Let's Develop: Spanjola - Creative Industries and Cultural Heritage!

KREA T IV NE IND U ST RIJE I KUL T U RNA BA ŠT IN A

ŠPANJOLA PRETVARANJE TVRĐAVE U KREATIVNI HUB

NASLOV LET’S DEVELOP Kreativne industrije i kulturna baština IZDAVAČ PROGRAM UJEDINJENIH NACIJA ZA RAZVOJ Crna Gora ZA IZDAVAČA Danijela Gašparikova, Stalna predstavnica UNDP-ja u Crnoj Gori UREDNICA Mr Slađana Lazarević, dipl. inž. arh.

AUTORKE PUBLIKACIJE Mr Slađana Lazarević, dipl. inž. arh.

Nađa Ponomarev, spec. inž. arh.

RECENZENT Dr Boris Ilijanić, dipl. inž. arh.

LEKTORKE Charlotte Rimmer Sanja Mijušković PRODUKCIJA I GRAFIČKI DIZAJN Hiron Digital TIRAŽ 300 ©UNDP of Montenegro Podgorica, 2021. godine

KREA T IV NE IND U ST RIJE I KUL T U RNA BA ŠT IN A

SADRŽAJ UVOD

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UVODNA OBRAĆANJA:

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DANIELA GAŠPARIKOVA I ALEKSANDAR BOGDANOVIĆ ISTORIJSKI OSVRT

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GRAFIČKI PRIKAZ POSTOJEĆ EG STANJA

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NAGRAĐENI UČESNICI

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KAKO OSTALE ARHITEKTE VIDE RAZVOJ KREATIVNIH

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INDUSTRIJA U TVRĐAVI ŠPANJOLA ZAVRŠNA RIJEČ:

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SLAĐANA LAZAREVIĆ RIJEČ RECEZENTA: BORIS ILIJANIĆ

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UVOD

Dragi čitaoci, Pred vama je prva Let’s Develop publikacija koja će vam prikazati kako je moguće na pravi način valorizovati ono što je vrijedno ku­ lturno nasljeđe jedne države. Ona će vam približiti viziju perspe­ ktivnih mladih ljudi, koji će kroz svoje ideje udahnuti novi život poznatoj hercegnovskoj Tvrđavi Španjola. Riječ je o lokalnim i internacionalnim arhitektama koji su ponudili najbolja arhitekto­ nsko-urbanistička rješenja za preuređenje i prenamjenu ove tvrđave u kreativni centar/hab. Revitalizacija ovog objekta bogate crnogorske kulturne baštine rezultat je međunarodnog konkursa, koji je kancelarija UNDP-ja u Crnoj Gori pokrenula u okviru projekta „Kreativna Crna Gora – ekonomska valorizacija i kreativne industrije“.

Međunarodni konkurs bio je otvoren od 17. februara do 10. aprila 2020. godine, a učestvovalo je preko šezdeset arhitekata grupisanih u timove iz Crne Gore, Srbije, Sjeverne Makedonije i Austrije.

Stručni žiri razmatrao je pristigle radove koji su ispunjavali sve uslove propisane konkursom, a vrednovani su na osnovu origi­ nalnosti i inovativnosti projektnog rješenja i primjene konzervatorskih principa zaštite vizuelnog identiteta. Posebnu pažnju žiri je posvetio dizajnu, mogućnostima da kreativni hab bude pokretač za postizanje ciljeva održivog razvoja, ispunjavanju programskih zahtjeva i racionalnosti i ekonomičnosti rješenja.

Vjerujemo da će svi ljubitelji arhitekture, ali i ostali zainteresovani čitaoci, na stranicama koje slijede prepoznati moć tra­ nsformacije, ljepotu spajanja starog s novim i snagu kreativnog uma mladih stvaralaca!

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UVODNA OBRAĆANJA

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DANIELA GAŠPARIKOVA

ALEKSANDAR BOGDANOVIĆ

Stalna predstavnica UNDP-ja u Crnoj Gori

Ministar kulture u Vladi Crne Gore

„Kroz ovu publikaciju upoznaćete novi kreativni hab i uživati u viziji transfo­ rmacije. Ovo je priča o bogatom crnogorskom kulturnom nasljeđu, koje zaslužuje novi sjaj. Dok se svijet bori s pandemijom COVID-a-19 i razmišlja o scenariju koji nas nakon nje očekuje, kreativne industrije stupaju na scenu kao važan pokretač ekonomskog opora­ vka. Zemlje širom svijeta pribjegavaće upravo tom modelu, kako bi svoju ponudu učinile što raznovrsnijom i pokušale da izgrade ekonomsku fleksibilnost. Crna Gora ima sve preduslove za takav model kulturno-ekonomskog razvoja – bogato kulturno nasljeđe, kreativnu scenu i digitalni sistem koji brzo napreduje.

Svojevrsni inovativni izazov koji su pokrenuli UNDP i Ministartvo kulture pravi je primjer za to. Više od šezdeset učesnika u ovom projektu predsta­ vljaju najbolji dokaz da postoji ogromno interesovanje za oživljavanje kulturnog nasljeđa i kreiranje kulturnog sadržaja koji će ga promovisati. Hajde da gradimo i da to činimo na kreativan, inovativan i održiv način!“

„Rezultati ovog konkursa pokazali su da inovativnim rješenjima možemo na pravi način oživjeti bogatu kulturnu baštinu Crne Gore, tako što ćemo kroz savremene okvire sačuvati sve one neprocjenjive vrijednosti našeg kulturnog i istorijskog nasljeđa. Ponosan sam na mlade crnogorske i regionalne umjetnike koji su dobili priliku da znanje, kreati­ vnost i talenat na ovaj način primijene u praksi.

Cilj Ministarstva kulture i UNDP-ja bio je da zajedničkim snagama, kroz inovativna rješenja, Tvrđava Španjola po­ stane rezidencijalni umjetnički centar i drago mi je što smo u tome uspjeli.

Vjerujem da će realizacija ovog projekta biti dodatan podstrek mladim kreativcima da budu aktivni sudionici u revitalizaciji i drugih kulturnih dobara Crne Gore, a našim institucijima – da im budu podrška i generatori njihove stvaralačke energije.“

TVRĐAVA NOVOG,

ŠPANJOLA, NALAZI

SE

JEDAN NA

OD

ULAZU

SIMBOLA U

HERCEG

BOKOKOTORSKI

ZALIV I JEDNO JE OD NAJBOLJE OČUVANIH STARIJIH UTVRĐENJA U BOKI KOTORSKOJ. IPAK, DA BI OVAJ PROSTOR DOBIO SVOJU PRAVU VRIJEDNOST, BILA JE NEOPHODNA NJEGOVA PRENAMJENA. OVAJ MEĐUNARODNI KONKURS POKRENUT JE S TOM NAMJEROM, TAKO DA ĆE OŽIVLJAVANJE DREVNE TVRĐAVE OTPOČETI U BLISKOJ BUDUĆNOSTI.

ISTORIJSKI OSVRT

Š P A N Većinu naselja današnje Crne Gore koja su ležala na poznatim starim putevima i njihovim raskrsnicama tokom druge polovine XV vijeka zauzeli su Turci.

He­ rceg Novi je 1482. godine pao pod tursku vlast, pod kojom je bio duže od dva vijeka. U tom periodu Novi se brzo razvijao, kao gradsko naselje s privrednim i ku­ lturnim objektima, a naročito kao forti­ fikacijski kompleks.

Smješten na ulazu u Boku Kotorsku, grad je predstavljao stalnu prijetnju Kotoru i ostalim mletačkim posjedima u Boki.

Mlečani su više puta pokušali da ga otmu od Turaka, a za njega su se borile i druge pomorske sile. U jesen 1538. godine, Herceg Novi su zauzeli Španci sa svojim saveznicima, da bi ga već u ljeto naredne godine od njih preoteo turski admiral Hajrudin Barbarosa, ušavši u

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grad s ogromnom flotom i tako ga ponovo stavivši pod tursku upravu.

Ponovno zauzimanje Herceg Novog od strane Mlečana desilo se 1687. godine, kada se zauvijek završava turska uprava nad ovim gradom. Herceg Novi je imao snažan sistem utvrđenja, sastavljen iz dvije cjeline, Donjeg ili Starog, i Gornjeg – Novog grada, unutar čijih su zidina postojali brojni objekti za potrebe vojske i građana. Krajem XV i početkom XVI vijeka, na hercegnovskim utvrđenjima izvođeni su opsežni radovi, u kojima je učestvovalo po više hiljada ljudi. Grad su od ratnih razaranja popravljali prvo Španci, a zatim Turci. Španci su utvrdili grad šančevima i tajnim podzemnim putem povezali Donji sa Gornjim gradom.

Tvrđavu Španjolu, koju su Španci podigli

J O L A 1538/1539. godine, Turci su proširili i pojačali 1548. godine, kad su porušili ranije utvrđenje i podigli tvrđavu današnje veličine i oblika. O građenju postoji natpis na arapskom jeziku, koji je uzidan iznad ulaza u tvrđavu: A pjesnici koje put ovuda nanese, neka bi gledajući me, zanosno kliktali: da, krasna ti si, divna zgrado.

U osnovi ovog utvrđenja je kvadrat, sa četiri isturena kružna bastiona na uglovima, dok je glavni ulaz dodatno obezbijeđen spoljašnjim zidom – avancatom.

S južne strane prema moru kasnije je dograđen još jedan pojas fortifikacija.

Utvrđenje je bilo u funkciji do po­ četka XX vijeka, a u Drugom svjetskom ratu je služilo kao zatvor.

Današnji izgled Tvrđave Španjola nosi snažan pečat austrougarske fortifikacione arhitekture, što je posljedica duge dominacije Austrougarske na ovim prostorima. Danas se u gornjem dijelu grada mogu vidjeti relativno očuvani ostaci Tvrđave. Španjola se nalazi na oko pet kilometara udaljenosti od glavnog magistralnog puta, a do nje se dolazi uskim asfaltnim putem. U sklopu Tvrđave nalazi se 13 objekata: odbrambeni perimetar s bastionima; nadstrešnica; kasarna; sta­ mbeni objekat; stambeni objekat – komanda; skladište hrane; sakralni objekat – Crkva Svetog Josipa; dva objekta – skla­ dišta oruđa i municije; dva objekta za stražu i oficira straže; zatvor, i austrougarski bunkeri.

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GRAFIČKI PRIKAZ POSTOJEĆEG STANJA

Geneza Trvrđave Španjola B. Ilijanić, „Španjola, Herceg Novi – gornji grad, Urbana geneza i reurbanizacija“

Analiza postojećeg stanja Enforma

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Postojeće stanje - osnova prizemlja Ana Radovanović

Postojeće stanje - osnova krova Ana Radovanović

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Upoznajte kreatore najboljih rješenja za revitalizaciju tvrđave Španjola Međunarodni konkurs za inovativno idejno rješenje revitalizacije Tvrđave Španjola u Herceg Novom privukao je veliku pažnju kreativnih stvaralaca iz oblasti arhitekture. O tome govori i broj od preko šezdeset učesnika koji su poželjeli da kandiduju svoje ideje. Ukupan nagradni fond iznosio je 24.000 američkih dolara. Predstavljamo vam najbolje timove i rješenja odabrana na ovom konkursu.

NAGRAĐENI UČESNICI

1 N AGRADA

ENFORMA CRNA GORA

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Arhitektonski studio „Enforma“ osnovao je arhitekta Nikola Novaković, u avgustu 2006. godine. Cilj mu je bio da okupi tim mladih, ambicioznih inženjera i eksperata koji dijele istu ideju, savremeni pristup arhitekturi, dizajnu i stvaranju novog prostora. Kompanija ima značajno iskustvo u oblasti arhitekture, prvenstveno u projektovanju, upravljanju i nadzoru izgradnje širokog spektra stambenih, turističkih i poslovnih objekata. Dobitnik je brojnih domaćih i među­ narodnih nagrada za projekte iz oblasti arhitekture.

Zaštita životne sredine, principi održivog dizajna, kontekstualna osjetljivost, niskoenergetski dizajn i nizak uticaj na životnu sredinu, načela su kojima se ovaj arhitektonski studio vodi tokom projektovanja. Kad je riječ o tradiciji, tim „Enforme“ se na nju oslanja, ne gledajući je kao imperativ, već kao inspiraciju.

Tim: Mr Nikola Novaković, dipl. inž. arh., izvršni direktor i generalni menadžer Mr Marija Novaković, dipl. inž. arh., ekspertkinja za konzervaciju i urbano planiranje Mr Saša Radojković, dipl. inž. arh., dizajn i administracija sajta Nikoleta Savić, mast. inž. arh., članica tima Bogdan Kušević, mast. inž. arh., član tima Đina Prnjat, spec. inž. arh., članica tima Nemanja Mitrović, spec. inž. arh., član tima zadužen za 3d vizuelizaciju Katarina Pašić, mast. inž. arh., članica tima zadužena za 3d animaciju Ovaj tim, sa svojom vizijom i kvalitetnim rješenjima, dobio je najbolje ocjene stručnog žirija. Tvrđava Španjola doživjeće svojevrsnu transformaciju u kreativni centar upravo zahvaljujući njihovom projektu, koji nosi u sebi dio kreativnog stvaralaštva svakog člana tima pojedinačno. „Koncept se zasniva na preplitanju i stalnoj interakciji budućeg i prošlog vremena i njihovog konačnog susreta, gdje su jasno definisana i uočljiva dva vremenska sloja, s jasnom željom da svaki od njih prenese poruku svog vremena, to jest perioda nastanka. To je raslojavanje u ovom rješenju jako bitno jer je to jedan novi pristup konzervaciji, gdje su jasno uočljivi periodi nastanka rekonstrukcije. Translucentnim polukarbonatom definisane su siluete nedostajućih djelova objekta ove urbane mini-aglomeracije. Umetanjem nedostajućih struktura polikarbonatom, u formi kakva su one nekad bile, dobijamo svečani momenat, koji simbolizuje novi život. Bijele strukture tokom dana simbolizuju objekte unutar utvrđenja, povezane u jednu neraskidivu cjelinu. Materijal je djelimično transparentan, sjajnih termičkih i protivpožarnih performansi, omogućava umjetnicima difuzno svijetlo, a samim tim, tokom dnevnog perioda i konstantnu interakciju vanjskog i unutrašnjeg prostora. Korisnicima je omogućen beskraj u ograničenom prostoru, omogućena im je sloboda.“ (Autor)

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RRješenje najboljeg tima zasniva se na projektovanju prostora za stvaranje proizvoda kreativne industrije, poput umjetničkih studija za rad, rezidencija i objekata za smje­ štaj umjetnika, izložbenih prostora i prostora za organizaciju različitih kulturno-umjetničkih događaja.

Korisnici prostora biće umjetnici iz raznih zemalja koji se prijave i kojima se odobri da određeno vrijeme borave, stvaraju i izlažu u kreativnom centru.

Predloženo rješenje može se okarakterisati kao savremena arhitektonska intervencija reverzibilnog karaktera, bez upotrebe betona. Takvo rješenje moguće je ostvariti samo pažljivom upotrebom savremenih materijala (reverzibilne prirode), tradicionalnih tehnika gradnje i tehnoloških rješenja prilagođenih planiranoj namjeni kreativnog centra.

Osnovna ideja cijelog koncepta jeste očuvanje utvrđenja u naslijeđenom obliku i izbjegavanje intervencija koje mogu da promijene osobine kulturnog dobra. Sve planirane intervencije i mjere konzervacije koncipirane su u skladu s propisima koji definišu potencijalne uticaje na građevine i zaštićena kulturna dobra. To se prvenstveno odnosi na arhe­ ološka istraživanja, koja su osnova za revitalizaciju i adaptaciju kompleksa. Projekat predviđa očuvanje postojećih građevinskih i kamenih elemenata utvrđenja, prije svega zidova, oboda, kamenih građevina i austrougarskog bunkera, a restauracija će se obaviti primjenom autentičnih ili kompatibilnih materijala i građevinskih tehnika.

Intervencije ne podrazumijevaju upotrebu betona i sva rješenja moguće je preinačiti.

U postojećem odbrambenom pojasu i kulama primjenjuju se mjere zaštite i restauriranja, pri čemu se djelovi koji su vremenom oštećeni ili nestali obnavljaju tradicionalnom tehnikom, uz korišćenje lokalnog kamena. To se odnosi na kamene ograde, krune na vrhovima kula, itd. Spoljni obod tvrđave ostaće isti kao nekada. U sprovođenju konzervatorskih mjera autori su koristili metode koje čuvaju vrije­ dnosti kulturnog dobra i kvalitet originalnih materijala.

Analiza plana intervencija

U skladu s prostornim kapacitetima kompleksa Španjole i njegovom budućom namjenom, osmišljeno je nekoliko sadržajnih cjelina: prostor za izložbe i prezentacije, smještajna jedinica, jedinica s umjetničkim studijima za individualni ili grupni rad, kombinovana cjelina za individualni rad i smještaj, administracijski i drugi kancelarijski prostori, zajednička bašta (ljetnja pozornica), konferencijska sala...

Perspektivni prikaz rekonstruisane tvrđave

3D model rekonstruisane tvrđave - noćni prikaz

Kad su u pitanju djelovi tvrđave za koje nije moguće tačno odrediti oblik i dimenzije, rekonstrukcija i adaptacija izvode

se

korišćenjem

arhitektonskih

modernih,

materijala,

vizualno

građevinskih

neupadljivih elemenata

i

metoda koji ne ometaju postojeće istorijske elemente, već ih funkcionalno i estetski dopunjuju. Umjetnički pristup projektovanju

komunikacija

i

slobodnih

prostora

unutar

kompleksa nagovještava modernu interpretaciju tradicionalnog gumna, stvarajući izolovane prostore za umjetnički rad u eksterijeru. Unutrašnjost se sastoji od gusto raspoređenih građevina, među kojima su fluidnim oblicima formirane brojne uzdužne i poprečne veze, u skladu s potrebama korisnika i novim namjenama.

Presjeci kroz tvrđavu

Perspektivni prikazi rekonstruisanih objekata i otvorenih površina

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Situacioni prikaz

U rekonstrukciji građevina u unutrašnjosti fortifikacije planirana je upotreba istog materijala, polikarbonata. On se dodaje postojećim, kamenim ostacima građevina, ostajući djelimično vidljiv iznad njih. Polikarbonat se postavlja u

skladu

s

nekadašnjim

dimenzijama

konstrukcija,

u

pretpostavljenom dizajnu nagiba i krova. Pri primjeni novih materijala i izboru stolarije u tvrđavi posebna pažnja posvećena je toplotnoj provodljivosti.

Materijal za podno oblaganje koji se koristi na mjestima na kojima nema tragova autentičnih materijala predstavlja mikropokrivač,

što

korisnicima

olakšava

održavanje,

obezbjeđujući trajnost i estetsku vrijednost primjerenu zadatom karakteru i zadatku.

