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Generalni plan Beograda 1923 komparacija planiranog i ostvarenog	Belgrade's General Plan 1923: a comparison of planned to completed.	U doktorskoj disertaciji je istraživan proces pripreme, izrade i sprovođenja Generalnog plana Beogrda iz 1923-24. godine...	The doctoral dissertation examines the process of preparing, elaborating and implementing Belgrade's General Urban Plan...	false
Značaj i uloga mreže pešačkih prostora u generisanju kompetitivnog identiteta grada	The importance and role of pedestrian space network i generating the competitive identity of city	Svoj karakter grad predstavlja putem urbanog marketinga, odnosno marketinga mesta, koristeći se njihovim instrumentima, što je jedna od najznačajnijih delatnosti lokalne uprave u okviru razvojnog procesa. Kao jedan od marketinških instrumenata koji se koristi jeste komunikacija ostvarena putem proizvoda nastalih u različitim dizajnerskim procesima, gde se svrstavaju i proizvodi urbanog dizajna. Elementi koji se uočavaju u komunikaciji grada mogu biti fizički činitelji njegovog prostornog okvira, među kojima i pešački prostor. Imidž grada predstavlja stav ili doživljaj publike koji se zasniva na realizovanom stanju, a ne na prezentovanju dobrih namera i plasiranju atraktivnih propagandnih poruka. Tako određen pojam daje mogućnost da se analizom aktuelnog kvaliteta mreže pešačkih prostora može utvrditi nivo društvene odgovornosti lokalne uprave, što utiče na formiranje stavova publike, pa samim tim i imidža određenog grada. Pored toga uočavanjem značaja mreže pešačkih prostora u kreiranju, negovanju i unapređenju kompetitivnog identiteta grada osvetljava se polje konkretne primene rezultata istraživanja u strateškom odlučivanju i planiranju. Provera utvrđenog odnosa rađena je na primerima mreže pešačkih prostora u centru pet evropskih gradova koji su izdvojeni kao relevantni predstavnici različitih kategorija gradova utvrđenim na osnovu ESPON kategorizacije. Na osnovu njih formirani su modeli, kao i preporuke i smernice unapređenja i širenja mreže peščakih prostora. Poseban doprinos ostvaren je i u vidu utvrđivanja preporuka i smernica za unapređenje mreže peščakih prostora centra Beograda.	City represents its character through urban/place marketing by using their tools, which is one of the most important activities of local government in its development process. Communication, as one of the marketing tools, is achieved through the products made in the variety of design processes, where urban design is also classified. Elements that are relevant in the communication of the city can be physical factors of its environment, including the pedestrian space. The image of the city represents opinion or experience of the audience/users, based not on the good intentions or marketing attractive commercial messages, but rather on the real situation. This concept provides an opportunity for the analysis of the actual pedestrian space network’s quality. In this way, the level of social responsibility of local government can be determined, which influence the creation of certain audience/users attitudes, as well as the image of the city. Furthermore, the importance of pedestrian spaces network in creating, fostering and improving the competitive identity of the city represents the specific field of application of the research results in the strategic decision-making and planning. The validation of the determined relation was made on the examples of pedestrian space networks of five European cities, which were singled out as the relevant representatives of different categories set out by ESPON. Based on the results of these five case studies, the models were created, as well as recommendations and guidelines for improving pedestrian space network in the Belgrade center.	true
Adaptivni principi u arhitektonskom projektovanju	Adaptive principles in architectural design	Ovaj rad predstavlja prilog razvoju metodologije arhitektonskog projektovanja i bavi se proučavanjem adaptivnih principa u koncepciji i realizaciji arhitektonskih modela. Danas konceptualni okvir „adaptivna arhitektura“ obuhvata prostorna okruženja, koja su namenski projektovana tako da se mogu prilagoditi promenljivim potrebama korisnika i klimatskim uticajima iz okruženja. Pristup teži postizanju bolje funkcionalnosti prostora i efikasnije upotrebe energije, koja je neophodna za njegovo korišćenje. Upravo zato, ovaj naučni rad je usredsređen na razjašnjenje uloge adaptivnih principa u arhitektonskom