its most dissolute consumers. This represents a formal and functional “prostitution” appealing to the naked eye and easy to use.
Neon baroque Square becomes an open extension for big brand stores and architecture becomes a part of advertisement. By arriving at the square we are actually already present in Apple, H & M, Zara, Nike stores, immediately looking around, sizing, trying etc. We are showing off. At the same time, we are participating in one big consumerist fashion show with an exciting “city scenery”.
The idea of setting up the catwalk and replacing the traditional elements of the market with commercials of famous brands aims to present a critical view on the current and future state of architecture, which will always try to create something for the purpose of the capital and, on the other hand, to continue its existence. Citizens will always be consumers of the sweet life that is served by architecture. Cop lights, flash lights, spot lights Strobe lights, street lights
All of the lights, all of the lights. Kanye West
04/2 Almost transparent blue theory
exhibition: Malta Design Week Valletta, Malta
University of Belgrade Faculty of Architecture / Master thesis / Academic year 2013-2014
The exhibition Almost Transparent Blue - Hotel - Belgrade Seaboard explains the key elements of the methodology implemented in this research-by-design project, consisting of thesis followed by architectural design, and, based on the results, a conclusion. The theoretical field of research is created in a balance between architecture and philosophy (phenomenology), aesthetics and theory of form, technology and ecology. Spatial framework makes natural-real / imaginary landscapes Belgrade at the sea, an endless amount of blue, of air and water being its main characteristic and primary (non-) formal content that is projected over Belgrade as an architectural shot or sequence. Boundaries of the program encroach upon the territories of tourism, recreation, wellbeing and life-style, while boundaries of the scenery outline the horizon of Belgrade facing the Pannonian Sea on its northern side. This means that among thematic and spatial contexts represented in the depth of transparency and blueness students could maintain an individual frame of design. The instability of the contemporary architectural professional field engages a variety of design principles that, in this project, range from a fully aesthetic autonomy of its formal appearance to an erasure of authentic domains of its physical outlines. The aim of the case study itself is to set out the thematic structure of the project through the abstraction of different elements and their contextual relations. The potential of a video as a media, is chosen to represent a visual capacity of the topic set between its formulation and notion with an intention to be translated in the possibilities for further projections. According to Nicolas Bourriaurd, the object of architecture still possess the value of the shape able to communicate, in the scope of architectural design, topics within the wider cultural surrounding. It is an offer, equalling a spatial ability to become at the same time a landscape of both settlement and mobility.
REAL FAKE In China, the synthetic reality is not what we see, it’s what we believe. A place where ugly becomes beautiful, the unbelievable becomes reality, where lies are reality and where fog becomes transparent. The connections that have up until now been problematic are being produced and adjusted to meet our needs, all as part of the synthetic process. We’re no longer imitating nature, but meeting it for the first time. The creation of conditions that don’t belong is the means of the becoming of a new reality, which seems to function perfectly in its true colors.
“Almost nothing need be said when you have eyes.” Tarjei Vesaas The desire for the creation of a sea is in fact just a pursuit of the sea we already possess. It is actually the recognition, merging, declaration and addition of parts we need. Now, Belgrade is a sea and possesses nearly everything it needs to be one. Belgrade has already been a sea, which means its’ lost parts still belong to it. Everything that is missing will be returned, things that were once taken, lost or forgotten.
PLACE IN PLACE The object acquires quality trough decay. In that way, it becomes a part of its surrounding, a part of every moment in its given place. When it starts to wear off, to disappear, it means that it is on the right track. An ageing object remains contemporary, a fashionable object’s modernity disappears right after the moment of its creation. The moment that such object is competed it abruptly becomes outdated, it does not acquire new properties through the process of aging. More courage is needed to make something that will disappear, than to make something with an intention for it to last. A thing that is designed to vanish has been thought through to the last detail. Striving for durability is a characteristic of the immature. Physical durability as a goal is surpassed, the object that continues to exist in the collective memory after its dematerialization has achieved the true permanence. An object that refuses to change- is forgotten from the start.
Stefan VasiÄ‡ M.Arch
+381 63 7111225 email@example.com
Sjeverac Igor M.Arch +381 64 9363263 firstname.lastname@example.org
a joint portfolio of Stefan Vasić M.Arch and Igor Sjeverac M.Arch