Fotografski studio

Konferencijska sala

Prostor za prezentacije

Izložbeni prostor

Koridor kreativnog hub-a

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2 NAGRADA

ANA RADOVANOVIĆ

CRNA GORA

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Ana Radovanović diplomirala je na Arhitektonskom fakultetu Univerziteta Crne Gore. Trenutno je radno angažovana u jednom crnogorskom arhitektonskom studiju. Učestvovala je na brojnim izložbama i nagrađivana na takmičenjima iz oblasti arhitekture. „Glavni cilj je bila rekonstrukcija postojećeg stanja na konzervatorskim principima kako bi se zadržalo sve što je tradicionalno i što je bilo prvobitno stanje. Arhitektonska vizija ovog konkursa je veoma važna jer nam pruža mogućnost da bolje sagledamo arhitekturu Crne Gore, a govori nam i o svijesti društva da je ovakve lokacije potrebno revitalizovati. Tim UNDPја, zajedno s Ministarstvom kulture, prepoznao je potencijal ove lokacije i pružio priliku arhitektama da daju svoje mišljenje i viziju na ovu temu. Kroz konkurs su se dobila jako kvalitetna rješenja, a prije svega se nadam i što bržem oživljavanju ovog i te kako velikog potencijala našeg primorja.“ (Autor)

Grafički prikaz intervencija na fasadama u odnosu na postojeće stanje

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Tvrđava Španjola nalazi se u gornjem dijelu Herceg Novog, na oko pet kilometara udaljenosti od glavnog magistralnog puta.

Područje šire i uže okoline narušeno je neplanskom gradnjom velikog broja neplanski izgrađenih stambenih zgrada i privatnih kuća. Do tvrđave se dolazi uskim asfaltnim putem.

Utvrđenje je kvadratne osnove, sa četiri isturena bastiona na uglovima. U sklopu tvrđave nalazi se 13 obje­ kata.

Ideja vodilja u kreiranju ovog nagrađenog rješenja jeste da se zadrži identitet lokacije. Urbanistička revitalizacija tvrđave postignuta je sanacijom javnih prostora, nudeći posjetiocima kompleksa i njegovim stanovnicima nove objekte.

Najveća pažnja posvećena je analizi simboličkog značenja lokacije i skrivene povezanosti grada i tvrđave. Impe­ rativ ovog rješenja jeste rekonstrukcija postojećeg stanja u skladu s najvišim mogućim standardima i uslovima očuvanja i zadržavanje svih prepoznatljivih tradicionalnih elemenata.

Ulazni totem

Koncept projekta počiva na ideji da se zadrži što je moguće više građevina i da im se vrati funkcija, te da se sačuva spomenički značaj ovog utvrđenja. Glavni cilj je povezivanje tradicionalne s modernom arhitekturom tako da ponuđena savremena arhitektonska rješenja ne umanjuju, već ističu značaj onoga što se nalazi na lokaciji.

Nove intervencije na objektima ogledaju se samo u restauraciji tradicionalnih elemenata, npr. vrata i prozora. Vrata i prozori su originalnog istorijskog oblika, a materijal koji se koristi je drvo. Projektom su predviđene i moderne konstrukcije, poput krovnih obloga od korten čelika, koji je izabran zbog svojih brojnih prednosti (brza ugradnja, dobro se veže za kamen, nije potrebno održavanje, trajnost).

Metodologija razvoja projekta omogućava da se utvrdi obim i način izvođenja potrebne intervencije na gradilištu.

Vidikovac

Projekat predviđa fazno izvođenje radova na objektima.

Prva faza bi obuhvatila objekte potrebne za funkcionisanje radionica, a to su: smještajne jedinice za stanare/ rezidente, restoran s kuhinjom, toaleti opšte namjene, fotografski studio, umjetnički studio za slikarstvo i vajarstvo, kancelarija za administrativne poslove i kuhinja s kantinom. Druga faza izgradnje objekata uključuje konferencijsku salu, kafić, umjetnički studio za rad s drvetom (sa skladištem). U posljednjoj, trećoj fazi, predviđena je izgradnja rezidencijalnog objekta i pozorišta na otvorenom.

Otvorena scena sa gledalištem

Perspektivni prikaz rekonstruisanih objekata

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Perspektivni prikazi rekonstruisanih objekata

Ovo idejno rješenje zasniva se prvenstveno na očuvanju i prilagođavanju objekata interpolacijom savremenih funkcija.

Izbor materijala za objekte napravljen je u skladu s konzervatorskim principima i na način koji neće umanjiti po­ stojeće kulturne vrijednosti. Planirana rekonstrukcija svih objekata podrazumijeva korišćenje izvornih tehnika i materijala koji neće odstupiti od originalnih. Fasadni otvori izrađuju se od drveta, a sve adaptacije postojećih objekata od korten čelika. Intervencije na zidovima predviđaju očuvanje karakteristične strukture i boje originalnog zida.

Unutar bedema, staze za kretanje posjetilaca popločane su kamenim pločama i oivičene zasađenom niskom vegetacijom.

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Objekat umjetničke rezidencije s restoranom

Konzervatorski radovi obuhvataju i sljedeće: sanaciju uništenih djelova fasade, bilo da je riječ samo o obnovi maltera, ili rekonstrukciji zidova od kamena ili opeke u krečnom malteru po uzoru na stari (originalni) način zidanja; izgradnju naknadno izbušenih rupa u zidovima i sanaciju postojećih; zaštitu od vlage i ispuštanja atmosferskih voda oko zgrade drenažom; obezbjeđivanje potrebnog pada zemljišta oko zgrade.

Unutrašnji zidovi, zavisno od prostorija, različite su završne obrade: kamen, malter, korten čelik. Podna konstrukcija je drvena. Ograde su napravljene od korten čelika, koji je u nekim djelovima pun, a u nekim perforirana mreža.

Studio za savremenu skulpturu

Radni prostor

Art studio

Fotografski studio

Izložbeni prostor

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3 NAGRADA

MARKO ARACKI SREĆKO ANDRIJANIĆ KATARINA NIKOLIĆ SRBIJA

85340

Marko Aracki završio je magistarske studije na Arhitektonskom fakultetu Univerziteta u Beogradu, gdje je radio kao asistent u nastavi. Stručnu praksu stekao je u birou „Digital Solutions” u Londonu. Učestvovao je na brojnim izložbama i radionicama.

Srećko Andrijanić jmagistrirao je na Arhitektonskom fakultetu Univerziteta u Beogradu, na kojem je bio radno angažovan kao saradnik u nastavi. Radi kao arhitekta i dizajner enterijera.

Učesnik je brojnih domaćih i internacionalnih takmičenja, a iskustvo u oblasti projektovanja i dizajna gradio je i u Americi.

Katarina Nikolić završila je magistarske studije na Arhitektonskom fakultetu Univerziteta u Beogradu, gdje je angažovana kao saradnik u nastavi. Pored toga, radi na brojnim projektima kao arhitekta, a učestvovala je na mnogim studentskim i drugim velikim takmičenjima, gdje je tri puta osvojila prvo mjesto, a dva puta bila dobitnica specijalne nagrade. „Srž naše ideje leži u povezivanju istorijskog identiteta lokacije sa konceptom održivosti, ali i umjetničkim programom samog konkursa – to su tri osnovne polazne tačke na kojima smo bazirali svoj projekat.” (Autor)

Presjeci kroz rekonstruisani kompleks

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Glavna ideja revitalizacije Tvrđave Španjola trećeplasiranog tima leži u povezivanju njena tri identiteta u jedan – istorijskog, umjetničkog i održivog.

Istorijski identitet Španjole sačuvan je i ojačan preciznom obnovom tvrđave. Očuvani su gotovo svi djelovi tvrđave, svaka zgrada ima novu namjenu, ali njena tradicija i istorijske vrijednosti nijesu zaboravljene.

Istorijski značaj ugrađen duboko u kamene zidove tvrđave ponovo oživljava, čineći Španjolu centralnom tačkom grada koju vrijedi posjetiti i otkriti – ako ste umjetnik, ali i ako to nijeste. Novonastali artistički identitet Španjole jasan je i savremen, neraskidivo vezan za snagu i istoriju same tvrđave.

Umjetničke karakteristike ne suprotstavljaju se ni na koji način staroj mirnoći, već je razigrano predstavljaju u novom sjaju. Smještena na mirnoj lokaciji grada, ali ipak toliko inspirativna, tvrđava predstavlja prostor kolektivne kreativnosti, gdje umjetnici, povezani, mogu stvoriti čuda.

Takva čuda neće nositi samo potpis umjetnika, već i genius loci, predstavljajući osobenost mjesta na kojem su nastala.

Održivi identitet Tvrđave Španjola počiva na upotrebi lokalnih, organskih i sirovinskih materijala.

Kad je riječ o konzervatorskim principima, autori su se trudili da maksimalno zadrže postojeće stanje tvrđave, ali i da upotrebljavaju lokalne materijale: lokalni kamen, ribarsko uže, drvo za restauraciju krovova, bale sijena i drvene palete koje se vrlo lako mogu reciklirati. Nijesu koristili savremene meterijale, već su tradicionalne i lokalne materijale koristili na savremeni način. Smatraju da samom odlukom da koriste ove tradicionalne prirodne i lokalne materijale utiču na povećanje energetske efikasnosti i očuvanje životne sredine.

Zajednički otvoreni prostori

Iako su konzervatorski principi bili vrlo striktni, što je i očekivano budući da se radi o zaštićenom kulturnom nasljeđu, autori su nastojali da na jedan inovativan način kreiraju nove prostore. Privremeni i promjenjivi prostori doprinijeće sadržaju, atraktivnosti i revitalizaciji prostora, a da pritom ne naruše identitet same lokacije.

Izgradnjom festivalske pozornice tvrđava postaje epicentar kulture za još veće područje i šire stanovništvo.

Umjetnike i posjetioce do tvrđave vodi staza kreativnosti.

Ova staza nalazi se s vanjske strane tvrđave, a zamišljena je kao spoljni prostor u kojem će svi uživati, bilo da su dio programa ili ne. To je zapravo komunikacioni prostor

Unutrašnjost rekonstruisane tvrđave

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Perspektivni prikaz rekonstruisanih objekata između kreativnog centra i lokalne zajednice. Staza objedinjuje različite prostore pogodne za kreativno povezivanje. To su: tržište kreativnosti, radionica za spontano okupljanje posjetilaca, lokalna tržnica i prostor za opuštanje.

Obnova tvrđave mora održati tradiciju korišćenja lokalnih materijala s malim uticajem na životnu sredinu. Stvarajući umjetnička okruženja korišćenjem lokalnog kamena, tradicionalnog ribolovnog užeta, bala sijena i ponovno korišćenih paleta od drveta, arhitekte nastavljaju s ugradnjom principa održivosti u sam DNK tvrđave.

Korišćenjem pristupačnih, laganih i domaćih materijala stvaraju se građevinski elementi koji će pomoći da se stara tvrđa­ va transformiše u savremeni poligon kreativnosti. Prostor Zajednički otvoreni prostori

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stvoren korišćenjem jeftinih gotovih materijala i elemenata koji se lako reorganizuju, premještaju i prilagođavaju namjeni prostora omogućava umjetnicima da kreiraju i inspirišu druge.

Za rekonstrukciju zidova širine 65 cm koristi se isti rezani kamen. Novi krovovi su dvostruko nagnuti u istom smjeru kao i ranije, izrađeni tradicionalnom konstrukcijom drvenih krovnih rešetaka s grebenom gredom, dvije zidne ploče i nizom krovnih kosih greda, pokrivenih sivim krovnim pokrivačem. Ravnomjerna ravna površina poda izrađena je od drvenih dasaka. Svi prozori i vrata imaju restaurirane kamene okvire vjerne nekadašnjem izgledu.

Izložbeni prostor

Caffe bar

Slikarski studio

Studio za savremenu skulpturu

Info punkt

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Kako ostale arhitekte vide razvoj kreativnih industrija u tvrđavi Španjola Upoznajte tvorce ostalih inovativnih rješenja za revitalizaciju Tvrđave Španjola. Odabrani radovi pre­ dstavljaju različite poglede arhitekata, koji su ponudili inovativna rješenja poštujući vizuelni identitet Tvrđave i uvodeći stroge mjere zaštite u dizajn njene rekonstrukcije. Drugi autori ponudili su smjela, izazovna i moderna rješenja, s kojima se neki konzervatori ne bi u potpunosti složili.

OSTALI PROJEKTI

NATAŠA NIKOLIĆ, IVANA MILANOVIĆ

#222

CRNA GORA/SRBIJA

Koncept se zasniva na očuvanju kulturne baštine, arhitektonskih elemenata, prirodnih karakteristika područja i njegovih izuzetnih vrijednosti. Prostor se prilagođava malim zahvatima, u skladu s potrebama kreativnih aktivnosti koje će se održavati unutar kompleksa.

Autorke su nastojale da stvore jedinstven umjetnički prostor koji može da zadovolji potrebe savremenih umjetnika i stručnjaka za kulturu, istovremeno predstavljajući živopisnu istoriju najmarkantnijih arhitektonskih i kulturnih uticaja – počev od španskog perioda, u kojem je tvrđava započeta, do Osmanlija, koji su razvili i oživjeli njen oblik. Zamisao je da taj prostor odražava i mnoge druge kulturne slojeve, budući da je tvrđava bila veoma važna tačka tokom venecijanskog i austrougarskog perioda.

U sljedećoj projektovanoj fazi, Tvrđava Španjola biće umjetnička kolonija, s galerijama i smještajem za umjetnike.

Imajući u vidu buduću namjenu tvrđave i inspirativno okruženje Herceg Novog, autorkama se kao putokaz u radu neizbježno nametnulo djelo Voja Stanića, poznatog hercegnovskog slikara koji je decenijama nadahnjivao i oblikovao kulturni život ovog grada. Dublje istraživanje istorije Španjole i Stanićevih djela, a posebno motivi njegove čuvene grafike Haos na plaži, uticali su na njihovu autorsku viziju unutrašnjih prostora tvrđave i zakrivljenih oblika prolaza i vrata. Inspirisane ovom grafikom, autorke su nastojale da sačuvaju sve prostore s izvornim materijalima. Tamo gdje to zbog starosti i vremenskih uticaja nije bilo moguće, koristile su samo staklene materijale sa čeličnim elementima crne boje, kako bi kreirale kontrast i udahnule moderan život tvrđavi.

Administrativni objekat

Sunčani sat i vidikovac

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Rekonstruisani objekat i zajednički prostor unutar tvrđave

Upotrebljavaju se novi prirodni materijali, poput kamena i drve­ ta. Budući da će napuštena tvrđava zasijati u novom svjetlu kreiranih proizvoda i primiti umjetnike iz cijelog svijeta, uvedeni su energetski efikasni sistemi, kao zaštita od prekomjerne proizvodnje CO2. Krovnim pločama od staklenih i solarnih panela s niskim emisijama obezbjeđivaće se topla voda za rezidencijalni prostor i radionicu za drvo, što će doprinijeti smanjenju potrošnje energije i drugih troškova.

Pejzažno uređenje odražava bit Mediterana: posjetiocima i učesnicima nudi se pogled na vodu, kamen i netaknutu prirodu, elemente koji čine najautentičniji sloj života u Crnoj Gori.

Vremenska kapsula

Rekonstruisani bunkeri

Postojeće stanje

Planirano stanje

Izložbeni prostor

Izgled kantine, kafe bara

LEGENDA: 1 Administracija uprava 2 Rezidencijalni prostor 3 Art studio za slikanje i skulpturu 4 Art studio za obradu

drveta 5 Fotografski studio 6 Toalet 7 Konferencijska sala 8 Zona za odmor 9 Vremenska kapsula/4D bioskop 10 Kantina 11 Caffe bar 12 Skladište 13 Otvorena scena 14 Izložbeni prostor a-Magnolia galerija b-Oliva galerija c-Mimoza galerija d-Palma galerija 15 Ulazni park s pergolom 16 Skladište i radionica na otvorenom/galerija 17 Rezidencijalna zona 18 Igralište 19 Parking

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296692

MILA LUKOVIĆ, BORIS MARTIĆ, DRAGANA ZORIĆ, JOVANA ARSIĆ, MILICA BOŽOVIĆ

SRBIJA

Autorski tim smatrao je da tvrđava treba da bude sačuvana upravo onakva kakva je danas, isprepletena s prirodnim ambijentom i neoštećena dodatnom prostornom intervencijom. Predloženo idejno rješenje ističe arheološki aspekt, odnosno značaj same tvrđave i lokaliteta. Dalje intervencije zamišljene su tako da ničim ne naruše postojeću simbiozu tvrđave i vegetacije, već da je samo naglase. U okviru tvrđave se pre­ dviđa program koji uključuje radionice i umjetničke ateljee, a objekti u unutrašnjosti očuvani su i zatvoreni konstrukcijama od staklenih panela i nerđajućeg čelika. Najvažniji elemenat je prostorija s mahovinom, smještena unutar tvrđave. Prostorija je formirana od izdignute staklene platforme prekrivene mahovinom, a hod po njoj zapravo predstavlja iskustvo posjete tvrđavi na mikro nivou.

South - East Elevaaon

296692

1:200

Rezidencija i uprava smještene su sjeverno od tvrđave iz razloga koji se tiču arheologije tvrđave i izvođenja suptilne intervencije. Istovremeno, time je umjetnicima omogućeno da imaju dovoljno privatnosti za sumiranje utisaka.

Prikaz dijela tvrđave - pogled odozgo

Restoran je smješten u unutrašnjosti tvrđave i na vrhu bunkera, a prostire se do vinskog podruma, koji se nalazi u autentičnoj unutrašnjosti. Pozornica u obliku pejzažnog pozorišta postavljena je centralno, u prostoru između tvrđave i bunkera.

Glavni koncept počiva na razumijevanju arhitekture kao infrastrukture koja povezuje programe, a dizajnom naglašava vegetaciju, omogućavajući joj da se širi i nastavi da stvara autentičnu estetiku tvrđave.

Tim konceptom određen je i materijal koji će se koristiti 3D model rekonstruisanog objekta

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Situacioni prikaz

u intervencijama: staklo, čelik i beton. Zidovi postojećih konstrukcija koje nijesu dio funkcionalnog prostora radionica, zbog propisa o obnovi i revitalizaciji, ostavljeni su u svom trenutnom stanju. Konstrukcije predviđene za prenamjenu tvrđa­ ve minimalno su izmijenjene – dodaju se vrata, prozori i stakleni krovovi sa čeličnom konstrukcijom. Panoramski lift nalazi se u gornjoj lijevoj kuli, dok je drugi u unutrašnjem dijelu tvrđave. Planirana su i dva čelična stepeništa u zidinama tvrđave. Idejno rješenje predviđa da se u procesu prilagođavanja prostora u tvrđavi koristi mnogo staklenih panela, koji mogu da reflektuju i naglase prirodu tvrđave.