projektovanju. Međutim, to čini sa stanovišta koje prethodi uvođenju i primeni novih tehnologija u građevinskoj industriji ˗ odnosi se na utvrđivanje projektantskih strategija i alata, koji istovremeno omogućavaju i zahtevaju aplikaciju inovativnih tehničkih rešenja. Razmatranje adaptivnih principa tokom procesa projektovanja, u okvirima ove studije, nije neophodno uslovljeno primenom građevinskih rešenja, koja omogućavaju transformaciju prostora, ali ne isključuje promenljivost izgrađenog okruženja. Rad istražuje ulogu pojma adaptivnosti, koja se prvenstveno odnosi na koncepciju složenih prostornih organizacija, struktura i okruženja, i implicira promenljivost tokom procesa arhitektonskog projektovanja, pre nego promenljivost realizovanih arhitektonskih projekata. Rad je podeljen u dva dela: prvi je teorijski, zasniva se na metodi logičke argumentacije i bavi se analizom i sistematizacijom saznanja o tri različita, ali komplementarna vida modelovanja ˗ analognog, performativnog i prototipskog. Drugi deo je praktičan, konsistentno je dokumentovan i zasniva se na istraživanju kroz projekat i obuhvata proces koncepcije i realizacije serije prototipskih modela. Rad ima eksperimentalni karakter, i objedinjuje istraživački i edukativni rad. Okosnicu istraživanja čini niz projektantskih radionica, na kojima je učestvovalo približno osamdeset studenata sa Arhitektonskog fakulteta Univerziteta u Beogradu, gostujućeg programa Arhitektonske asocijacije iz Londona i drugih škola arhitekture. Kao II polazište istraživanja kroz projekat, postavljena su dva teorijska modela, koji na različite, ali povezane načine sugerišu uspostavljanje organizacionih matrica, koje se ne zasnivaju na geometrijskim principima i centralnim uređenjima, već na međusobnim odnosima njihovih konstitutivnih elementa. Interpretacija teorijskih modela „Polja“ (Allen, 1997) i „Mreže“ (Wigley, 2001) je data u okviru postavke istraživanja kroz projekat, a zatim je formiran jedan problem istraživanja, koji glasi: kako projektovati, tako složene i promenljive prostorne organizacije, strukture i okruženja? Formirana je pretpostavka da upravo adaptivni principi omogućavaju primenu projektantskih alata, koji su neophodni da bi arhitekta mogao da sagleda i primeni ovakve ideje. Kao rezultat nastaje strategija projektovanja prostornih organizacija i struktura, koje karakteriše sposobnost stalnog rasta i kapacitet samoregulacije u odnosu na promenljive uticaje iz okruženja.	This study is aiming at the development of architectural workflow through better understanding of the role of adaptive principles in the conception and production of architectural models. Today the conceptual framework of “Adaptive Architecture” is employed to describe any built environment specifically designed to change according to the needs of its users and climatic conditions of the environment, and is often based on digital technology involving sensors, actuators and controllers. In respect to the approach which is oriented toward better performance of the built space and more efficient energy use, this study explores the role of adaptive principles in architectural design. Yet, this is done from a different point of view; one which precedes the use of innovative technologies in the building industry. The study will help to establish new design strategies and tools which enable and demand the use of novel technical solutions. The understanding of adaptive principles is not conditioned nor confined to the use of building technology which enables a physical transformation of space, while it does not exclude the ability of the built environment to change over time. The study investigates the role of adaptive phenomena, which are primarily related to the conception of complex spatial organisations, structures and environments. It implies adaptations throughout the design process rather than transformation of the built environment. There are two distinct segments of the research. The first one is theoretical, and based on logical argumentation. It provides an overview of the knowledge of three distinct but complimentary ways of modelling in architecture: analogue, performative and prototypical. The second segment is based on research by design which documents the process of conception and production of a series of prototypical models. This part of the study is experimental in nature and combines research with educational work. The backbone of the research is comprised of a series of design workshops with the participation of approximately eighty students