Kafe bar

Komunikacije

Sala za sastanke

Radni prostori

Osnova rekonstruisanih austrougarskih bunkera

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DRAGANA MIKAVICA, SARA NIŠAVIĆ, BOJANA ĆULAFIĆ, LUKA ČVOROVIĆ

#117893

CRNA GORA

Tvrđava Španjola jedna je od najpoznatijih utvrđenih građevina u Bokokotorskom zalivu, a s vremenom je postala pravi „kolekcionar” istorijskih, umjetničkih i društvenih značenja.

Srednjovjekovne zidne građevine snažne i precizne izrade, cjelovitost tipološke strukture utvrđenog boravišta, položaj koji pruža panoramski pogled na prirodne ljepote zaliva, sve to čini ovaj objekat savršenim mjestom za umjetnike.

U projektovanju novog kreativnog centra unutar Tvrđave Španjola, glavni cilj bio je sačuvati od propadanja što je moguće više postojećih ruševina i upotrijebiti ih kao pozitivno dobro koje treba cijeniti i slaviti. Stoga je namjera autora bila: nove montažne objekte izgraditi van lokaliteta, transportovani ih do lokaliteta i postaviti unutar ruševina tako da ne dodiruju postojeće zidove, pri čemu novi objekti oblikom podsjećaju na nekadašnji izgled ruševina.

Smještajne jedinice

Do kompleksa se može doći sa sjeveroistočne strane, a tačno ispred glavnog ulaza predviđeno je 21 parking mjesto. Funkcije su jasno razdvojene – smještajni i prateći objekti nalaze se u istočnom dijelu sa zasebnim ulazom, uprava je pored bedema, a cjelokupni program za posjetioce odvija se unutar tvrđave.

Unutar zidina će se organizovati radionice za umjetnike, za koje se planira da funkcionišu kao izložbeni prostor, dostupan posjetiocima. Ulaz za posjetioce nalazi se tik uz kapiju i oni do izložbenog prostora dolaze prolazeći kroz sjeveroistočni bastion. Recepcija je smještena u unutrašnjosti bastiona.

Kretanje posjetilaca je logično, a dodatno je olakšano obilježjima koja su ugrađena u postojeće objekte.

Konstruktivni sistem svih novih objekata sastoji se od lakih montažnih elemenata, što treba da doprinese očuvanju postojećih građevina na lokalitetu.

Prodavnica/Suvenirnica

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Rekonstruisani objekti unutar tvrđave

Namjera autora projekta jeste da svedu na minimum potrebu za omotačem zgrade kako bi se posljedično smanjila potreba za toplotnom energijom za klimatizaciju. To znači rješavanje energetskog problema na izvoru – smanjenjem potrebe za energijom za prenos i ventilaciju, a ne prepuštanjem energetske efikasnosti sistemu postrojenja. Projektovani materijali i resursi definisani su uz sljedeće mjere opreza: izbor materijala kod kojih je sadržaj recikliran prije i poslije potrošnje, procijenjen po težini, iznad 20%; upotreba materijala koji se lako reciklira – beton, čelična konstrukcija i staklene ploče mogu se ponovo koristiti u novom proizvodnom ciklusu, nakon što se njihova funkcija iscrpi.

Unutrašnji trg

Sala za projekcije

Eksterijer kafe bara

Slikarski studio

Enterijer kafe bara Konferencijska sala

Aksonometrijski prikazi kompleksa

Restoran

Trg Studio za skulpture

Slikarski studio

Shop Ulaz

Sala za projekcije

Photo studio

Studio za drvo

Coffee bar Administracija

Sala za przentacije

Workshops Accommodation Smještajne jedinice

Public facilities Administration

Presjek kroz kompleks

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ANĐELA KEKIĆ, STEVAN KEKIĆ

ARCHOBALENO

CRNA GORA

Novo arhitektonsko-urbanističko rješenje Tvrđave Španjola uklju­ čuje adaptivnu prenamjenu građevine čiji je cilj očuvanje ovog spomenika kulture i isticanje njegove važnosti, kako kulturne tako i istorijske. Cilj ovog projekta jeste da se dobije jasno definisana nova namjena zgrade, a da se istovremeno očuva njen osnovni identitet. Projektom se revitalizacije prostor tvrđave koji bi bio predviđen za organizovanje različitih kulturnih manifestacija i programa. Kulturni značaj tvrđave naglašavao bi se kroz programske sadržaje, a istorijski kroz manji, muzejski dio. Postoji nekoliko načina na koje se revitalizacija objekata može realizovati, pri čemu odabir ispravnog puta zavisi od početne ideje, potreba i trenutnog stanja objekata koji se revitalizuju.

Zbog visokog stepena očuvanosti pojedinih objekata Španjole, pravi izbor je pristup nadogradnje, koji ne bi narušio, već naglasio ono što je ostalo od istorije, arhitekturu tvrđave i njen značaj. Ovaj pristup podrazumijeva izgradnju novih zidova unutar starih. Ta metoda revitalizacije predstavlja veliki izazov u pronalaženju najboljeg konstrukcionog načina jer je riječ o spajanju dva dijela, starog i novog, no njena je prednost u tome što upravo naglašava drevni sloj, stavljajući akce­ nat na ruševine. Ideja spajanja različitih slojeva Španjole realizovala bi se povezivanjem donjeg unutrašnjeg dijela tvrđave s objektima, sa spoljnim gornjim dijelom, spoljnim obodom bedema. Umetanje dodatnog međusloja (platforme) vizuelno bi povezalo dva prostora, istaklo novu funkcionalnost cijelog kompleksa i pojačalo aktivnu komunikaciju unutar njega. Vizuelno iskustvo novododate strukture u velikoj mjeri će zavisiti od uspješno uspostavljene veze starog i novog.

3D model rekonstruisane tvrđave

Da bi se naglasio istorijski značaj spomenika i način njegove gradnje, a da se pritom novi koncept ne razlikuje značajno Objekat konferencijske sale, kafe bara i restorana

Južna fasada foto-studija

LEGENDA: 1 Info point 2 Foto-studio 3 Art studio 4 Biblioteka i centar za edukaciju 5 Muzej i galerija 6 Konferencijska sala / kafe bar i restoran 7 Toaleti i skladište 8 Rezidencije za umjetnike i kreativce 9 Scena na otvorenom 10 Odbrambeni perimetar sa bastionima

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Osnova prizemlja

od postojećeg, plan je da se koriste tradicionalni materijali karakteristični za ovaj kraj. Osnovni i dominantni materijal za Španjolu je kamen, u mnogim varijacijama, a novi revitalizovani djelovi bili bi od betona, sa fino obrađenim fasadnim slojem.

Na taj način se postiže kohezija dvaju materijala, grubih i masivnih, a različitih u teksturi upravo toliko da ističu istorijsku i novoformiranu strukturu do potrebne mjere. Ono što je neizbježno jeste upotreba staklenih površina, pažljivo i promišljeno pozicioniranih u odnosu na zgradu, na kretanja unutar ili izvan nje i njene funkcije.

Foto i umjetnički studio

Spiralna rampa

Info punkt

Presjek a-a

Presjek b-b Galerija

Presjeci kroz kompleks

Zapadna fasada umjetničke rezidencije

LEGENDA: 1 Info point 2 Foto-studio 3 Art studio 4 Biblioteka i centar za edukaciju 5 Muzej i galerija 6 Konferencijska sala / kafe bar i restoran 7 Toaleti i ostava 8 Galerija 9 Scena na otvorenom 10 Odbrambeni perimetar sa bastionima

Osnova sprata

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MIHAILO MIKAVICA, MARTA MINIĆ

2MD1874

SRBIJA

Konceptualno objašnjenje projekta polazi od toga da je Tvrđava Španjola kulturno nasljeđe od posebnog istorijskog, kulturnog i ambijentalnog značaja koje je dugi niz godina zanemarivano.

Cilj projekta jeste da ponovo oživi tvrđavu aktivirajući njen kreativni potencijal, da joj udahne novi život, ali i sačuva izvanredan istorijski spoj različitih kultura i arhitektonskih stilova, koji je karakteriše.

Ponovno aktiviranje tvrđave ne mora nužno da znači smještanje svih sadržaja programa koji je predmet konkursa unutar prostora zaštićene kulturne baštine Španjole, pa se novi objekti mogu locirati u širem kompleksu Španjole.

Da bi se utvrđenje rekonstruisalo, potrebno je sprovesti nova arheološka istraživanja. Svaki dio Tvrđave Španjola treba rekonstruisati prema prvobitnom projektu, tako da u potpunosti predstavlja period u kojem je nastao. Rekonstruisano zdanje treba široj javnosti da ispriča priču o svojoj bogatoj istoriji, pa je zamisao da ono bude prije svega muzej posvećen istoriji Tvrđave Španjola. Naime, djelovi tvrđave, odgovarajuće veličine i organizacione strukture, mogu se pretvoriti u muzej sa stalnom izložbenom postavkom, koja će, između ostalog, sadržati artefakte koji su tokom arheološkog istraživanja pronađeni na ovom lokalitetu.

Ideja autora jeste da naprave potpuno nezavisan kompleks, koji bi bio sastavni dio tvrđave. Stoga izgradnja novih objekata ne bi zavisila od arheoloških istraživanja sprovedenih unutar utvrđenja i programi bi se mogli odmah realizovati.

Proces izgradnje kreativnog centra unutar kompleksa Španjola, galerije i novog prostora predviđenog za javna događanja, kao

Stalna/privremena izložba Stalna izložba, povezana sa istorijom tvrđave

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Perspektivni prikazi novih objekata i tvrđave

što su koncerti, festivali, pozorišne predstave, projekcije filmova i sl., aktiviraće i dalje razvijati ovo područje, istovremeno približavajući Tvrđavu Španjola javnosti.

Materijali koji se koriste u izgradnji cijelog kompleksa su: prirodni beton, čelik, aluminijum i staklo. Prozori i vrata izrađeni su od aluminijuma i stakla, od poda do plafona.

Ograde su izrađene od stakla, s drvenim rukohvatima. Prostor za parkiranje planiran je u skladu s planskim dokumentom, s dodatnim pozicijama.

Umjetnički studio

Sala za sastanke

Izgledi novih objekata

Galerija

Kantina

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STEFAN DANILOVIĆ, ANA IVANIŠEVIĆ, NENAD STIJOVIĆ, JELENA ZLATANOVIĆ

01020709

SRBIJA

Pregledom nepokretnih kulturnih dobara na crnogorskoj obali, Tvrđava Španjola je prepoznata kao pogodna za uspostavljanje kreativnog i/ili rezidencijalnog centra, naravno, uz neophodnost obezbjeđenja adekvatnog tretmana ovog kulturno-istorijskog spomenika, u smislu njegove revitalizacije i zaštite od daljeg propadanja. Privođenjem kompleksa novoj namjeni obezbjeđuje se njegovo dalje funkcionisanje na održivoj osnovi. Utvrđenje je u lošem stanju očuvanosti, neki su objekti u ruševnom stanju i bez adekvatne funkcije.

Uslovi konzervacije podrazumijevaju zaštitu, konzervaciju i očuvanje originalnog arhitektonskog rješenja – osnovnog obima i masivne konstrukcije – kao i originalnih materijala koji se koriste za završnu obradu. Na osnovu smjernica za konzervaciju (PUP Opštine Herceg Novi 9.8.2.1), mjerama zaštite nepokretnih kulturnih dobara predviđeno je da utvrđenja treba da zadrže naslijeđenu formu, bez promjene njihovog fizičkog oblika, te da neki djelovi tih građevina mogu dobiti novu funkciju, ali bez promjena u konstrukciji.

Rekonstruisani objekti, noćni prikaz

Glavna ideja ovog projekta jeste očuvanje naslijeđene izgrađene kulturne baštine i revitalizacija kompleksa Tvrđave Španjola uz minimalne intervencije obnove i preuređenja. Ruševine bi trebalo da budu sačuvane i formalno rekonstruisane u skladu sa svojim prethodnim/istorijskim količinama i oblicima, s tim da se određenim djelovima daju nove funkcije. Centralni prostor Gornjeg grada formiran je kao kaskadna visoravan s isprepletanim pješačkim stazama i rampama, što je prizor koji posjetioci prvo ugledaju kad uđu u tvrđavu kroz sjeveroistočnu kulu.

3D model rekonstruisane tvrđave

Rekonstruisani objekti i javne površine

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Rekonstruisani austrougarski bunkeri

Polazeći od izvornih vrijednosti mediteranskog nasljeđa pejzažne arhitekture, koju karakterišu suhozidi i kaskadni tereni, ovi se oblici, indirektno, interpretiraju i prilagođavaju današnjim potrebama. Na taj način, elementi ovog prostora predstavljaju kontinuitet u istorijskom razvoju lokalne arhitekture, interpretirajući tradicionalne elemente modernim arhitektonskim izrazom.

Ovaj prostor/mjesto služi kao glavni javni prostor u kompleksu i kao ljetnji hab. Na taj način kreativni proces je transparentan i otvoren za javnost, a događa se u istorijskom kompleksu Tvrđave Španjola.

Fotografski studio

Konferencijska sala Kuhinja i kantina

Art studio za savremenu skulpturu

Izgledi/presjeci rekonstruisane tvrđave

Art studio za skulpturu

Art studio za slikanje

Art galerija

Osnove objekata unutar tvrđave

Slikarski studio

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MAŠAN PETROVIĆ, DRAGANA ĆIPRIJANOVIĆ, STEFAN VASIĆ, IGOR SJEVERAC, ALEKSANDRA MITKOVIĆ, FILIP TRGOVČEVIĆ

02003

SRBIJA

Ovaj projekat ima nekoliko osnovnih ciljeva.

1. Očuvanje i prezentacija Tvrđave Španjola korišćenjem savremenih sredstava zaštite baštine. Akcenat je na redefinisanju konvencionalnog pristupa u revitalizaciji i predstavljanju istorijskih lokaliteta, kao okosnicama koncepta. Koncept uvodi linearne strukturne intervencije u prostoru (radije nego pune, teške mase) koje pružaju nove smjerove kretanja, a samim tim i nove uglove sagledavanja i doživljaja tvrđave. Njegov estetski izgled izbjegava nadmetanje sa značajem istorijskih i estetskih vrijednosti same tvrđave.

2. Uvođenje sadržaja visokog kvaliteta za umjetnike kreativnog centra, učesnike rezidencijalnog programa, koji će u potpunosti biti u skladu s prostornim kapacitetima tvrđave. Akcenat je stavljen na visokofunkcionalni i estetizovani mikroambijent, koji ni na koji način neće ugroziti integritet tvrđave kao već definisane prostorne kompozicije.

Rekonstruisani objekti i otvorene površine

3. Obezbjeđivanje potrebne infrastrukture za efikasno održavanje novih javnih i privatnih događaja kako bi se unaprijedila održivost cijelog kompleksa.

Posebna pažnja posvećena je otvorenim javnim prostorima, unapređenju njihovog kvaliteta i kapaciteta da ugoste različite vrste programa – od individualnih umjetničkih projekata, do velikih javnih festivala.

Vođen idejom da tvrđava bude živa i dostupna posjetiocima 365 dana u godini, novi koncept omogućava da se događaji uspješno organizuju i odvoje – i prostorno i programski.

Polazeći od potrebe da se unutar tvrđave napravi prostor

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Izgled i enterijer rekonstruisanih bunkera

za različite vrste korisnika – rezidencijalne umjetnike i širu javnost – predlaže se njihovo kontrolisano prostorno razdvajanje. Prizemlje i transformisani postojeći prostori rezervisani su za umjetnike kreativnog centra i rezidencijalni program, a sadržaji za posjetioce odvijaju se u nadograđenim konstrukcijama, uzdignutim i odvojenim od tvrđave. Ovo „razdvajanje” počinje odmah od ulaza u tvrđavu. S druge strane, ako je potrebno, miješanje različitih korisnika lako se može organizovati i kontrolisati.

Posjetioci se pozivaju da započnu obilazak tvrđave visokim panoramskim liftom, koji ih vodi do mostića – pješačke staze iznad tvrđave.

Umjetnički studiji

Sala za događaje

Rekonstruisani objekat komande - konferencijska sala

Konferencijska sala

Situacioni prikaz kompleksa

Panoramski lift

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ZORAN DMITROVIĆ, MARIJA BJELIĆ, MARIJA RADOJLOVIĆ, NENAD BLAGOJEVIĆ, NIKOLA ABRAMOVIĆ, MARKO MILUTINOVIĆ

49015

SRBIJA

Novi urbanistički plan predviđa proširenje zemljišta za Tvrđavu Španjola i nove saobraćajnice i objekte, što predstavlja novi potencijal za razvoj lokacije. Ovaj projekat predlaže namjenu zemljišta i lokacije koja je usklađena i sa zahtjevima za očuvanje baštine i sa potrebama savremenog umjetničkog centra.

POTENCIJALNA ZONA ZA NOVE OBJEKTE Novo proširenje, parcela 721, na kojoj se mogu izgraditi novi objekti, parkinzi, itd. Zona nije zaštićena baština i ne sadrži značajnu vegetaciju. Zemljište je gotovo ravno i pogodno za izgradnju umjetničkog centra.

ZONA AMBIJENTALNE ZAŠTITE ŠPANJOLE Ovaj park je zaštićen, nema izgradnje novih objekata niti značajnih promjena u pejzažu. Ova zona je okvir za tvrđavu.

TVRĐAVA ŠPANJOLA Ovaj lokalitet predstavlja kulturnu baštinu. U zoni su predložene intervencije koje neće narušiti istorijske i kulturne vrijednosti lokaliteta.

3D model rekonstruisane tvrđave

Projekat predviđa mjesta za posjetioce koji dolaze iz susjedstva i mjesta za one koji dolaze iz drugih krajeva svijeta. Namjera je da se obezbijede prostori za duži i kraći boravak. Kreativni centri su raspoređeni prema istorijskoj važnosti i prema stepenu zaštite baštine. Unutar zidina, predloženi su najreprezentativniji prostori u kojima će posjetioci i umjetnici moći da komuniciraju kroz umjetničke prikaze, razgovore, prezentacije. Nekadašnji bunker osmišljen je kao međuprostor, zona između javnog i privatnog prostora umjetnika.

Novi umjetnički hab Kulturno dobro preuređeno za potrebe izložbi i preformansa Novo saobraćajno i pejzažno uređenje

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Situacioni prikaz kompleksa sa planiranim intervencijama

Novi objekti projektovani su u potpunosti u skladu s potrebama umjetnika, ne ograničavajući prostor istorijske baštine.

Funkcionišu kao kreativni hab – specijalizovan, ali i fleksibilan za različite potrebe umjetnika.

Postoje dva glavna ulaza u kompleks: jedan za posjetioce, turiste i lokalnu zajednicu, a drugi za umjetnike i zaposlene.

Podjela je napravljena i projektovana prema načinu i intenzitetu korišćenja prostora. Parking prostor predviđen je na prizemnom nivou, a planiran je na osnovu raspoloživih parking mjesta.

No u slučaju budućeg daljeg razvoja, ispod novih objekata za umjetnike moguće je izgraditi podzemni parking.

Novi art centar, javne površine

Aksonometrijski prikaz rješenja

Galerija

Izložbeni prostor

Izložbeni prostori u dijelu bunkera

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DIJANA VUČINIĆ, DEA ĐEBRIĆ, MILICA BUBANJA, SLAVKO LEKIĆ, MILIĆ TOLJIĆ, DIMITRIJE PUZOVIĆ

THEVILLAGE0507

CRNA GORA

Kreativno Selo u Tvrđavi Španjola Idejno rješenje je zasnovano na vrijednostima i metodama izraženim u ključnim principima: identitet, održivi ciljevi, program i obrazovanje, konzervacija i izgradnja. Projekat je osmišljen tako da obezbijedi kreativno, praktično, ugodno i nadahnjujuće okruženje za umjetnike i kreativne profesionalce.

Projektovani prostor je ujedno radni prostor i prostor za slobodno vrijeme, mjesto samoće i okupljanja, ali i mjesto radnih postignuća. Što je još važnije, autori su željeli da projektuju mjesto za stvarnu, održivu zajednicu, mjesto za kreativnu industriju i inovacije, koje će, kroz saradnju, donijeti rast – kako ekonomije tako i kulture i umjetnosti.

Istovremeno, to je mjesto jedinstvenog dizajna koji treba da inspiriše, da bude prilagodljiv i otporan i da pruži osjećaj doma svakom od učesnika iz inostranstva. Stvaranje jedinstvene kulture obogaćene specifičnim kulturama zemalja učesnica učiniće da Tvrđava Španjola postane evropski prepoznat centar kreativne industrije. U tu svrhu se uvodi koncept Sela.

Selo je cjelina za sebe, zajednica, to je bijeg, odredište.

To je savremeni centar za inovacije koji istovremeno pruža romantičnu sliku tradicionalnih svetilišta za kojima kreativci tragaju. Stoga će nam unutar zidina predstaviti Selo, kao azil i zajednicu inspirisanu tradicionalnim crnogorskim srednjovjekovnim naseobinama, ali i srednjeevropskim gradom tvrđavom i kineskim selom.

Smještajne jedinice

Projektom su obuhvaćeni određeni ciljevi održivog razvoja.

Konkretno, projekat teži stvaranju zajednice koja je održiva u pogledu operativnog upravljanja, izgradnje i upotrebe resursa, što je u skladu sa Ciljem održivog razvoja 11. Pri projektovanju Noćni prikaz rekonstruisanih objekata

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Restoran

konstrukcije prvenstveno se koriste strukture i materijali s terena, a zatim se dodaje reciklirani materijal – reciklirani polikarbonat. Polikarbonat se koristi na takav način da stvara dobro okruženje s vrlo niskom razmjenom energije, a time i niskom potrošnjom. Cijeli projekat zasnovan je na Cilju održivog razvoja 9: inovacija i industrija, te infrastruktura koja skuplja otpadne vode i oslanja se na održivu energiju.

Jedan od ciljeva projekta jeste obezbjeđivanje više radnih mjesta i više mogućnosti za ekonomski rast, što je u skladu sa Ciljem održivog razvoja 8.

Rezidencije sa studijima

Kreativni hub

Konferencijska sala

Kantina

Rekonstrukcija Rušenje Nova gradnja

Planirane intervencije

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IVANA CVETKOVIĆ, ALEKSANDAR NIKŠIĆ

2117

SRBIJA

Kulturna baština ima veliki uticaj na životnu sredinu i život ljudi. Španjola je izvanredna baština, koja okruženju pruža jedinstveni identitet, karakter i ambijent, stvarajući grad pripovijesti. Srž projekta predstavlja ideja da ljudi traže veze s kulturnom baštinom, a još više – s prirodom.

Stoga priroda treba da bude ključni element svakog projekta.

Arhitekte žele da kreiraju funkcionalan i udoban prostor koji će okupljati umjetnike, turiste i lokalnu zajednicu.

Projekat postavlja nekoliko ciljeva: osigurati savremenu obnovu kulturne baštine s ciljem da tvrđava postane otvoreno mjesto susreta umjetnosti i kreativnosti; osigurati harmoniju između principa zaštite životne sredine i održivosti, u skladu s održivim i biofilnim dizajnom; osigurati socijalnu harmoniju i socijalnu koheziju kroz unapređenje međusobnih veza lokalne zajednice, umjetnika i posjetilaca; ostvariti ekonomsku održivost.

Rekonstrukcija tvrđave podrazumijeva pristup koji uključuje: očuvanje postojeće teksture, sa svim njenim nesavršenostima i patinom; preduzimanje svih neophodnih intervencija kako bi se obezbijedila stabilnost gradnje, a gdje god je to moguće, primjena metoda konzervacije, a ne restauracije ili rekonstrukcije; nadogradnja prvobitnih konstrukcija u savremenom arhitektonskom stilu, tamo gdje je to potrebno. Ovakav pristup traži da se jasno napravi razlika između nove i stare konstrukcije, čuvajući osobenost lokaliteta – duh mjesta – i spajajući staro i novo u jedinstvenu cjelinu. Novi objekti osmišljeni su na način koji čuva i ističe izvorni oblik građevina, redizajnirajući ih prema neophodnim funkcionalnim potrebama.

Administrativni objekat

Novi objekti zamišljeni su kao zasebne građevine koje bi mogle biti smještene unutar postojećih ruševina, ostavljajući ih Objekat umjetničke rezidencije i slikarski studio

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netaknutim. Sve nove nadogradnje izvode se od drveta, kamena, stakla, korten čelika i čelika, kao spoja tradicionalnog i modernog materijala. Drvo, iako tradicionalan materijal, ovdje se koristi na veoma moderan način, što se postiže konstrukcijom od jednog materijala. Za vanjsku zaštitu i izolaciju korišćene su termički obrađene obloge od drveta. Sa svojim neutralnim bojama i obiljem drveta prerađenog za vanjsku upotrebu, cijeli projekat osmišljen je tako da se savršeno uklapa u ostatke tvrđave i okolnu prirodu. Posebna pažnja posvećena je održivom dizajnu životne sredine i energetskoj efikasnosti.

Otvoreni auditorijum

Studio za obradu drveta

Radni prostor za kreativce

Sala za prezentacije

LEGENDA: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18

Studio za fotografiju Odbrambeni perimetar Ulaz i turistički info punkt Kasarna – smještajna zona, kantina i javni toaleti Slikarski studio Studio za obradu drveta Studio za savremenu skulpturu Konferenscijska sala i kancelarija Multimedijalna sala Spoljni auditorijum – mala scena Zapadni ulaz Ulaz u južnu kulu i turistički info punkt Stalna izložba “Španjola kroz vjekove” Restoran i kafe bar Javni toaleti Stepenište do vrha sjevernoistočne kule i auditorijuma Spoljna scena i teatar Austrougarski bunkeri-glavni izložbeni prostor i art depo

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DUŠKA PRODAOVIĆ, FILIP PRICA, MARINA UROŠEVIĆ

GWF51

SRBIJA/AUSTRIJA

...Prozirna nadstrešnica u vidu sočiva od foto-osjetljivog stakla uzdiže se nad Tvrđavom Španjola, pokrivajući njeno kvadratno dvorište locirano u srcu ovog srednjovjekovnog utvrđenja. Svjetlost i vjetar se prožimaju kroz objekat, sasvim blago zasjenjujući hladno kameno tlo. Nadstrešnica od stakla u vidu sočiva spuštena je na osam stubova kvadratne osnove, pružajući utočište i olakšanje kako stanovnicima tako i starim kamenim zidovima koji se uzdižu oko njih...

Projekat nudi dinamičan i višenamjenski prostor, prilagodljiv različitim scenarijima. Glavni koncept intervencije proizilazi iz svijesti da ovaj nepokretni kulturni artefakt treba ne samo očuvati, već mu dati i novi oblik života. Shodno tome, cilj nove arhitekture unutar granica ovog spomenika bio je dvostruk: tamo gdje je to moguće, obnoviti napuštene objekte konsolidacijom ruševina u njihovom postojećem stanju, a tamo gdje je potreban formalni izgled, biti blag i očuvati prošlost. Umjesto da ponovo zapečate objekte unutar bedema, autorski stav bio je da zaustave dalje propadanje (atmosfersko, taktilno) i kreiraju simboliku iz sjećanja na ovo mjesto. Prikazi koje slijede predstavljaju reakcije mladog autorskog tima na potrebu takve zaštite kulturnog nasljeđa koja bi mu dala novu vrijednost i naglasila kvalitet istorijskog kontinuiteta.

Predložena konstrukcija je moderna i tehnološki savremena, osmišljena ne s ambicijom da se sama nametne u prvi plan, već da bude podrška i svojevrsni „medicinski“ („hirururški“) tretman ovog priobalnog spomenika kulture. Osim vizuelnih i formalnih kvaliteta, predloženo rješenje je ujedno isplativo i izvodljivo.

Ideja nadstrešnice od foto-osjetljivog stakla jeste da poveže postojeće nedostatke i rješenja, stvarajući simbiozu

LEGENDA: 1 1a 2 3 3a 4 4a 5 6 7 8 9 10

Kulturni centar Javni toaleti Napuštena kuća Scena na otvorenom Skladište Studio za obradu drveta Skladište za drvo Uprava Foto-studio Slikarski studio Studio za skulpturu Umjetničke rezidencije Parking

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Perspektivni prikazi rekonstruisane tvrđave

vrijednosti zaštite spomenika i kreativnog centra. Riječ je o višenamjenskom arhitektonskom objektu, koji je istovremeno nadstrešnica, sakupljač energije i sam spomenik.

Dok se kulturno-umjetnički program dešava unutar bedema, stambeni prostor nalazi se van zidina tvrđave. Na taj način tvrđava se oslobađa svakodnevnih aktivnosti vezanih za putovanja, dolaske i odlaske. Parking prostor i teretna zona mogu biti postavljeni izvan granica tvrđave, a teške vodovodne instalacije mogu zaobići ovaj spomenik kulture.

Presjek kroz tvrđavu

Južba bašta/zona studija skulptude

Unutrašnje dvorište tvrđave

Kulturni centar

Umjetnički studio

Scena teatra

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ANJA PEJOVIĆ, MIJA LALOVIĆ, PETAR ĐURIŠIĆ

PAM21

CRNA GORA

Umjetnost između prošlosti i budućnosti Prepoznajući značaj Tvrđave Španjola kao kulturnog dobra, autori su posvećeni njenoj revitalizaciji na poseban način.

Konkretno, stvorili su filozofiju revitalizacije, o čemu govori sam naziv projekta („Umjetnost između prošlosti i budućnosti“), а koja je polazna tačka njihovog rješenja.

Ne želeći da zaborave prošlost, kao platformu za bilo koju budućnost, napravili su paralelu između vojnog stacionara, zatvora, borbi, rata... i idealne budućnosti (kojoj svi teže).

Ta paralela metaforički predstavlja sadašnjost. Budući da je Herceg Novi takođe poznat kao „Grad tvrđave“, sama sintagma odvela je autore do promišljanja o tome da svaka tvrđava ima poseban duh, a duh mjesta jeste ono što najbolje može da nadahne umjetnika. Stoga se nameće zaključak da je osnovni način uspostavljanja paralele između prošlosti i budućnosti sama tvrđava, kao mjesto za nadahnuće. Osim funkcije nadahnuća, tvrđava će biti mjesto na kojem će umjetnici boraviti i biti smješteni, stvarati i „prodavati“, odnosno predstavljati svoje radove.

Rekonstruisani objekti unutar tvrđave

Ciljne grupe ovog projekta su svi umjetnici koji žele da predstave svoj rad, poboljšaju svoje vještine, koji učestvuju u razmjeni s drugim umjetnicima ili pripadaju grupi multimedijalnih umjetnika. U skladu s jednim od ciljeva razmjene umjetnika, važna je grupa ljudi koji unapređuju taj proces. A da bi projekat bio ekonomski efikasan i predstavljen široj javnosti, važne ciljne grupe su turisti, publika i drugi akteri.

Prvi rezultat autorskog razmišljanja tiče se izbora materijala.

Kamen predstavlja materijal prošlosti.

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Rezidencijalni objekat sa galerijom

Tkanina (prirodno porijeklo – ekološko), zelenilo, staklo i ostali savremeni materijali predstavljaju materijale sadašnjosti. Osim stvaranja prostora koji je prilagođen ciljnoj publici (umjetnici, turisti i drugi navedeni u projektu), cilj je da Tvrđava Španjola umjetnicima postane inspiracija za stvaranje novih djela. Taj cilj se ostvaruje povezivanjem materijala koji simbolizuju prošlost i sadašnjost, ali i sadržaje koji ispunjavaju ovo mjesto.

Kako umjetnost slijedi vrijeme, tkanina kao primarni materijal simbolično prikazuje pokret koji mjestu daje dinamiku, a umjetnicima pomaže da razmišljaju na originalan i kreativan način.

Slikarski studio

Rekonstruisani objekti unutar tvrđave

Zajednički prostor

Sala za predavanje

Osnova tvrđave

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GORAN JANKOVIĆ

SKALINATA

CRNA GORA

Herceg Novi je poznat po mnogim važnim osobenostima. Između ostalog, to je grad koji je dio kulturne baštine UNESCO-a (kao dio Bokokotorskog zaliva) i dom mnogih nadaleko poznatih Crnogoraca. No jedna posebnost izdvaja ovaj grad od ostalih gradova u Crnoj Gori na posebno upečatljiv način i upravo će ona biti iskorišćena u ovom idejnom projektu za urbanistički razvoj Tvrđave Španjola.

Naime, Herceg Novi je poznat kao grad od skalina, neki kažu da ih ima više od 100.000. Njegova pozicija bila je presudna za taj specifični urbanistički razvoj, unutrašnju povezanost i infrastrukturu, jer je grad smješten na padinama planine Orjen.

Ne samo da je čitav grad premrežen skalinama, već Hercegnovljani rado ističu činjenicu da ne mogu prošetati gradom a da ih sunce ne okupa – otuda i ime poznatog muzičkog festivala – „Sunčane skale“. Stoga su upravo skaline glavni motiv arhitektonskih i urbanističkih istraživanja urađenih za ovo idejno rješenje.

Taj motiv je bio inspiracija za dizajniranje programa u okviru kreativnog haba. Stepenice su dinamične i zabavne i mogu biti privlačna društvena okupljališta, o čemu svjedoče mnoga takva mjesta u Herceg Novom.

Noćni prikaz koncerta na Skalinati

Španske stepenice, kao jedno od najpoznatijih i najposjećenijih mjesta u Rimu, predstavljaju savršen primjer kako stepenište može postati mjesto za druženje. Jedinstveni dizajn i elegancija Skalinate – kako Rimljani nazivaju Španske stepenice – stvorili su od nje mjesto koje je okupljalo, ali i inspirisalo, mnoge umjetnike, slikare i pjesnike.

Jedan od klastera koji je istražen za potrebe ovog idejnog projekta predstavlja selo Žlijebi. Selo je smješteno na obroncima planine Orjen, na 700 metara nadmorske visine, odakle se pruža prelijep pogled na Hercegnovski zaliv.

Uređenje terena unutar kompleksa

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3D model rekonstruisane tvrđave

Arhitektonska posebnost sela vezana je za krovove kuća – oni su u potpunosti napravljeni od slojeva kamena s tog lokaliteta, koji su ređani jedan iznad drugog kako bi se formirao zaštitni sloj.

Projekat „Skalinata“ predviđa rekonstrukciju, restauraciju ili potpunu obnovu nekoliko različitih objekata unutar Tvrđave Španjola. Većina zgrada će dobiti novu namjenu, a obnoviće se na tradicionalan način. Pošto je Španjola spomenik prve kategorije i pod nacionalnom zaštitom, da bi se očuvala njena estetika, značajnija gradnja nije dozvoljena.

Multifunkcionalni prostor

Vodene površine unutar kompleksa

Lobi, ulazni prostor

Multifunkcionalna sala

LEGENDA: Saobraćajnica Parking Ulaz u kompleks Ulaz u tvrđavu Obodni zidovi tvrđave Prepostojeći objekti unutar zidina Otisci repostojećih objekata unutar zidina Vodene površine Postojeći objekti oko tvrđave

Rasvjeta Postojeće drveće Predložena vegetacija

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ZAVRŠNA RIJEČ

„Genius loci (duh mjesta) neprestano traži novo oblikovanje u želji za preživljavanjem.

Ne može se zamrznuti, ali to treba shvatiti u kontekstu današnjih potreba.

Dinamički koncept pojma ‘mjesto’ predstavlja osnovu za kreativno prilagođavanje postojećeg objekta.“ (Kristijan Norberg-Šulc, 1978.)

Redefinisanje zaštite kulturne baštine, njena revitalizacija i prenamjena predstavljaju proces koji će osigurati održivo upravljanje kulturnim nasljeđem Crne Gore.

Kreativne industrije zahtijevaju više strukturnih, podržavajućih politika i snažnu zaštitu kreativnog sadržaja. Da bi se povećao njihov ekonomski potencijal, mora se uspostaviti ravnoteža između stvaranja, pristupa (distribucije) i zaštite kulturnog nasljeđa. Zaštita kulturnog nasljeđa njegovim prenamjenom u infrastrukturu kreativnih industrija takođe može biti važan pokretač urbanog razvoja: kulturno nasljeđe, aktivnosti i događaji ubrzaće rast i povećati atraktivnost.

Našim projektom „Kreativna Crna Gora – ekonomska valorizacija i kreativne industrije“ želimo da postignemo upravo to – efikasnije promovisanje kulture s naglaskom na inovacijama u kulturnom i umjetničkom stvaralaštvu i inovacijama u zaštiti, očuvanju i obnovi važnih lokaliteta kulturne baštine u Crnoj Gori. „U procesu preoblikovanja prošlost dobija veći značaj, jer je sama po sebi materijal koji treba izmijeniti i preoblikovati. Prošlost je ono što je već zapisano, označeno ‘platno’ na kojem će svako sljedeće preoblikovanje pronaći svoje mjesto. Prošlost tako postaje ‘paket smisla’, nataloženog značenja koje možemo prihvatiti (održati), transformisati ili potisnuti (odbiti).“ (Bruker i Stoun, Kontekst i ambijent, 2008) Ideja o Međunarodnom kreativnom habu nastala je iz potrebe za udruživanjem snaga kako bi se direktno podržala razmjena kreativnih potencijala umjetnika i širenje proizvoda kreativne industrije među evropskim zemljama. Zamisao je da kreativni hab Španjola bude osmišljen kao rezidencijalni prostor orijentisan na stvaranje proizvoda. To znači da će rezident (umjetnik) iz neke od zemalja Evropske unije u njemu boraviti (jedan do tri mjeseca) kako bi stvarao sopstveni kreativni rad, što obuhvata sve faze izrade tog rada, uključujući i njegovu promociju i plasman. Ovaj koncept zasniva se na modelu „ljudi ljudima“, na praktičnom nivou. Dijeleći kreativni prostor i znanje s drugim rezidentima, umjetnik će imaće priliku da u potpunosti realizuje i testira ideju u okviru ovog inovativnog sistema, dizajniranog tako da dovede do najboljih kreativnih rezultata.