from the Faculty of Architecture, University of Belgrade and the Visiting Programme of the Architectural Association, London, as well as several other schools of architecture. The departing point of the research by design is formed by two theoretical models, with different, yet connected IV ways of suggesting the emergence of organisational patterns, which are not based on geometric and centrally controlled schemes, but on the internal and changing relations between their constitutive elements. The interpretation of both theoretical models, the “Field” (Allen, 1997) and the “Network” (Wigley, 2001) has led to the research on how to design such complex and changing spatial organisations. It is postulated that adaptive principles may hold a key role for many design tools, enabling architects to comprehend and use such ideas. The result emerges as a strategy for the design of spatial organisations and structures characterised by the ability for continuous growth and the capacity of self-regulation in respect to the changing conditions of the environment.	true
Transformacija narodne arhitekture na poluostrvu Vrmac - Boka Kotorska u 20. veku	Transformation of vernacular architecture on the Vrmac peninsula - Bay of Kotor during the XX century	Poluostrvo Vrmac nalazi se u Bokokotorskom zalivu, a svojim položajem pripada primor- skom delu Balkanskog poluostrva. Predmet istraživanja ovog rada je razvoj i transformacija različitih modela narodne ku- će i kućišta na poluostrvu Vrmac (Boka kotorska) u 20. veku. Cilj ovog rada bio je da se sagleda uticaj društvenih promena, ekonomskog razvoja, demo- grafskih kretanja, transformacije urbane strukture naselja, unapređenje građevinskih mate- rijala i uvođenje novih konstrukcija, kao i stručnih sposobnosti i ideja graditelja na prostorne i oblikovne karakteristike stambene narodne arhitekture ovoga kraja. Sprovedena tipološka proučavanja prostorne strukture stambenih jedinica pokazala su da su tradicionalni oblici narodnog graditeljstva na ovom prostoru bili pod velikim uticajem građanske arhitekture. Oni su sledili mediteranske uzore i standarde, ali prilagođene po- trebama i mogućnostima domaćih korisnika. Tipološke analize omogućile su i da se putem analize oblika i forme definišu uzroci promena koje su nastale od momenta postanka kuća, kroz različite etape do kraja 20. veka, kao i da se otkrije poreklo pojedinih oblika unutrašnje organizacije stambenih jedinica i nji- hovog sklopa. Analiza kompozicije fasada omogućila je donošenje određenih zaključaka vezanih za uti- caj dispozicije kuće, oblika parcele i osnove, kao i unutrašnje prostorne organizacije na oblikovanje spoljašnjeg izgleda. Posmatrano u celini, može se reći da je, kao glavni rezultat rada, proizašao zaključak da je tokom posmatranog perioda transformacija narodnih kuća i kućišta bila spontana i bez upliva zakonske regulative. Složenije promene ispoljile su se kod unutrašnje prostorne organizacije, a manje kod ob- likovanja fasada, na kojima su promene uglavnom bile neadekvatne.	Vrmac Peninsula is located in the Bay of Kotor. By its position it belongs to the costal part of the Balkans. The subject matter of this research is the development and transformation of different models of vernacular dwellings and house remains on the Vrmac Peninsula (Bay of Kotor) during the XX century. The goal of this study is to gain insight into the impact that social changes, economic develop- ment, demographics, transformation of the urban structure of the settlements, enhancement of building materials and introduction of new structures, as well as professional skills and building ideas have on the spatial characteristics and the shape of the traditional (vernacular) residential ar- chitecture in the region. Typological research of the spatial structure of the residential buildings proved that the traditional types of vernacular civil engineering in this region were influenced by urban architecture. The Mediterranean models and standards were followed, but suited to the needs and possibilities of the dwellers. Typological analysis of architectural forms and patterns resulted in the definition of the causes that led to the changes through different phases until the end of the XX century, as well as the dis- covery of the origins of some forms of interior arrangement in the residential units and their con- figuration. Façade composition analysis led to some conclusions related to the building layout, parcel and foundation forms, as well as the spatial arrangement and their influence on the formation of the exterior style. Regarded as a whole, the main result of the research was the conclusion that during the analyzed period the transformation of the vernacular dwellings and house remains was spontaneous without any interventions of regulatory rules. More complex changes were manifested in the interior spatial arrangement and to a lesser degree in the façade forms where the changes were basically inadequate.	true