Kao specifičan međunarodni kompleks za razvoj kreativnih industrija u Crnoj Gori, kreativni centar Španjola treba da privuče najširu kulturnu i medijsku javnost, ali i najrazličitije posjetioce, među kojima posebnu grupu čine turisti i publika. Prema planiranoj rezidencijalnoj namjeni i internacionalizaciji aktivnosti, u habu će prvenstveno stvarati međunarodni akteri kulturne scene.

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Uvidom u nepokretna kulturna dobra na Crnogorskom primorju Tvrđava Španjola je prepoznata kao pogodna za uspostavljanje infrastrukture za planirani kreativni centar, imajući istovremeno u vidu potrebu da se obezbijedi revitalizacija i zaštita od daljeg propadanja ovog važnog kulturno-istorijskog spomenika. Prenamjenom ovog lokaliteta osiguraće se njegovo adekvatno korišćenje i kontinuirano funkcionisanje na održivoj osnovi.

Kulturne i kreativne industrije postale su sektor koji značajno doprinosi inkluzivnom ekonomskom rastu, smanjenju nejednakosti i postizanju ciljeva utvrđenih Agendom održivog razvoja do 2030. godine. Kreativne industrije važan su pokretač ekonomije u zemlji koja se oslanja na snagu mladih.

Cilj našeg inovacionog izazova – Međunarodnog javnog konkursa za inovativno rješenje revitalizacije kulturnog nasljeđa Tvrđave Španjola u Herceg Novom – bio je upućivanje poziva arhitektama i arhitektonskim udruženjima, institucijama i kompanijama koje se bave arhitektonskim dizajnom, ali i zaštitom kulturnog nasljeđa, konzervacijom i rekonstrukcijom, da dostave savremena arhitektonsko-urbanističko rješenja za prenamjenu Tvrđave Španjola.

Na osnovu konkursnih kriterijuma kao što su inovativnost, originalnost estetskog izraza i zaštita vizuelnog identiteta, dobili smo projekte revitalizacije stare tvrđave koji slijede sve konzervatorske principe zaštite, dok poseban inovativni izazov ovog konkursa predstavljaju kriterijumi vezani za ideju kreativnog haba osmišljenog kao pokretača za postizanje ciljeva održivog razvoja. Uzimajući u obzir ene­ rgetsku efikasnost i obraćajući posebnu pažnju na toplotnu provodljivost pri primjeni novih materijala, nagrađeni autori uspjeli su da izrade pametne i zelene projekte za rehabilitaciju ovog važnog kulturnog nasljeđa. Ova publikacija predstavlja njihove projekte, pružajući mladim arhitektama, istoričarima umjetnosti, konzervatorima i drugim stručnjacima dragocjen uvid u mogućnosti prenamjene Tvrđave Španjola uz primjenu konzervatorskih principa koji čuvaju i štite sve njene prepoznate vrijednosti i uz korišćenje novih savremenih materijala za njenu obnovu.

Preispitivanje pojma očuvanja pokazalo se kao neizbježno, nalazeći svoju potvrdu i u Venecijanskoj povelji iz 1964. godine. Povelja ukazuje na važnost prenamjene kao oblika konzervatorske prakse i ističe da se „očuvanje spomenika uvijek omogućava njihovim korišćenjem u neke društveno korisne svrhe“ (član 5 Međunarodne povelje o očuvanju i obnovi spomenika i lokaliteta, Venecija, 1964).

Publikacija Let’s Develop: Kreativne industrije i kulturna baština rezultat je zajedničkog doprinosa učesnika na konkursu i arhitekata iz UNDP-ja u Crnoj Gori.

Kancelarija UNDP-ja u Crnoj Gori osmislila je međunarodni konkurs za obnovu lokaliteta kulturnog nasljeđa u Crnoj Gori, prvi takve vrste u posljednjem dužem periodu. Ovom publikacijom potvrđuje se vrijednost svakog pojedinačnog rada na tom konkursu. „Baš kao i ljudska prava, očuvanje sada postaje aktuelno pitanje, koje različitim političkim stranama omogućava da upozore na potrebu očuvanja, ili da to ne učine.“ (Rem Kolhas, Očuvanje nas pretiče, 2014)

UREDNICA Mr Slađana Lazarević, dipl. inž. arhitekture 63

RIJEČ RECENZENTA

Dominantna pozicija u okruženju i prisustvo izvora pitke vode karakteristike su lokacije na kojoj se danas nalazi gornji grad Herceg Novi i Španjola, a koje su još u XIV vijeku presudno uticale na odluku da se na tom prostoru sagradi osmatračnica.

Na temeljima španske tvrđave Karla V iz 1538. godine, Turci su 1548. godine podigli građevinu koja u istoj izvornoj formi postoji i danas, s malim izmjenama unutar samog urbanog kompleksa. Ovaj kompleks definisan je kao gornji grad sa svim urbanim strukturama – od crkve, groblja, pekare do vojnih sadržaja.

Danas je Tvrđava u devastiranom stanju i jedino je pravilna i pažljiva rekonstrukcija može učiniti samoodrživim objektom koji čini dio urbanog života grada Herceg Novog.

Da bi ovaj prostor, u svom mikrourbanom i makrourbanom okruženju, funkcionisao i širio „dobre vibracije“ na radost onih koji u njemu borave i šire javnosti, on mora biti siguran, udoban, raznovrstan i aktraktivan. Što se tiče aktraktivnosti, njegovi potencijali su veliki. Reurbanizovani prostori otvaraju mogućnost za susrete, kontake na vanjskim prostorima, uživanja u socijalizaciji. Kontekst ima veliki značaj, a u slučaju Španjole, to je njen karakter i postojeća struktura, koju treba revitalizovati, njena istorija, struktura prostora, ekologija i arheologija, njena lokacija, korisnici prostora...

Konkurs za revitalizaciju Tvrđave Španjola, koji je raspisala kancelarija UNDP-ja u Crnoj Gori, postavio je pred učesnike zadatak da odgovore upravo na ta pitanja.

Prezentujući svoja inovativna i stručna promišljanja kroz arhitektonski crtež, učesnici konkursa ponudili su svoje odgovore na pitanja konteksta, strukture prostora, ekologije i buduće namjene Tvrđave Španjola. Cilj publikacije Let’s Develop nije bio samo da predstavi najbolja rješenja, već i da ukaže na neophodnost jednog sistematičnog pristupa ocjeni konkursnih rješenja kako bi i rezultati bili svrsishodni.

Kao član stručnog žirija za ocjenu pristiglih rješenja, smatram da je ovo dobar početak jednog ozbiljnog arhitektonsko-konzervatorskog istraživanja, koje može doprinijeti oživljavanju ovog vrijednog lokaliteta i održivoj prenamjeni Tvrđave Španjola.

Dr Boris Ilijanić, dipl. inž. arhitekture 64

UČESNICI KONKURSA ENFORMA mr Nikola Novaković mr Marija Novaković mr Saša Radojković Nikoleta Savić Bogdan Kušević Đina Prnjat Nemanja Mitrović Katarina Pašić

#117893 Dragana Mikavica Sara Nišavić Bojana Ćulafić Luka Čvorović

URBSH0808 Ana Radovanović

2MD1874 Mihailo Mikavica Marta Minić

85340 Marko Aracki Srećko Andrijanić Katarina Nikolić #222 Nataša Nikolić Ivana Milanović 296692 Mila Luković Boris Martić Dragana Zorić Jovana Arsić Milica Božović

ARCHOBALENO Anđela Kekić Stevan Kekić

01020709 Stefan Danilović Ana Ivanišević Nenad Stijović Jelena Zlatanović 02003 Mašan Petrović Dragana Ćiprijanović Stefan Vasić Igor Sjeverac Aleksandra Mitković Filip Trgovčević

49015 Zoran Dmitrović Marija Bjelić Marija Radojlović Nenad Blagojević Nikola Abramović Marko Milutinović THEVILLAGE0507 Dijana Vučinić Dea Đebrić Milica Bubanja Slavko Lekić Milić Toljić Dimitrije Puzović 2117 Ivana Cvetković Aleksandar Nikšić GWF51 Duška Prodaović Filip Prica Marina Urošević PAM21 Anja Pejović Mija Lalović Petar Đurišić SKALINATA Goran Janković

ŽIRI dr Boris Ilijanić, dipl. inž. arhitekture mr Slađana Lazarević, dipl. inž. arhitekture Nađa Ponomarev, dipl. inž. arhitekture Milka Krstivojević, dipl.inž. arhitekture Nikola Radonjić, specijalista umjetnosti i komunikacija mr Milica Vušurović, dipl. inž. arhitekture Vuk Čvoro, dipl. inž. arhitekture

Međunarodni konkurs za obnovu Tvrđave Španjola objavljen je u februaru 2020. godine.

Rezultati konkursa objavljeni su 18. maja 2020, na internet stranici UNDP-ja: www.me.undp.org. Konkurs je organizovan u okviru projekta „Kreativna Crna Gora – ekonomska valorizacija i kreativne industrije“.

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IMPRESSUM NASLOV LET’S DEVELOP Kreativne industrije i kulturna baština IZDAVAČ PROGRAM UJEDINJENIH NACIJA ZA RAZVOJ Crna Gora ZA IZDAVAČA Danijela Gašparikova, Stalna predstavnica UNDP-ja u Crnoj Gori UREDNICA Mr Slađana Lazarević, dipl. inž. arh.

AUTORKE PUBLIKACIJE Mr Slađana Lazarević, dipl. inž. arh.

Nađa Ponomarev, spec. inž. arh.

RECENZENT Dr Boris Ilijanić, dipl. inž. arh.

LEKTORKE Charlotte Rimmer Sanja Mijušković PRODUKCIJA I GRAFIČKI DIZAJN Hiron Digital TIRAŽ 300 ©UNDP of Montenegro Podgorica, 2021. godine

CIP - Kaталогизација у публикацији Национална библиотека Црне Горе, Цетиње ISBN 978-9940-614-41-6 COBISS.CG-ID 16572676

CREA T IV E INDU ST RIES A ND CUL T U RA L H ERIT A G E

SPANJOLA TURNING FORTRESS INTO A CREATIVE HUB

TITLE LET’S DEVELOP: Creative industries and cultural heritage PUBLISHER UNITED NATIONS DEVELOPMENT PROGRAM Montenegro FOR THE PUBLISHER UNDP Resident Representative Daniela Gasparikova EDITOR Msc. Arch. Sladana Lazarevic AUTHORS OF THE PUBLICATION Msc. Arch. Sladana Lazarevic Nađa Ponomarev, spec.sci.arch.

REVIEWER PhD. Arch. Boris Ilijanic LEKTORINS Charlotte Rimmer Sanja Mijuskovic PRODUCTION AND GRAPHIC DESIGN Hiron Digital CIRCULATION 300 ©UNDP of Montenegro Podgorica, 2021

CREA T IV E INDU ST RIES A ND CUL T U RA L H ERIT A G E

CONTENTS INTRODUCTION

05

INTRODUCTORY ADDRESS:

06

DANIELA GASPARIKOVA AND ALEKSANDAR BOGDANOVIC HISTORICAL OVERVIEW

08

GRAPHIC OVERVIEW OF EXISTING SITUATION

10

AWARD-WINNING PROPOSALS

12

OTHER PROPOSALS FOR DEVELOPING THE CREATIVE

34

INDUSTRY AT THE SPANJOLA FORTRESS CLOSING WORDS:

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SLAĐANA LAZAREVIC WORD OF THE REVIEWER: BORIS ILIJANIC

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INTRODUCTION

Dear Readers, In front of you is the first publication of ‘Let’s Develop’. It aims to show how the valuable cultural heritage of a country can be used to maximum advantage and also introduces you to the visions of promising young people, who, through their imaginative concepts, will breathe new life into the famous Spanjola Fortress in Herceg Novi! These local and international architects have put forward a variety of outstanding architectural and urban planning proposals to renovate the fortress and to transform it into a creative hub.

The revitalisation of this important structure, an example of our rich Montenegrin cultural heritage, will be achieved through the practical realisation of the award-winning design obtained through an international competition, initiated by the UNDP office in Montenegro, within the project ‘Creative Montenegro - Economic Valorisation and Creative Industries’.

Applicants were invited to enter an international competition during the period February 17th to April 10th; the level of participation was high, with entries received from over 60 architects grouped into teams from Montenegro, Serbia, Macedonia and Austria. A selection committee, made up of a team of experts, considered all of the proposals that met the conditions prescribed by the competition and evaluated them on the basis of: their originality; their level of innovation in terms of the design solution put forward; their application of conservation principles; their protection of visual identity; their ability to achieve sustainable development on a long term basis; their ability to make the creative hub a driver for achieving important sustainable development goals; their ability to meet programme requirements; and finally, the rationality and the cost-effectiveness of the proposed solution.

We believe that all of those who love architecture, who fight for the protection of cultural heritage and who are simply interested in this project, will, when reading the following pages, feel the power of rehabilitation and transformation, the beauty of merging old and new and the power of imagination in young creative minds!

05

INTRODUCTORY ADDRESS

06

DANIELA GASPARIKOVA

ALEKSANDAR BOGDANOVIC

UNDP Resident Representative for Montenegro

Minister of Culture in the Government of Montenegro

“Through this publication, you will envisage a new creative hub and enjoy sharing various visions of how to transform it. This is a story about Montenegro’s rich cultural heritage, a heritage that deserves to shine once more. As the world struggles with a pandemic and reflects on the scenario that awaits us after the COVID-19 virus, the creative industry will have an important role to play in terms of driving economic recovery.

Countries around the world have to be as resourceful and diverse as possible when preparing their tourism offers and will also have to try to build in some economic flexibility. Montenegro has all the prerequisites for such action - a rich cultural heritage, creative minds and a rapidly advancing digital system.

The kind of innovative challenge that UNDP has launched with the Ministry of Culture is a first-class example of this.

The fact that there were more than 60 participants in this project provides the best proof that there is a huge interest in reviving cultural heritage and in creating cultural content that will promote it. Let’s build together in a creative, innovative and sustainable way!“

“The results of this competition showed that the rich cultural heritage of Montenegro can be revived in the right way with innovative solutions whilst also preserving the inestimable value of our cultural and historical heritage through a modern framework. I am proud of the young Montenegrin and regional artists who were given the opportunity to put their knowledge, creativity and talent into practice in this way.

The goal of the Ministry of Culture and of the United Nations Development Programme was to work together, through an innovative solution, to transform the Spanjola Fortress into a residential arts centre, and I am glad that we succeeded.

I believe that the implementation of this project will provide an additional incentive to young creative minds to become active participants in the revitalisation of other cultural assets in Montenegro, and for our institutions to support them and help them to generate creative energy.”

THE SPANJOLA FORTRESS, A SYMBOL OF HERCEG NOVI, IS SITUATED AT THE ENTRANCE TO THE BAY OF KOTOR AND IS ONE OF THE BEST-PRESERVED OLD FORTRESSES IN THE ENTIRE BAY. HOWEVER, IN ORDER TO FULLY MAXIMISE THE USE OF THIS SPACE, ITS REHABILITATION IS NECESSARY. SUCH TRANSFORMATION IS THE GOAL OF THE AFOREMENTIONED COMPETITION, AND THIS WILL BE REALISED IN THE NEAR FUTURE.

HISTORICAL OVERVIEW

S P A N In Montenegro, most of the settlements that are still, today, located on famous old roads and at their intersection points, were occupied by the Turks during the second half of the 15th century. This is the case with Herceg Novi, which, in 1482, fell under Turkish rule that lasted for more than two centuries. During this period, Herceg Novi developed rapidly as an urban settlement, with economic and cultural facilities, and most specifically as a fortification complex. Being located at the entrance to the Bay of Kotor, Herceg Novi posed a constant threat to Kotor and other Venetian estates in the Bay of Kotor. The Venetians attempted to take it from the Turks by force several times, and naval forces also fought to achieve this. However, in the autumn of 1538, it was captured by the Spaniards, with their allies. This change of hands did not last long, and already in the summer of the following year, the city

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was taken back again by the Turkish Admiral, Hayreddin Barbarossa, who once again deployed Turkish crew in the town.

Herceg Novi was finally occupied by the Venetians in 1687 and the Turkish rule that had prevailed ceased forever. Herceg Novi had a strong system of fortifications, consisting of two units, the Lower or Old Town, and the Upper or New Town; within its walls were numerous buildings used by the army and citizens. Some major works on the fortifications of Herceg Novi were carried out at the end of the 15th century and at the beginning of the 16th, and several thousand people took part in this. The damage and destruction caused by war was first repaired by the Spaniards and then by the Turks. The Spaniards fortified the city with trenches and connected the Lower Town with Upper Town by a secret underground passage.

The Spanjola Fortress, built by the

J O L A Spaniards 1538/1539, was expanded and strengthened by the Turks in 1548, when they demolished the earlier fortress and built a new fortress of the present size and shape. An inscription about its construction in Arabic is carved in stone and built in above the entrance to the fortress: And may the poets who make their way here, while looking at me, exclaim in a state of overwhelming emotion, ‘Yes, you are beautiful, a beautiful building.

The base of this fortification is in the form of a square, with four protruding circular bastions, one at each corner, while the main entrance is secured by an additional exterior wall-an avanzata.

On the south side which faces the sea, another belt of fortifications was later added.

The fortification was fully operational until the beginning of the

20th century, and in the Second World War it served as a prison.

The present appearance of the Spanjola Fortress fully bears the stamp of the type of architecture used for AustroHungarian fortifications; this is due to the long period of time that the AustroHungarians dominated in this area.

Today, the relatively well-preserved remains of the Spanjola Fortress can be seen in the upper part of the town, about 500 m from the main road. The fortress is reached by a narrow paved road and includes 13 buildings: a defence perimeter with bastions; eaves; barracks; a residential building; a residential building - command; a food storage; a sacral building, the Church of St. Joseph; two weapons and ammunition storage facilities; two guard facilities and a guard officer facility; a prison and Austro-Hungarian bunkers.

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GRAPHIC OVERVIEW OF EXISTING SITUATION

Genesis of the Fortress Spanjola B. Ilijanic, “Španjola, Herceg Novi - Upper town, Urban Genesis and Re-urbanization”

Analysis of the existing state Enforma 10

Site plan of the current situation - ground floor Ana Radovanovic

Site plan of the current situation with roof foundation Ana Radovanovic 11

Meet the designers of the best proposals for the revitalisation of the Spanjola fortress The international competition to achieve an innovative conceptual solution for the revitalisation of the Spanjola Fortress in Herceg Novi attracted a great deal of attention from creative minds in the field of architecture; the fact that over 60 participants sent proposals to nominate their ideas speaks for itself.

The total prize fund was $ 24,000. The following pages present the award-winning solutions and the best teams that were selected in this competition.

AWARD-WINNING PROPOSALS

1

st

P RIZE

ENFORMA MONTENEGRO

3003

The architectural office ‘Enforma’ was founded in August 2006 by the architect Nikola Novakovic. His aim was to create a team of young ambitious engineers and experts who would collectively focus on a specific idea whilst exercising a contemporary approach towards architecture, design and the creation of new spaces. The company has significant experience in the field of architecture; its main expertise lies in the design, project management and construction supervision of a wide range of residential, tourism and commercial buildings. It has won numerous project awards both nationally and internationally.

Environmental protection and the principles of sustainable design, contextual sensitivity, low energy design and low environmental impact are all significant factors that this architectural office considers as an important part of its design process. Tradition underpins the work of the team; it is never viewed as a burdensome imperative but rather provides the team with inspiration.

The Team: Nikola Novakovic MSc - Graduated engineer in architecture, CEO and General Manager Marija Novakovic MSc - Graduated engineer in architecture, Urban planner & Conservation expert Sasa Radojkovic M. Arch - Graduated engineer in architecture, Design and Site Management Nikoleta Savic MSc - Master in architecture, Architect, member of the team Bogdan Kusevic MSc - Master in architecture, Architect, member of the team Djina Prnjat Spec. Arch - Specialist in architecture, Architect, member of the team Nemanja Mitrovic Spec. Arch - Specialist in architecture, Architect, member of the team in charge of 3d visualisation Katarina Pasic Master in architecture - Architect, member of the team in charge of 3d animation This team was awarded the highest marks by the expert jury due to the quality of the proposal it offered and the vision it demonstrated; the Spanjola Fortress would be transformed into a creative hub that would present the individual creativity of each member.

“The concept is based on the intertwining and constant interaction of future and past times and their final meeting point; a point where both time layers are clearly defined and evident, each displaying a clear desire to convey the message of its own time, that is, from its period of origin. The stratification in this solution is very important because it introduces a new approach to conservation where the periods of reconstruction are clearly visible. Translucent polycarbonate defines the silhouettes of the missing parts of the buildings in this mini-urban agglomeration. By inserting the missing structures with polycarbonate, in its previous form, a solemn moment is achieved that symbolises new life. During the day, the white structures symbolise the objects inside the fortification transforming it into an inseparable entity. The material is partially transparent and has great thermal qualities; it is also fire resistant which allows artists to use diffused light; thus, during the day there is constant interaction between outdoor and indoor spaces. Users are afforded infinite freedom within a limited space.” (The Author)

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The solution presented by the best team was based on designing spaces which encouraged creativity such as art studios, residences and residential buildings for artists, exhibition space for artwork and multi-purpose spacessuitable for holding a variety of events.Those who would benefit from the space are artists who applied to be granted residency in the creative hub for a certain period of time.

The proposed solution can be characterised as a contemporary architectural intervention of reversible character, one that does not use concrete. Such an approach is only possible with the careful use of modern materials (reversible in nature), with traditional construction techniques, and with technological solutions that are adapted to meet the specific needs of the beneficiary of the hub.

The basic idea behind the entire concept is to preserve the fortress in its present form, and to avoid any kind of intervention that could change the character of this cultural monument. Allof the interventions and conservation measures have been planned and conceived in such a way that they would be in harmony with the regulations that define any potential impact made on structures or on protected cultural properties such as: archaeological research which forms the basis for the regeneration and adaptation of any complex. The design envisages the preservation of the existing building and stone elements of the fortification, primarily the walls, perimeter, stone buildings and the Austro-Hungarian bunker, and the restoration will be carried out using authentic or compatible materials and construction techniques. All of the planned interventions that were presented are reversible and do not use concrete.

Analysis of the intervention plan

Conservation and restoration measures would be applied to the existing fortress walls and towers; original parts that had been destroyed or damaged over time would be renovated using traditional techniques and local stone. This would include stone for the walls and for the turrets at the tops of towers… Thus, the exterior perimeter of the fortress would return to its original appearance. When implementing such conservation measures, methods would be used that respected the value of the cultural property and would also reflect the quality of the original materials.

In accordance with the spatial capacity of the Spanjola Fortress and its potential for future use, several units would be established within the complex: exhibition and presentation units; accommodation units; units for individual or group art work; combined units – combining individual work spaces with accommodation; administration and office space; a shared garden with a summer stage; a conference hall…

Perspective views of the reconstructed fortress

3D model of the reconstructed fortress, night view

Characteristic sections of the fortress

Certain parts of the fortress cannot be accurately determined in terms of shape and dimensions; here, reconstruction and adaptation would be carried out using modern architectural construction elements and methods i.e. using visually unimposing materials that would not interfere with the existing historical elements but that would rather complement them functionally and aesthetically. The artistic approach of designing a communal area, with freedom of movement within the complex, suggests a modern interpretation of a traditional threshing floor; isolated areas for artists to work individually would be situated outside. Regarding the interior of the walls, many longitudinal and latitudinal connections would be formed by the introduction of fluid shapes; these would be in accordance with the needs of the new occupants and the new purpose for which the building would be used.To reconstruct the interior of the fortress, the same uniform material – polycarbonate - would be used.

Perspective views of the reconstructed buildings and open areas within the fortress

Site plan of the complex

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Site plan of the complex

To reconstruct the interior of the fortress, the same uniform material – polycarbonate - would be used. This would be added to the existing stone remains of earlier structures and would be partly visible above the stone walls. The polycarbonate would be erected in accordance with the dimensions of the former structures and the pitch of the roofs would becompatible with their period of origin.

Particular attention would be paid to thermal conductivity when applying new materials to the fortress; the selection of joinery materials would also be carefully considered.

The material used on the floors, where no traces of authentic materials are evident, would be micro topping; this would make maintenance easier for the users whilst also providing a durable and aesthetically pleasing solution, fit for purpose and in character with the building.

Photo studio

Conference room

Lecture room

Exhibition space

Creative hub corridor

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2

nd

PRIZE

ANA RADOVANOVIC

MONTENEGRO

URBSH0808

Ana Radovanovic graduated from the Faculty of Architecture in Podgorica at the University of Montenegro. She is currently working at a Montenegrin architectural studio. She has participated in numerous exhibitions and competitions in the field of architecture and has been awarded many prizes.

“The main goal was to reconstruct the monument using conservation principles that would retain all of its existing traditional aspects; to enable it to be seen in its original form. The architectural vision of this competition is very important because it provides us with an opportunity to better understand the architecture of Montenegro and the importance of such sites. UNDP, together with the Ministry of Culture, recognised the potential of this location and consequently decided to invite architects to put forward their ideas and share their visions on this topic. The competition produced excellent results and many very high quality solutions were put forward. I also hope that the great potential of our entire coastal area will be realised in the near future.“ (The Author)

Graphic representation of interventions on facades in relation to the existing condition

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The Spanjola Fortress is located in the upper part of Herceg Novi, about 5 km away from the main road. Both the surrounding area and the immediate environment have been damaged by the construction of a large number of residential buildings and private homes without planning permission.

The fortress is reached by a narrow asphalt road. The fortress has a square base with 4 projecting bastions at the corners. There are 13 buildings within the fort.

The idea behind creating this award was to maintain the identity of the location.The urban renewal of the fortress would be achieved through the revitalisation of public spaces by providing new facilities for visitors and residents. Greatattention would be paid to the analysis of and symbolic meaning of the site, as well as achieving a seamless connection between the town and the fortress.

The main aim was to reconstruct the existing structure to the highest possible standard whilst retaining all of the recognisable traditional elements; it was also of paramount importance to adhere to all conservation requirements.

Entrance totem

The concept of the project was to retain as many structures as possible and to restore them to their original state in order to preserve the memorial significance of this fortress.

The main goal was to connect traditional architecture with modern architecture. In this proposal, modern architecture does not undermine the significance of what is found on the site, but rather increases its significance.

New interventions would only reflect the restoration of traditional elements such as doors and windows. Doors and windows would be of their original historical shape and would be made of wood. The modern structures that appear in the project are roof coverings made from materials such as corten steel, which was selected for its many advantages, among which are its fast installation, its ability to be fixed to stone, the fact that it requires no maintenance and it is durable. The methodology of project development would determine the scope and manner of performing the necessary intervention on the construction site.

Viewpoint

A phased execution of works would be envisaged on the fortress complex. The first construction phase would include the facilities necessary for the workshops to function: namely accommodation for residents, a restaurant and kitchen, general purpose toilets, a photo studio, an art studio for sculpture and painting, administration offices and a kitchen and canteen. The second construction phase would include a conference room, a coffee shop and an art studio for carpentry with a storage area. The last and third construction phase would include further residential facilities and an open-air theatre.

Open stage with auditorium

Perspective view of reconstructed buildings

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Perspective view of reconstructed buildings

This conceptual solution is based primarily on the preservation and adaptation of existing objects with the interpolation of modern functions. The choice of construction materials was influenced by conservation principles so as not to diminish any of the existing cultural values. All of the reconstruction would use original techniques and materials that would not deviate from the original ones. The facade openings would be made of wood, and any upgrades to existing facilities would be made of corten steel. When preserving the walls, the characteristic structure and colour of the original wall would be preserved.

Within the ramparts, visitors’ paths would be paved with stone slabs as well as planted low vegetation.

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Artists’ residence building with restaurant

Conservation work would also include the following: the repair of destroyed or damaged areas of the facade, whether merely restoring plaster or reconstructing stone or brick walls with lime mortar modelled on the old (original) masonry; the creation of newly drilled holes in the walls and the repair of existing ones; protection against humidity and the drainage of atmospheric water, also ensuring the necessary fall of land around the building for drainage.

Interior walls, depending on the room would be presented in different finishes: stone, plaster and corten steel. The floor structure would be wooden. The fences would be made of corten steel; in some parts it would be solidand in other places it would be perforated mesh.

Contemporary sculpture studio

Workspace

Art studio

Photo studio

Exhibition space

25

“

3

rd

PRIZE

MARKO ARACKI SRECKO ANDRIJANIC KATARINA NIKOLIC SERBIA

85340

Marko Aracki completed his master’s studies at the Faculty of Architecture at the University of Belgrade, where he also worked as a teaching assistant. He completed an internship at the ‘Digital Solutions’ office in London and has also participated in numerous exhibitions and workshops.

Srecko Andrijanic received his master’s degree from the Faculty of Architecture at the University of Belgrade, where he was also employed as a teaching associate. He works as an architect and interior designer. He has participated in numerous national and international competitions and has built his experience in the field of design in America.

Katarina Nikolic completed her master’s studies at the Faculty of Architecture at the University of Belgrade, where she also worked as a teaching associate. Additionally, she has worked on many other projects as an architect and has participated in student and other major competitions; she has been awarded first place on three occasions and has twice won special awards.

“The core of our idea lies in connecting the historical identity of the location with the concept of sustainability. The artistic programme of the competition itself is also of great interest to us. Our belief in these three basic starting points formed the basis of our project.” (The Author)

Sections of the reconstructed complex

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The main concept of this project, put forward by the team that was awarded third place for the revitalisation of the Spanjola Fortress, lies in connecting its three main points: historical identity, artistic creativity and sustainability.

The historical identity of the Spanjola Fortress could be preserved and strengthened by sensitive restoration of the fortress. All of the parts of the fortress would be retained with the exception of just a few. Every building would have a new purpose, but its tradition and historical values would not be forgotten.

The historical importance that is embedded deep into the stone walls of the fortress would be brought back to life by making it the focal point of the town once again. It would be a place worth visiting and discovering, whether by an artist or not. The artistic identity of the Spanjola Fortress would be newly introduced; it would be light and temporal and would be juxtaposed with the strength and history of the fortress.

Artistic features would, in no way, oppose the calm serenity of the old fortress, but would playfully present it in a new glory. Located in a peaceful part of the town, the fortress could inspire collective creativity in a space where connected, artists could create wonders - wonders that would not just represent an artist’s signature, but that would also convey the spirit, the genius loci of where they were created. The sustainable identity of the Spanjola Fortress is embedded in its tradition of being made of local, organic and raw materials.

Regarding conservation principles, in addition to trying to maintain the existing condition of the fortress, local materials would be used for restoration such as local stone, fishing rope and wood for roofs, along with hay bales and wooden pallets that are very easy to recycle. Although this team did not use modern materials, they used traditional and local materials in a modern way. They believe that their decision to use such traditional, natural and local materials would have the effect of increasing energy efficiency would also preserve the environment.

Communal areas

Although the conservation principles were very strict, which was as expected, and given that the fortress is a protected cultural heritage site, the architects still tried to create ephemeral and changeable spaces in an innovative way that would not affect the identity of the site, but that would contribute to its content, attractiveness and revitalisation. With the construction of a festival stage, the fortress would become the epicentre of culture for a large area and for a wider population.

Inside the reconstructed fortress

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Perspective view of reconstructed buildings A path of creativity would lead artists and visitors to the fortress. An outdoor space would be provided for all to enjoy, whether they were part of the programme or not. This would be located on the outside of the fortress, on the way up to it. This communal area would be located between the creative hub and the local community. The path would be comprised of different creative areas: a creativity market, a pop-up workshop for visitors, a pop-up local market and a chill zone.

The restoration of the fortress would be continued in its existing tradition of using local materials which have a low impact on the environment. By using local stone, traditional fishing rope, bales of hay and recycled wooden pallets to create an artistic environment, this team of architects embedded sustainability deep into the very DNA of the fortress.

By using such affordable, lightweight and local materials, Communal areas

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Outdoor scene

building elements would be used to transform the old fortress into a contemporary polygon of creativity. A space created by using cheap, ready-made materials and elements that are easy to reorganise, move, and adapt to their new purpose would empower artists to create something meaningful; they could also inspire others.

The material that would be used for restoring the walls would be the same as the original cut stone; the existing walls are 65cm thick. The new roofs would be double pitched in the same direction as they were previously and would be made using traditional construction methods of timber roof trusses with a ridge beam, two wall plates and a series of rafters with grey roof tiles on top.The floor would be made out of wooden planks to make an even and flat surface. All of the windows and doors would be surrounded by stone frames, as they were previously.

Exhibition space

Coffee shop

Art studio

Contemporary sculpture studio

Info desk

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Other proposals for developing the creative industry at the spanjola fortress

Meet the creators of other innovative proposals for the revitalisation of the Spanjola Fortress.

In the following section, a selection of some of the remaining proposals are summarised to show the diversity of views and innovative solutions that were put forward; some of the designs respected the visual identity of the fortress, many introduced strict conservation measures as part of their design for rehabilitating the fortress. Other architects offered bold, challenging and modern solutions that some conservationists would not fully agree with.

OTHER PROPOSALS

NATASA NIKOLIC, IVANA MILANOVIC

#222

MONTENEGRO/SERBIA

This concept is based on preserving the cultural heritage, architectural elements and natural characteristics of the site; only minimal changes are made with very few interventions.

This ensures that the extraordinary value of the fortress is preserved whilst also being sufficient to meet the needs of the creative activities that would take place within the complex.

These architects wanted to create a unique space capable of satisfying the needs of both contemporary artists and cultural experts. They also wanted to present the rich and colourful history of the fortress; to show the variety of architectural and cultural influences present during its long history, dating from the Spanish period when the fortress was conceived, to the Ottoman period when it gained its present shape and really came to life. Additionally, they wanted to reveal all of the cultural events and time periods that had occurred as the fortress played a significant role during the Venetian and Austro-Hungarian periods.

In its next stage of development, it is envisaged that the Spanjola Fortress will become an art colony with galleries and accommodation for artists. When considering its future use and the inspiring setting of Herceg Novi, Vojo Stanic immediately comes to mind; he was a famous painter from Herceg Novi who, for decades, inspired and shaped the cultural life of the town. The architects decided to delve deep into the history of the Spanjola Fortress and to take a closer look at Stanic’s work; their research showed that there was an incredible match of motives from his graphics for ‘Chaos on the Beach’ and the interior spaces of the fortress, its curved passages and the shapes of its doors.

Inspired by their findings, they decided to preserve all of the areas in their original materials; where this was not possible, due to disuse and deterioration, they decided that only glass should be used as this would reflect the nature of the original materials.

The glass would be supported by black steel elements in order to create contrast; it would also introduce a modern twist to the fortress.

Administration building

Sundial and viewpoint

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Reconstructed buildings and communal areas inside the fortress

Only new natural materials would be used, such as stone and wood. Since the abandoned fortress would shine, in terms of inspiring the creation of new works and accommodating artists from around the world, energy efficient systems would be introduced to prevent an excess of CO2 being produced. Low emission glass and solar panel roof tiles would provide the residential area, art studios and woodwork/carpentry workshop with hot water; this would not only reduce energy consumption but would also reduce future expenses.

Landscaping around the fortress would reflect the essence of the Mediterranean: water, stone and perfect views of nature.

These are the most significant elements that are embedded in the Montenegrin way of life.

Time capsule

Reconstructed bunkers

Existing condition

Planned condition

Exhibition space

Facade of the canteen, coffee bar

KEY: 1 Administration 2 Residential space 3 Art studio for painting and sculpture 4 Art studio for woodwork/ carpentry 5-Photo studio 6 Toilet 7 Conference room 8 Rest area 9 Time capsule / 4D cinema 10 Canteen 11 Coffee shop 12 Store 13 Open stage 14 Exhibition space a Magnolia Gallery b Olive Gallery c Mimosa Gallery d Palm Gallery 15 Entrance park with pergola 16 Outdoor storage and workshop/gallery 17 Residential zone 18 Playground 19 Parking

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MILA LUKOVIC, BORIS MARTIC, DRAGANA ZORIC, JOVANA ARSIC, MILICA BOZOVIC

296692

SERBIA

This team of architects is of the opinion that the fortress should be preserved exactly as it is today; intertwined with nature and unharmed by additional spatial intervention. Their proposed design reflects the proclamation of archaeology; the fortress and the site itself. Thus, they believe that any intervention should not harm any part of the contemporary symbiosis between fortress and vegetation but should only be used to enhance it. The workshop programme and art studios would be located in the fortress; the buildings inside the complex would be preserved and enclosed with glass panel structures and stainless steel constructions. The most important element, which represents the goal of this project, would be walking in the moss room which would be inside the fortress. This would be created by building an uplifted glass platform covered with moss; it would demonstrate the experience of visiting the South - East Elevaaon fortress on a micro level.

1:200 Residential areas and administrative offices would be located in the northern part of the fortress to emphasise the significance of archaeology in the fortress; it would also ensure only a subtle level of intervention while allowing residents to have enough privacy to contemplate.