Promena paradigme arhitektonsko-urbanističkih koncepata na objektima kulture u procesu konstituisanja jugoslovenskog kulturnog prostora u periodu od 1947. do 1974.		Problematika prostornih koncepcija arhitektonskog dela predstavlja jednu od suštinskih tema savremene arhitektonske teorije i prakse. Istraživanje prostornih koncepcija reprezentativnih objekata kulture projektovanih i realizovanih na prostoru nekadašnje Jugoslavije, sprovedeno u ovom radu, pored doprinosa proučavanju arhitektonske delatnosti dvadesetog veka u Srbiji i državama zapadnog Balkana, predstavlja neophodno polazište za izučavanje savremene arhitektonske teorije i prakse u Srbiji na početku dvadesetprvog veka. Istraživanje polazi od trenutka kada politika kulture nove socijalističke Jugoslavije iznosi zahtev za formiranjem specifičnog arhitektonskog izraza karakterističnog za novo jugoslovensko društveno uređenje, čime je označen jasan diskontinuitet sa modernom arhitekturom međuratnog perioda. U prvom delu rada je sprovedeno istraživanje kompleksnog procesa teorijskog definisanja novog jugoslovenskog arhitektonskog izraza, kroz detaljnu analizu stručnih teorijskih tekstova koji se bave problemskom tematikom, konkursnih projekata za reprezentativne objekte državne uprave i kulturne namene, u kontekstu politike kulture istraživanog perioda. Arhitektonski izraz socijalističke Jugoslavije je, u složenim i promeljivim socio-političkim okolnostima prvih posleratnih godina, teorijski definisan početkom šeste decenije prošlog veka i konačno pozicioniran kao „treći put“ između i sa jasnom distinkcijom od dve dominantne prakse perioda, diskursa modernizma zapadnoevropskog modela i metoda socijalističkog realizma sovjetskog modela. U drugom i trećem delu istraživanja su kritički analizirani realizovani objekti kulture reprezenti specifičnog jugoslovenskog arhitektonskog izraza, na kojima su, kako je istraživanjem utvrđeno, ostvareni u potpunosti savremeni prostorni koncepti objekata muzejskog i memorijalnog karaktera. Koncepcijska specifičnost jugoslovenskog arhitektonskog izraza proizlazi iz osnovnog koncepta: modernizma sa ideološkom nadgradnjom socijalističkog društva, usled čega su razvoj, transformacija i mutacija prostornih koncepcija objekata kulture u Jugoslaviji, ostvareni u relaciji dvostruke zavisnosti, od osnovnih paradigmi modernog pokreta i socio-političkih promena u okviru jugoslovenskog kulturnog prostora.	Problems of spatial concepts of an architectural work represent one of the crucial topics of contemporary architectural theory and practice. The research of spatial concepts of representative structures built for cultural purposes in the region of former Yugoslavia performed in this paper represents the necessary starting point for studying contemporary architectural theory and practice in Serbia at the beginning of 21st century besides its contribution to the studies of architectural work in Serbia in 20th century. The research starts from the moment when cultural politics of the new socialist Yugoslavia demands the creation of a specific architectural expression characteristic of new Yugoslav social system thus marking a clear discontinuity with modern architecture of period between wars. The first part of the paper deals with research of complex process of theoretical definition of new Yugoslav architectural expression through a detailed analysis of theoretical texts of experts who engage themselves in the thematic, designs for competitions for representative objects of government administration and objects for cultural purposes in the context of cultural politics in the researched period. Architectural expression of socialist Yugoslavia was, in the complex and changing socio-political circumstances of after-war years, theoretically defined at the beginning of the sixth decade of the last century and finally positioned as ‘the third way’ between the two dominant practices of the period and with a clear distinction, the West European discourse of modernism model and the Soviet socialist realism model. The second and third parts of research critically analyses the constructed cultural structures as representatives of specific Yugoslav architectural expression which have, as proven by research, completely realised contemporary spatial concepts of objects used as museums or of memorial character. The specifics of concept in Yugoslav architectural expression stems from the basic concept modernism with ideological annex of socialist society where development, transformation and mutation of spatial concepts in cultural structures in Yugoslavia were realised in relation to dual dependency, from fundamental paradigms of modern movement and socio-political changes within Yugoslav cultural space.	true
Tri veka vojvođanskih pivara: kontekst i kontinuitet	Three centuries of Vojvodina's Breweries: context and continuity	Istraživanje je fokusirano na otkrivanju uloge pivara u industrijalizaciji i urbanizaciji Vojvodine, kao i međuzavisnosti tehnološkog/proizvodnog postupka i prostornog koncepta i oblikovanja pivara u pojedinim periodima. Proučavanjem arhitekture pojedinačnih sačuvanih građevina, prema primenjenom prostornom konceptu, načinu gradnje, materijalizaciji, konstrukciji i oblikovnim elementima, analizirano je u kojoj meri su one bile odjek tehničko-tehnološkog razvoja i napretka industrijske arhitekture centralne Evrope. Na osnovu ovih istraživanja u daljem radu su utvrđene vrednosti pivara kao dela industrijske kulturne baštine ne samo Vojvodine, već i šireg regiona, a potom su ispitane mogućnosti njihove zaštite, prezentacije i savremenog korišćenja kao zajedničkog nasleđa naroda srednjoevropske regije. Tokom istraživanja su kritički razmotreni i razjašnjeni teorijski koncepti autentičnosti i integriteta, a potom je preciziran metodološki okvir za njihovu primenu u savremenom konzervatorskom pristupu industrijskom nasleđu. Doprinos ove disertacije očekuje se u redefinisanju sistema identifikacije i vrednovanja materijalnih i nematerijalnih aspekata industrijskog nasleđa. Očekivani rezultat istraživanja je određenje mesta vojvođanskih pivara u širem kontekstu, budući da je analiza njihove slojevitosti neophodna pretpostavka za razumevanje društvenih, političkih, privrednih i kulturnih tokova u prethodna tri stoleća, ali takođe i nužna teorijska osnova za adekvatan konzervatorski tretman u budućnosti.	The research focuses on discovering the role of breweries in the industrialization and urbanization of Vojvodina, and the interdependence of technological / manufacturing process and their spatial concept and design in certain periods. By studying architecture of individual preserved buildings, according to the applied spatial concept, method of construction, materialization, and design, in dissertation has been analyzed the extent to which they were an echo of technological development and progress of industrial architecture in Central Europe. Based on these studies, in further work are determined values of breweries, as part of the industrial heritage not only in Vojvodina, but also in the region, and then examined the possibility of their protection, presentation and modern use, as a common heritage of the people of central European region. During the study were discussed and clarified the theoretical concepts of authenticity and integrity, and then specified a methodological framework for their application in modern industrial heritage conservation approach. The contribution of this dissertation is expected in the redefinition of the system of identification and valuation of tangible and intangible aspects of industrial heritage. The expected result of the research is the determination of Vojvodina’s breweries in a broader context, given that the analysis of their complexity is necessary prerequisite for understanding the social, political, economic and cultural trends of the past three centuries, but also the necessary theoretical basis for adequate conservation treatment in the future.	true