296692

Top view of part of the fortress

The restaurant would be inside the complex, on top of the bunkers, and would extend to form a wine cellar within the authentic and raw interior. The stage of the open-air theatre would be situated centrally in the large open space between the fortress and the bunkers, using the natural contours of the land.

The main aim of this proposal is to use architecture as a vehicle to connect the programme with the authentic aesthetic nature of the fortress’s archaeology, whilst emphasising the importance of vegetation through careful and sensitive design.

3D model of the reconstructed buildings

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Site plan

The proposed design would use three main materials: glass, steel and concrete. The walls of any structures which were not envisaged as being part of the functional area of workshops would be left in their original condition due to reconstruction regulations. Any original structures to be included in the adoptive reuse of the fortress would be changed only minimally - doors, windows and glass roofs with steel constructions would be added. Panoramic elevators would be created in suitable areas, one in the upper left tower and one in the inner area of fortress.There would also be two steel staircases in the walls of the fortress. The modification of spaces in the fortress would be led by concept design; glass panels would be used as much as possible as they reflect light and would emphasise the way that nature has taken over the fortress.

Coffee shop

Communication centre/communal area

Meeting room

Workspaces

Layout of reconstructed Austro-Hungarian bunkers

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DRAGANA MIKAVICA, SARA NISAVIC, BOJANA CULAFIC, LUKA CVOROVIC

#117893

MONTENEGRO

The Spanjola Fortress is one of the best-known fortified buildings in the Bay of Kotor; over time it has become a ‘collector’s item’ in terms of its historical, artistic and social meaning. The powerful and accurate workmanship of its medieval walls, the integrity of the typological structure of its fortified complex and its superb position offering a panoramic view of the natural beauty of the Bay, together make this building a perfect place for artists.

When designing the new creative hub for inside the Spanjola Fortress, the main goal of this team was to preserve as much as possible the original ruins found on the site and to use them as a positive asset that should be celebrated and valued.

Hence, their objective was to create new structures that would be prefabricated off-site, transported to the site and erected inside the ruins without touching any of the existing walls.

Moreover, the new structures recalled the shape that the ruins had once had.

The complex can be reached on the north-east side, where 21 new parking spaces would be provided right in front of the main gateway. The functions within the fortress would be clearly separated; the accommodation area with its accompanying facilities would be located in the eastern part of the complex with a separate entrance, the administration area would be located on the ramparts, while the entire visitor programme would be situated inside the fortress. Within the walls would be artists’ workshops; these would act as exhibition spaces and would be accessible to visitors. The entrance for visitors would be through the north-east bastion, just next to the gate. A reception area would be built inside the bastion; here visitors could obtain any necessary information. The pedestrian flow would follow a logical course with features built into existing buildings.

Accommodation units

The structural system of all of the new buildings would consist of lightweight prefabricated elements; the main aim would be to preserve the existing structures on the site.

Shop/Souvenirs

40

Reconstructed buildings inside the fortress

This proposal would aim to reduce the need to enclose the building to a minimum; thus it would require thermal energy for air conditioning. This energy problem would have to be resolved upstream, by reducing the energy requirement for transmission and ventilation; a plant system downstream could not be relied upon alone to provide sufficient energy efficiency. Regarding the choice of materials and resources to be used, the following criteria were adhered to: materials should have both pre and post consumption recycled content, estimated on the basis of weight and with a content greater than 20%; materials should be easily recyclable; concrete, steel structures and glass panels should be able to be re-used in a new life cycle once their function has been exhausted.

Inner courtyard

Projection room

Exterior view of the coffee shop

Art studio

Interior of the coffee shop Konferencijska sala

Restoran

Trg Studio za skulpture

Slikarski studio

Shop Ulaz

Sala za projekcije

Photo studio

Studio za drvo

Coffee bar Administracija

Sala za przentacije

Smještajne jedinice

Section of the complex

Axonometric views of the complex

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ANDJELA KEKIC, STEVAN KEKIC

ARCHOBALENO

MONTENEGRO

This proposal for the cultural heritage site of the Spanjola Fortress includes the adaptive reuse of its original structure; the main goal is to preserve it as a cultural monument and to highlight its importance both culturally and historically. The aim of this project is to obtain a clearly defined new purpose for the building while at the same time preserving its basic identity.

This revitalisation project envisages that the space in the fortress would be used for organising various programmes and cultural events. The cultural importance of the fortress would be emphasised through the content of its programmes, while its historical significance would be emphasised in a lower key way, through a museum. There are several ways in which the revitalisation of facilities could be realised. The best way forward is dependent on the initial idea, on the needs of potential users and on the current state of the structures being revitalised.

Due to the large-scale preservation work required by many of the individual buildings within the Spanjola Fortress, the best approach would be to upgrade the site; this would not perturb what is left of history, its architecture and significance, but on the contrary, would emphasises it. Such an approach would include building new walls inside the old ones. This method of revitalisation would be very challenging in terms of construction work, namely how to secure the two walls to each other; however, it would be advantageous in that it would highlight the beauty and significance of the old ruins. Additionally, it was envisaged that the various layers of the Spanjola Fortress should be connected in some way; the lower inner part where the main facilities would be located and the outer higher part of the perimeter ramparts.

This would be resolved by creating an additional interlayer (a platform) which would visually connect the two spaces; it would also emphasise the new functionality of the entire complex and would enhance active communication within it. The visual experience of a new structure would largely depend on how successfully it connected the old and the new.

In order to emphasise the construction methods used for the

3D model of the reconstructed fortress

Conference hall, coffee shop and restaurant

South facade of the photo studio

KEY 1: 1 Info point 2 Photo studio 3 Art studio 4 Library and education centre 5 Museum and gallery 6 Conference hall/coffee shop and restaurant 7 Toilets and store 8 Artists’ residences 9 Outdoor area 10 Defense perimeter with bastions

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Ground floor layout

historical monument, and to avoid making any unnecessary changes, traditional materials characteristic to the region would be used wherever possible. In the case of the Spanjola Fortress, the basic and most dominant material is stone which would be used in many ways; the newly revitalised parts would be made of concrete and coated with a finely treated layer to create the facade. In this way, the cohesion of the two materials would be achieved, both rough and massive; they would, however, be sufficiently different in texture to show an adequate difference between historical and newly formed structures. It would also be necessary, and indeed effective, to carefully use glass surfaces strategically positioned throughout the building to capture movement inside or outside of it, and to reflect its function.

Photo and Art studio

Spiral ramp

Info desk

Section a-a

Section b-b Gallery

Section of the complex

West facade of the artists’ residence

KEY 2: 1 Info point 2 Photo studio 3 Art studio 4 Library and education centre 5 Museum and gallery 6 Conference hall/coffee shop and restaurant 7 Toilets and store 8 Gallery 9 Outdoor scene 10 Defense perimeter with bastions

First floor layout

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MIHAILO MIKAVICA, MARTA MINIC

2MD1874

SERBIA

The concept behind the project envisaged for the Spanjola Fortress is to revitalise a cultural heritage sight of exceptional historical and cultural significance, a place that has been neglected for many years. This project not only aims to reactivate the fortress and breathe new, creative life into it, but also to preserve its remarkable historical mixture of different cultures and intertwined architectural styles.

The reactivation of the fortress does not necessarily imply that the entire competition programme content has to be restricted to the space within the fortifications of the culturally protected Spanjola Fortress; it could be broadened to include the wider Spanjola Fortress complex.

Further archaeological research should be carried out on the Spanjola Fortress and only after its completion should the fortress be reconstructed. Each part of the Spanjola Fortress should be reconstructed according to its original design so that it fully represents the period in which it was created.

The Spanjola Fortress should tell the story of its rich history to the general public; thus it should be transformed into a museum dedicated to its own history. Parts of the Spanjola Fortress could be used as museum rooms with permanent exhibitions todisplay artefacts found on the site during the archaeological research; certain areas would be suitable for this due to their size and organisational structure.

The architects’ idea was to create a completely independent complex which would still be an integral part of the fortress.

Therefore, the construction of any such new facilities and the development of programmes associated with them would not be dependent on the completion of archaeological research; it could be started immediately.

Permanent / temporary exhibition Permanent exhibition, related to the history of the fortress

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Perspective views of the new buildings and fortress

The building of a creative hub, a gallery and a new space for public events such as concerts, festivals, theatre productions, films etc. within the Spanjola Fortress complex would enhance and further develop this area; it would bring the Spanjola Fortress closer to the public.

The materials that would be used for the construction of the whole complex would be natural concrete, steel, aluminium and glass. The doors and windowswould be made of aluminium and glass, from floor to ceiling. The fences would be made of glass with wooden handrails. It is envisaged that the parking area would be created in accordance with the planning document, with a few additional spaces.

Art studio

Meeting room

Facades of the new facilities

Gallery

Canteen

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STEFAN DANILOVIC, ANA IVANISEVIC, NENAD STIJOVIC, JELENA ZLATANOVIC

01020709

SERBIA

After examining the potential of cultural heritage sites on the Montenegrin coast, the Spanjola Fortress was recognised as being suitable for use as an infrastructure establishment, in the form of a creative hub or as a residential centre.

The appropriate use of this cultural heritage site was considered; the manner of its revitalisation and the way it should be protected against further deterioration were very important. By giving this site a new purpose, its sustainable functionality should be ensured. The fortress is in a poor state of repair; some buildings are ruined to the extent that they cannot be used.

Conservation conditions insist on the protection, conservation and preservation of original architectural structures – that the basic volume and mass of a construction is retained as well as using original materials for finishing touches and facades.

As per the conservation guidelines (PUP OHN 9.8.2.1), the protection measures for cultural heritage sites state that fortifications should be maintained in their original form, that their physical form should not be changed; certain parts of such structures could take on new functions, but only if this is done without making any changes to their construction.

Reconstructed buildings, night view

The central idea of this project is the preservation of the original cultural heritage site; to revitalise the complex of the Spanjola Fortress with a minimal amount of intervention such as reconstruction or refurbishment. The ruined buildings would be preserved and reconstructed in accordance with their former volume and form; new functions would be allocated to the renovated buildings. The central space of the upper town area would be built as cascaded plateau with intertwined footpaths and ramps; and it is the first thing that could be seen when entering the fortress through the northeast tower.

3D model of the reconstructed fortress

Reconstructed buildings and public areas

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Reconstructed Austro-Hungarian bunkers

The existing landforms would be interpreted and adjusted to meet the needs of today’s usage; the original Mediterranean garden architecture including dry walls and a sloping terrain would all be incorporated. In this way, the elements that were retained would represent a continuity in the historical development of local architecture; traditional elements would be interpreted and expressed through modern architecture.

The central space would act as the main public area within the complex as well as being a summer hub. This way the creative process would be transparent and open to the public and it would take place in the historical part of the Spanjola Fortress complex.

Photo studio

Conference room Kitchen and canteen

Art studio for contemporary sculpture

Elevations / sections of the reconstructed fortress

Sculpture studio

Art studio for painting

Art gallery

Layouts of the buildings inside the fortress

Art studio

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MASAN PETROVIC, DRAGANA CIPRIJANOVIC, STEFAN VASIC, IGOR SJEVERAC, ALEKSANDRA MITKOVIC, FILIP TRGOVCEVIC

02003

SERBIA

This project has several basic objectives.

1. To preserve and present the Spanjola Fortress by using contemporary means of heritage protection. The concept places a strong emphasis on redefining the usual conventional approach for the revitalisation and presentation of historical sites; it introduces linear structural interventions in space (rather than full, heavy masses) that provide new directions and fluidity, and therefore new angles, to view and experience the fortress. Its ephemeral aesthetical appearance cannot compete with the importance of its historical value.

2. To introduce high quality facilities for creative hub; this is a creative hub artist in residence program which would fully comply with the spatial capacity of the fortress. Emphasis has been placed on the introduction of highly functional and aesthetic micro ambiences; these should not, in any way, jeopardise the integrity of the fortress as an already defined spatial composition.

Reconstructed buildings and open areas

3. To create the necessary infrastructure to efficiently host new public and private events and thus to enhance the sustainability of the whole complex. The proposal put forward by this team aimed to achieve high quality, multi-purpose public spaces that could accommodate all sorts of programmes – from private artists’ events to large public festivals.

Led by the idea of making the fortress accessible and vibrant, 365 days a year, this plan would enable the Spanjola Fortress to successfully host a variety of different events – both in terms of available space and in terms of the variety of programmed events offered.

In order to accommodate a wide variety of users at the Spanjola

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Facade and interior of reconstructed bunkers

Fortress – artists in residence and the wider public (tourists and visitors), the plan proposes to control the spatial segregation of the two. The ground floor level along with the transformation of existing spaces would be reserved for the creative hub artist in residence programme; facilities for visitors would be structural additions, elevated and detached from the fortress. This segregation would start from the entrance of the fortress. However, if necessary, the controlled mixing of the various users could easily be accomplished.

Visitors would be invited to start their tour of the fortress in a high panoramic elevator that would lead them to a bridge - a footpath above the fortress.

Art studios

Event room

Reconstructed command building-conference hall

Conference room

Site plan of the complex

Panoramic elevator

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ZORAN DMITROVIC, MARIJA BJELIC, MARIJA RADOJLOVIC, NENAD BLAGOJEVIC, NIKOLA ABRAMOVIC, MARKO MILUTINOVIC

49015

SERBIA

The new urban master plan proposes extending the land around the Spanjola Fortress and introducing new road facilities to create new potential for developing the site. This proposal balances the usage of the site to meet the requirements of both heritage protection and the contemporary art-hub.

ZONE FOR POTENTIAL NEW FACILITIES New extension, parcel 721; here it would be possible to build new constructions, to create parking spaces and other facilities. This zone is not under heritage protection and does not contain significant vegetation. The land is almost flat which provides good potential for art hub development.

ZONE FOR THE PROTECTION OF THE ENVIRONMENT OF THE SPANJOLA FORT The park is protected; therefore, there can be no new buildings, nor can any significant changes be made to the landscape. This zone comprises the perimeter wall of the fortress.

3D model of the reconstructed fortress

The SPANJOLA FORTRESS cultural heritage site. Within this zone, no form of intervention would harm either the historical or cultural value of the site.

This team of architects thought that the fortress would be used by people coming from the neighbourhood as well as people visiting from all corners of the world. They aimed to create a space which would encourage people to spend longer periods of time there as well as satisfying the needs of those with time only for a brief visit. The creative hub activities were located according to their historical importance and according to their level of heritage protection. The most representative spaces are within the walls – here it is envisaged that visitors and artists could interact through art displays, talks and presentations.

The ex-bunker area would be developed in such a way that it could act as an intermediate space between the public and private residential areas – the artists’ space.

New art hub Cultural heritage area redeveloped for Exhibitions and performances A new traffic and landscaped solution

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Site plan of the complex with planned interventions

Any new facilities would be designed as per the artists’ needs; they would not be restricted by the same constraints as would be the historical heritage spaces. The complex would work as an art hub – specialised, yet it would be flexible enough to meet the different needs of artists.

There are two main entrances to the complex: one would be used for visitors, tourists and the local community, while the other would be for artists and employees. Segregation would be based on usage and intensity of traffic. The proposed parking area is based on the availability of parking space at ground level; if the complex were to be developed further in the future, it would be possible to create basement parking under the new artists’ facilities.

New art hub, public spaces

Axonometric view of the proposal

Gallery

Exhibition space

Exhibition spaces in the bunkers

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DIJANA VUCINIC, DEA DJEBRIC, MILICA BUBANJA, SLAVKO LEKIC, MILIC TOLJIC, DIMITRIJE PUZOVIC

THEVILLAGE0507

MONTENEGRO

Creative Village at the Spanjola Fortress The conceptual design for this project is based on the values and methods brought together under the key principles: Identity, Sustainable Goals, Programme and Education, and Conservation and Construction. The design put forward in this proposal is intended to provide a creative, practical, comfortable and inspiring environment for artists and creative professionals.

The authors envisioned that the space would be both a working space and a leisure space; a place of solitude and gatherings and a place for harbouring great achievements. What is more important, they wanted to create a place that was actually sustainable; a community, a place for creative industry, and a place for innovation that would, through collaboration, bring growth to both the economy and the creative arts. This place has a unique design; it is supposed to inspire, to be adaptable and resilient and to bring a sense of home for any participant from abroad. We strongly believe that by creating a unique culture, enhanced by the specific cultural differences of the participating countries, would make the Spanjola Fortress a hotspot for the creative industry in Europe. Besides this, the authors wanted to introduce a special bond between these countries and China. At this point we introduce the concept of ‘The Village’. ‘TheVillage’ is a unit on its own, a community, a get-away, a destination. It is at the same time a contemporary state of the art innovation hub; it is also a romantic picture of a traditional sanctuary that creative individuals search for. Within the walls is ‘The Village’; a community and asylum inspired by Montenegrin traditional mid-century towns and villages, inspired also by mid- century European fortress towns and Chinese villages.

Accommodation units

Some specific SDG goals wereachieved within the design.

Specifically, the design aimed to create a sustainable community in terms of operational management; it also aimed to adhere to Reconstructed buildings-night view

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Restaurant

construction regulations and usage in accordance with SDG 11.

Construction was designed in such a way that on-site structures and materials would be used primarily; recycled materials, specifically recycled polycarbonate, would also be used. The polycarbonate would be used in such a way that it would create a good environment with a very low energy exchange; consumption levels would consequently also be very low. The entire project is based on the principles of SDG 9 with innovation and industry and with an infrastructure that would collect waste water and rely on sustainable energy. The aim of the entire project would be to create new jobs along with opportunities for economic growth in accordance with SDG 8.

Residences with studios

Creative hub

Conference room

Canteen

Reconstruction Demolition New construction

Planned interventions

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IVANA CVETKOVIC, ALEKSANDAR NIKSIC

2117

SERBIA

Cultural heritage has a great impact on both the environment and on human lives. The Spanjola Fortress is a remarkable heritage site that provides a unique identity, character and ambiance to its surrounding neighbourhood, as well as legends in the town. What lies at the core of our design is the idea that humans like to seek connections with cultural heritage and, even more, with nature; thus nature should be the key element in every design. The architects wanted to create a functional and comfortable space that would bring together the artists who lived in it, visiting tourists and the local community.

This design aims to meet several goals: to achieve the contemporary rehabilitation of a cultural heritage site aimed at becoming an open meeting place for art and creativity; to provide environmental harmony and sustainability according to sustainable and biophilic design; to provide social harmony and social cohesion by improving interconnectedness between the local community, artists and visitors; and to achieve economic sustainability.

The approach to the revitalisation of the fortress would involve preserving the existing fabric, including all of its imperfections and patina; making all of the conservation interventions necessary in order to provide construction stability; applying, as much as possible, conservation methods rather than restoration or reconstruction; making additions to the original structures where necessary, but thesewould be in a contemporary architectural style. The intention of such an approach would be to make a clear distinction between old and new structures, to preserve the ‘genius loci’ – the spirit of the place, and to blend all of these elements together.