Nastanak i razvoj stambenih palata i vila u Vojvodini oblikovanih u stilu secesije krajem XIX i početkom XX veka	Origin and evolution of the residental palaces and villas in Vojvodina designed in art nouveau style (secession style) in late nineteenth and early twentieth century	Sprovedeno istraživanje je naučna studija koja se bavi rezidencijalnom arhitekturom u Vojvodini odnosno palatama i vilama oblikovanim u stilu secesije u vremenskom periodu koji obuhvata poslednju deceniju HIX i početak HH veka do Prvog svetskog rata. U Uvodu se razmatraju predmet rada, ciljevi i zadaci istraživanja, polazne hipoteze i naučne metode istraživanja. Predmet koji se razmatra u ovom istraživanju je sveobuhvatna analiza umetničkih, kulturoloških i socioloških aspekata vezanih za pojavu snažnog građanskog staleža, kao najvažnijeg investitora u Vojvodini krajem XIX i početkom XX veka, i njihovog uticaja na razvoj rezidencijalne arhitekture. Predmet istraživanja u užem smislu su karakteristični objekti rezidencijalnog karaktera oblikovani u duhu secesije, koji su izabrani kao reprezenti kuća i stambenih palata u sredini u kojoj su nastali. Osnovni cilj istraživanja je da se detaljnije prouči arhitektura rezidencijalnih objekata – palata i vila sagrađenih u Vojvodini od pojave prvih oblika secesije u poslednjoj deceniji XIX veka do gašenja ovog stilskog izraza 1914. godine. U uvodnom delu su iznete i osnovne polazne hipoteze vezane za vreme pojave secesije u Vojvodini, zatim za mešanje stilskih uticaja velikih centara i lokalne sredine, za uticaj različitih etničkih zajednica kao i pojedinačnih investitora na arhitekturu, kao i za doprinos koje su stambene palate i vile dale procesu urbanizacije vojvođanskih gradova početkom HH veka. Pod uticajem ovih različitih tendencija formiraju se lokalni arhitekti koji stvaraju specifična i veoma originalna autorska dela. Drugo poglavlje nosi naziv „Istorijske i društvene okolnosti u Evropi i Vojvodini krajem XIX i početkom XX veka i pojava novih arhitektonskih izraza“. Počinje kratkim prikazom evropskog društva na prelomu vekova sa akcentom na velike promene u raznim segmentima života, uključujući i ubrzan tehnološki razvoj, velike III demografske promene u gradovima, razvoj građanske svesti i demokratizacija društva. Poseban akcenat stavljen je na period fin-de-siecle u Beču s obzirom da je ova metropola imala najveći uticaj na područje Vojvodine...	The presented study is a scientific study that deals with residential architecture in Vojvodina and palaces and villas designed in the Art Nouveau style in the period that includes the last decade of XIX and the beginning of XX century to the First World War. The Introduction discusses the subject of work, goals and tasks of research, starting hypotheses and scientific research methods. The case considered in this study is a comprehensive analysis of artistic, cultural and sociological aspects related to the emergence of a strong middle class, as the most important investors in Vojvodina in late nineteenth and early twentieth century, and their influence on the development of residential architecture. Case studies of character of the typical residential buildings designed in the spirit of Secession were selected as representatives of residential houses and palaces in the environment in which they are incurred. The main goal of this research was to study the detailed architecture of residential buildings - palaces and villas built in Vojvodina since the first forms of Art Nouveau in the last decade of the nineteenth century to the closing of this stylistic expression 1914th year. The introduction presents the basic and initial hypotheses regarding the timing of secession in Vojvodina, then mixing stylistic influence of large centers and local communities, the impact of different ethnic groups and individual investors on the architecture, as well as the contribution of the residential buildings and villas made the process of urbanization towns from the early XX century. Under the influence of these different tendencies local architects created a unique and very original works of authorship. The second chapter is entitled "The historical and social conditions in Europe and Vojvodina in late nineteenth and early twentieth century and the emergence of new architectural expression." Begins with a brief review of the European society at the turn of the centuries with an emphasis on major changes in various aspects of life, including rapid technological development, demographic changes in the major cities, the development of civil society and VIII democracy. Special emphasis is placed on the period of fin-de-siecle Vienna considering that the metropolis had the greatest impact on the region of Vojvodina...	false