Any new buildings would be conceived in a manner that would preserve and highlight the original shape of the buildings, whilst redesigning them according to their newly required functional needs.

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Administrative building

Artists’ residence and painting studio

All of the new constructions would be stand-alone structures that could be placed within the existing ruins, leaving them untouched. All of these new additions would be made of wood, stone, glass, corten steel and steel; a combination of traditional and modern materials. Although a traditional material, wood would be used in a very modern way, as a onematerial construction. For the outer facade, thermally treated timber cladding would be used. With its neutral colours and generous use of outdoor-treated wood, the entire project is designed to fit perfectly into the remains of the fortress and its surrounding nature. Special attention is given to sustainable environmental design and energy efficiency.

Open auditorium

Studio for woodwork/carpentry

Creative workspace

Presentation room

KEY:

Entrance to the complex

1 2 3

Car access

4

5 6 7 8 9 10 11 12

13 14 15 16

17 18

Photo studio Defensive perimeter Entrance and tourist info point Barracks - accommodation zone, canteen and public toilets Painting studio Woodworking studio Contemporary sculpture studio Conference hall and office Multimedia room Outdoor auditorium-small stage West entrance Entrance to the southern fortress and tourist info point Permanent exhibition “Spain through the centuries” Restaurant and coffee bar Public toilets Staircase to the top of the north-east tower and outdoor auditorium Open stage and theater Austro-Hungarian bunkers-Main exhibition space and art depot

Entrance adapted for persons with disabilities Supply entance

Parking Tank

Site plan of the reconstructed fortress

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DUSKA PRODANOVIC, FILIP PRICA, MARINA UROSEVIC

GWF51

SERBIA/AUSTRIA

...A shallow translucent white lens rises over the Spanjola Fortress shrouding its central rectangular courtyard wherein lies the heart of this mediaeval fortification. Light and wind permeate through the structure only slightly shading the cool stone ground below. Suspended on eight pillars in a rectangular plan, the lens offers refuge and relief both for its inhabitants and the old stone walls rising around them...

This project offers dynamic and multi-layered space that can be adapted to be used in a variety of scenarios. The main concept of the intervention is derived from the knowledge that this cultural heritage site has not only to be preserved, but has to be given a new form of life. Accordingly, the objective of introducing new architecture within the boundaries of the monument would be twofold: to rehabilitate derelict objects, where possible through repairing and consolidating existing remains and, to introduce new structures, only where necessary, and when so doing to be sensitive and in tune with the past. Instead of resealing structures within the ramparts, our aim would be to stop any further deterioration (atmospheric, tactile) and to create symbols from the memories of the place. The ensuing displays would be the reactions of a young team of architects inspired by the need to protect cultural heritage through the addition of new values and qualities that would enable the perpetuation of historical continuity.

The entirety of the proposed construction is openly modern and technologically contemporary, it does not intend to be excessively evident or visible, but rather aims to provide support and medical (surgical) treatment (intervention) to a coastal cultural heritage site.This solution, in addition to offering visual and formal qualities, is both cost-effective and feasible.

KEY: 1 1a 2 3 3a 4 4a 5 6 7 8 9 10

Cultural centre Public toilets Derelict building Outdoor area Storage room Carpentry studio Wood storage Management area Photo studio Art studio Sculpture studio Artists’ residences Parking

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Perspective views of the reconstructed fortress

The goal of the lens was to create a symbiotic relationship between contemporary issues and solutions, the importance of protecting the monument and the needs of the creative hub. The lens is a multi-purpose object of architecture; it would simultaneously act as canopy, as an energy collector and as a monument in its own right.

While the art/culture/event programme would be located within the ramparts, the residential area would be outside the boundaries of the wall. In this way, the fortress would be relieved of all commuting issues; the parking area and the storage area could be placed outside of the heritage area border; any heavy duty plumbing installations would also be outside the actual monument.

Cross section of the fortress

South garden/sculpture studio area

Inner courtyard of the fortress

Cultural centre

Art studio

Theatre stage

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ANJA PEJOVIC, MIJA LALOVIC, PETAR DJURISIC

PAM21

MONTENEGRO

Art between the past and future...

Recognising the importance of the Spanjola Fortress as a cultural heritage site, the authors of this proposal showed their dedication to revitalising the fortresses in a special way. They created a revitalisation philosophy that represented what the name itself expressed, ‘ART BETWEEN THE PAST AND FUTURE’ and made this the starting point for their work. Not wanting to forget that the past is inevitably the platform for the future, they drew parallels between a military station, a prison, a combat-war ... and an ideal future (to which we all aspire); this parallel metaphorically represented the present.

Herceg Novi is also known as the ‘City of the Fortress’; this association led the team to imagine that each fortress could have its own special spirit. What could better inspire an artist than the spirit of a place? This thought process led them to the conclusion that the simplest way of establishing parallel timelines between the past and the future would be to use the fortress itself as an inspiration. In addition to its role of providing inspiration, the fortress would be a place where artists would stay, live, create, ‘sell’ and present their work.

Reconstructed buildings inside the fortress

The end-users of this project would be all artists; those who want to express themselves through their work, those who want to improve their skills, those who want to participate in exchanges with other artists and those who are multimedia artists. In order for the project to be economically sustainable, and for it to be successfully presented to the general public, it would be important to engage important target groups such as tourists, audiences and other participants such as actors.

The team first reflected on the choice of materials to be used.

Stone is a material of the past.

Fabric (natural origin-ecological), greenery, glass and other contemporary materials are all materials of the present day.

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Residential building with gallery

In addition to creating a space successfully tailored to meet the needs of a target audience (artists, tourists, and others already listed in the project), the goal would be to make the Spanjola Fortress inspiring to artists whilst creating works of art. This goal would be achieved by linking materials that symbolised both the past and the present with the contents that filled the complex.

As art follows time, fabric, as a primary material, symbolically demonstrates the movement that gives a place its dynamics; it would help artists to think ‘out of the box’.

Art studio

Reconstructed buildings inside the fortress

Communal space

Lecture room

Accommodation unit second floor Fox tower Gallery first floor

Entrance, reception, souvenirs

Open stage and theater Passage and toilets first floor

Woodworking studio Contemporary sculpture studio

Public toilets

Workspaces

Accommodation unit Contemporary photography studio second floor

Accommodation unit

Art studio

Restaurant and coffe shop area Art depot

Fortress layout

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GORAN JANKOVIC

SKALINATA

MONTENEGRO

Herceg Novi has been known for many things, including its UNESCO cultural heritage (as part of Boka bay) and is home to many famous Montenegrins. One thing in particular, however, distinguishes this city from all of the other towns in Montenegro and this unique element is exploited in the urban development project for the Spanjola Fortress.

Herceg Novi is famous for being town of many steps; some say there are more than 100,000 and this number is not, of course, final. Its position dictated such urban development as the town is situated on the slopes of Mount Orjen; the steps create its inner connections and infrastructure. Not only are there hundreds of steps everywhere, but the people who live there take great pride in the fact that nowhere can be reached without having to sweat. ‘Suncane Skale’ is one of the festivals that was named after this urban characteristic.

This architectural peculiarity along with the results from urban research formed the main inspiration for the design of this concept. The ‘step motive’ inspired this architect; it was also influential in the creation of the programme which included a creative hub. Steps are dynamic and fun; they can be places where people gather, as they do in Herceg Novi.

Night view of a concert on ‘la Skalinata’

The Spanish Steps are one of the most famous and most visited places in Rome, Italy; theyare a perfect example of how steps can become a place for social gatherings. The Romans called them ‘la SCALINATA’. Their unique design and elegance has made them a popular place for artists, painters and poets; all were attracted to this place which inspired them in return.

Zlijebi is situated on the slopes of Mount Orjen; it rises 700 meters above sea level and from it, there are beautiful views of the Herceg Novi bay.

The village of Zlijebi has one architectural particularity; this concerns its houses. The rooftops are completely made of Arrangement of the space within the fortress

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3D model of the reconstructed fortress

layers of stone that is found locally; stones are overlapped one above other to form a protective layer. It was within one of the research clusters that was explored to create this conceptual design.

The ‘Skalinata’ project consists of number of different buildings that need to be reconstructed, restored or completely rebuilt within the perimeter of the Spanjola Fortress. Many of the buildings would be allocated new uses within the ‘Skalinata’ project, but all of them would be reconstructed in the traditional manner. Since the Spanjola Fortress is a Grade 1 Listed Building, a monument that has full national protection, no major construction would be allowed, even to preserve its aesthetic appearance.

Multifunctional space

Water features within the complex

Lobby, entrance area

Multifunctional space

KEY: Road Parking Entrance to the complex Entrance to the fortress Perimeter walls of the fortress Pre-existing buildings within the walls Imprints of reposting buildings within the walls Water surfaces Existing buildings around the fortress

Lighting Existing trees Proposed vegetation

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CLOSING WORDS

“Genius loci (the spirit of the place) is constantly looking for new construction in the desire to survive.

It cannot be frozen, but it should be understood in the context of today’s needs.

The dynamic concept of the term ‘place’ represents the basis for the creative adaptation of the existing structure.”

Christian Norberg-Schulz, 1978

Rethinking the whole concept of protecting cultural heritage, its revitalisation and its adaptive reuse is a process that will ensure the sustainable management of cultural heritage in Montenegro.

The creative industry needs more structured, supportive policies which will provide a robust level of protection for creativity. To boost the economic potential of both the creative industry and cultural heritage, it is essential to achieve a balance between the two. In any case, cultural heritage must be cared for and nurtured creatively as well as being made accessible. It is possible that cultural heritage could be protected by being reused as an infrastructure for the creative industry; this could actually become a significant driver for urban development: Cultural heritage sites, events and activities are all attractive and are all growth accelerators.

Our project ‘Creative Montenegro - Economic Valorisation and Creative Industries’, aims to achieve these exact same goals with the same inherent values: to promote culture more efficiently with an emphasis on innovation in cultural and artistic creation and on innovation in the protection, conservation and rehabilitation of important cultural heritage sites in Montenegro.

“In the process of remodelling, the past takes on a greater significance because it, itself, is the material to be altered and reshaped. The past provides the alreadywritten, the marked ‘canvas’ on which each successive remodelling will find its own place. Thus, the past becomes a ‘package of sense’, of built-up meaning to be accepted (maintained), transformed or supressed (refused)”, (Brooker, G. and Stone, S. (2008) Context + Environment).

The concept of an international creative hub arose as a result of a desire to join forces; the main aim of obtaining direct support was to enable an exchange of creative potential between artists and to allow work produced by the creative industry to be circulated among European countries. The ‘Spanjola Creative Hub’ was envisaged as a residence with a bias towards an end product; this means that the residents (artists) from EU countries would reside in it (for one to three months) to create their own work throughout all the stages of its production, including promoting it and displaying it. This concept is based on a ’people to people’ model at a practical level. By sharing creative space and knowledge with other residents, an artist who resided at the ‘Spanjola Creative Hub’ would have the opportunity to fully realise and test ideas within an innovative system, specially designed to procure the best creative results.

As a specific international complex for the development of the creative industry in Montenegro, the ‘Spanjola Creative Hub’ would need to attract the broadest cultural audience, the media, the general public and the most diverse range of visitors possible; tourists and performance audiences are a specific categories within this.

According to its planned residential purpose and the international nature of the

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activities planned to be carried out there, the hub would primarily be of interest to those active within the international cultural scene.

After reviewing all of the immovable cultural property on the Montenegrin coast, the Spanjola Fortress was recognised as being the most suitable as an infrastructure establishment, in the form of a creative hub. Consideration was also given to the fact that this cultural heritage site needed to be used and revitalised to prevent it from deteriorating further. By giving this site a new purpose, its continued sustainability and functionality can be ensured.

The cultural and creative industries are both essential in terms of achieving inclusive economic growth, for reducing inequality and for achieving the goals set out in the 2030 Sustainable Development Agenda. The creative industry is an important driver for the country’s economy and is primarily built on the energy of the young.

The aim of our innovation challenge - the international open competition for innovative architectural - urban proposals for the reconstruction of the cultural heritage site, Spanjola Fortress in Herceg Novi in Montenegro, was to invite architects, architectural associations, institutions and companies dealing with architectural design, cultural heritage protection, conservation and reconstruction to provide contemporary proposals for the adaptive reuse of the Spanjola Fortress.

The competition criteria, which included elements such as innovation, the originality of aesthetic expression and the protection of visual identity, resulted in proposals that put forward revitalisation designs of the old fortress that followed all of the main conservation principles of protection. Other criteria, however, such as ‘creative hub designed as a driver for achieving SDGs’ proved to be particularly challenging and produced some of the most innovative results seen in the competition.

The award-winning proposals succeeded in developing smart and green designs for the rehabilitation of this important cultural heritage site; they not only took into consideration the aspects of energy efficiency but also paid special attention to the thermal conductivity of new materials. This publication is a valuable read for introducing young architects, art historians, conservationists and other professionals, to the potential gains of reusing the Spanjola Fortress. Topics include the application of conservation principles to preserve and protect its historical value to the use of new and modern materials for its rehabilitation.

Inevitably, since the concept of conservation emerged, and was reflected in the 1964 Venice Charter, it has been reconsidered many times. This highlights the importance of ‘adaptive reuse’ as a form of ‘conservation’ practice. The Charter states: ‘the conservation of monuments is always facilitated by making use of them for some socially useful purpose’ (ICOMOS, The Venice Charter. International charter for the conservation and restoration of monuments and sites., Article 5 (1964), Venice).

This publication has been produced as a result of joint contribution between the participants of the competition and the architects from UNDP Montenegro. The UNDP Country Office developed the first international competition for the rehabilitation of cultural heritage sites in Montenegro, the first of its kind in recent years. The value of the work presented by each individual for this competition is confirmed by this publication.

“Just like human rights, preservation is now becoming a hot-button issue that enables different political sides to either sound the alarm of preservation or not”, (Rem Koolhaas, Preservation is Overtaking Us, 2014).

EDITOR Sladjana Lazarevic MSc. Arch.

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WORD OF THE REVIEWER

The dominance of this location, where the upper town of Herceg Novi and the Spanjola Fortress still remain today, determined that it would be used as an observation point from the 14th century; additionally, a source of drinking water is also present at this same site. The final form of this structure, built on the basis of the Spanish construction of the fortress of Charles V was defined by the Turkish administration in 1548. Today, it remains in its original form with only a few small changes within the urban complex itself. This complex can be defined as an upper town with all its urban structures, including churches, cemeteries, bakeries and military facilities.

The condition of this building today is that of a ruin. Only a proper self-sustaining function could redefine this building and return it to a state which would enable it to be incorporated into the urban life of the city of Herceg Novi.

For this space to function in its micro-urban and macro-urban environment, with ‘good vibes’, to be enjoyed by those residing in it, it would need to be safe, comfortable, diverse and attractive. It also has great potential in terms of attractiveness.

Re-urbanised spaces would offer potential meeting space, social areas in outdoor spaces; a community atmosphere. The context of the site is of great importance, but the character and existing structure need to be revitalised. Spanjola Fortress comprises an interesting and rich history, a valuable spatial structure, ecology and archaeology, a beautiful location, potential users...

The competition for the revitalisation of the Spanjola Fortress, presented by the UNDP office in Montenegro, set competition entrants a task that would require them to answer certain specific questions - questions regarding context, spatial structure, ecology and future contemporary purpose; their innovative and professional reflections were to be presented through architectural drawings.

The publication Let’s Develop aims not only to present the best solutions offered by teams of architects from Montenegro and the rest of the region, but also highlight the need for a systematic approach to evaluate competitors’ proposals in such a way that the final results are meaningful.

As a member of the expert jury for the evaluation of the submitted solutions, I support the view that this is a good start in terms of achieving serious architectural and conservational research; in the future this may, indeed, trigger the revival of this valuable site along with clear programme goals for the adaptive reuse of the Spanjola Fortress.

Boris Ilijanic PhD. Arch.

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COMPETITION ENTRANTS ENFORMA mr Nikola Novakovic mr Marija Novakovic mr Sasa Radojkovic Nikoleta Savic Bogdan Kusevic Djina Prnjat Nemanja Mitrovic Katarina Pasic

#117893 Dragana Mikavica Sara Nisavic Bojana Culafic Luka Cvorovic

URBSH0808 Ana Radovanovic

2MD1874 Mihailo Mikavica Marta Minić

85340 Marko Aracki Srecko Andrijanic Katarina Nikolic #222 Natasa Nikolic Ivana Milanovic 296692 Mila Lukovic Boris Martic Dragana Zoric Jovana Arsic Milica Bozovic

ARCHOBALENO Andjela Kekic Stevan Kekic

01020709 Stefan Danilovic Ana Ivanisevic Nenad Stijovic Jelena Zlatanovic 02003 Masan Petrovic Dragana Ciprijanovic Stefan Vasic Igor Sjeverac Aleksandra Mitkovic Filip Trgovcevic

49015 Zoran Dmitrovic Marija Bjelic Marija Radojlovic Nenad Blagojevic Nikola Abramovic Marko Milutinovic THEVILLAGE0507 Dijana Vucinic Dea Djebric Milica Bubanja Slavko Lekic Milic Toljic Dimitrije Puzovic 2117 Ivana Cvetkovic Aleksandar Niksic GWF51 Duska Prodanovic Filip Prica Marina Urosevic PAM21 Anja Pejovic Mija Lalovic Petar Djurisic SKALINATA Goran Jankovic

JURY Boris Ilijanic PhD. Arch.

Sladjana Lazarevic MSc. Arch.

Nadja Ponomarev Spec. Sci. Arch.

Milka Krstivojevic BSc. Arch.

Nikola Radonjic Spec. Art and communication Milica Vusurovic MSc. Arch.

Vuk Cvoro BSc. Arch.

The international competition for the rehabilitation of the Spanjola Fortress was launched in February 2020. The results of the competition were published on the UNDP website www.me.undp.org on May 18th 2020. The international competition was organised within the framework of the project ‘Creative Montenegro Economic Valorisation and the Creative Industries’.

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IMPRESSUM

TITLE LET’S DEVELOP: Creative industries and cultural heritage PUBLISHER UNITED NATIONS DEVELOPMENT PROGRAM Montenegro FOR THE PUBLISHER UNDP Resident Representative Daniela Gasparikova EDITOR Msc. Arch. Sladana Lazarevic AUTHORS OF THE PUBLICATION Msc. Arch. Sladana Lazarevic Nađa Ponomarev, spec.sci.arch.

REVIEWER PhD. Arch. Boris Ilijanic LEKTORINS Charlotte Rimmer Sanja Mijuskovic PRODUCTION AND GRAPHIC DESIGN Hiron Digital CIRCULATION 300 ©UNDP of Montenegro Podgorica, 2021

CIP - Kaталогизација у публикацији Национална библиотека Црне Горе, Цетиње ISBN 978-9940-614-41-6 COBISS.CG-ID 16572676