Eksperimentalno-teorijska analiza primene bala slame u konstrukcijama	Докторска дисертација	U ovom radu je analizirano je ponašanje pojedinačnih nemalterisanih i malterisanih bala slame i nemalterisanih i malterisanih zidova od bala slame. Analizirana je mogućnost primene bala slame za izradu nosećih zidova prizemnih objekata. Na osnovu sprovedenog eksperimenta utvrđen je modul elastičnosti za nemalterisane bale slame od oko 400 kPa, a za malterisane bale slame od 1580 kPa. Za bale slame određena je zapreminska težina od 1.18 kN/m3. Ispitivane su i reološke karakteristike zidova i definisani su modeli ponašanja, kao i veličine trenutnih i vremenskih deformacija. Pri ispitivanju na požar jednostrani malterisani zid posle dva sata pod dejstvom plamena nije imao vidnih oštećenja i nisu bile bitno promenjene konstruktivne karakteristike. Analizom dostupne literature došlo se do nivoa zaštite od buke, kao i nivoa toplotne zaštite. Ekonomska analiza pokazala je značajne finansijske pogodnosti pri gradnji slamom. Na osnovu sprovedene eksperimentalno-teorijske analize dokazano je da bale slame zadovoljavaju sve potrebne kriterijume, kao i da se mogu primenjivati za izradu nosećih zidova u konstrukcijama.	The paper has analysed the behavior of individual unplastered and plastered straw bales, and unplastered and plastered straw bale walls. The use of straw bales in building load- bearing walls for one-storey structures has been analysed. Based on the experiment carried out within this study, the module of elasticity for unplastered straw bales was determined to be 400 kPa, and for the plastered straw bales 1580 kPa. For the straw bales the density of 1.18 kN/m3 was established. Creep-tests have been carried out, and the models of behavior defined, as well as the values of initial compression and creep. During the fire test, the wall plastered on one side only showed no visible damage after two-hour exposure, nor did structural features change. The available literature provided for noise and thermal protection levels. The economic analysis, which was part of the paper, underlined significant financial advantages of straw bale building. Based on the experimental and theoretical analysis, straw bales meet all necessary criteria and can be used in load-bearing buildings.	true
Teorijske postavke arhitekture i njihov odnos prema teorijskim principima arhitekture renesanse	Theoretical positions in contemporary classical architecture and their relationship with the theoretical principles of renaissance architecture	Savremena klasična arhitektura predstavlja značajnu problemsku celinu novije istorije i teorije arhitekture. Njeno sve veće prisustvo na savremenoj arhitektonskoj sceni ukazuje na potrebu za proučavanjem geneze, načina prikazivanja i kritičkom analizom ideja njenih protagonista, za sintetičkom studijom koja istražuje globalne probleme prikazivanja istorije ideja koje stoje iza klasične arhitekture, kao i za formulisanjem jedinstvenog pojma za ovu savremenu pojavu. Ovo istraživanje se bavi teorijskim postavkama savremenih klasičnih arhitekata kojima oni objašnjavaju svoj rad, a zatim definisanjem odnosa i uspostavljanjem kontinuuma ideja između savremenih klasičnih arhitekata i renesansnih teoretičara arhitekture. Utvrđuju se načini na koje se teorijska misao savremene klasične arhitekture manifestuje u arhitektonskom stvaralaštvu i savremenoj teoriji arhitekture, odnosno definišu teorijski stavovi njenih autora na osnovu kojih se ona svrstava u značajne teorijske oblike arhitekture 21. veka. Teorijski stavovi savremene klasične arhitekture jasno se razlikuju i izdvajaju od stavova drugih teoretičara koji istovremeno deluju. Sa renesansnim teoretičarima čine jedinstvenu teorijsku grupu po svom individualističkom pristupu istoriji arhitekture i stavovima prema idejama kolektivizma, istoricizma, „duha vremena“ i formalizma. Kolektivizam i istoricizam se odbacuju stavom da pojedinačna dela nisu određena slučajnim i promenljivim kontekstom kome pojedinac pripada. Zastupa se teorija o istoriji po kojoj se zakoni svake umetnosti usavršavaju vremenom, formalizovanjem korpusa činjenica koje se vide na građevinama iz istorije arhitekture, njihovim procenjivanjem i ispitivanjem i, na kraju, sublimiranjem i transformacijom u apstraktne tipove i opšta pravila za savremenu upotrebu. Zastupa se formalizam u arhitekturi koji poništava „duh vremena“. Estetska svojstva povezana sa arhitekturom zasnivaju se na svojstvima definisanim prostornim modelom građevina i veruje se u doprinos forme, a ne značenja vrednovanju arhitekture, uz obrazloženje da se u projektantskom postupku prvo postavlja arhitektonska forma, a tek zatim govori o njenoj artikulaciji da bi izrazila ideje. Opšta teorijska polazišta istorije i teorije arhitekture su uz pomoć preciznih kriterijuma metodološki grupisana u podnaslove u prvom delu rada, a zatim ukrštena sa argumentima teorijskih postavki izdvojenim u drugom delu rada. Iz konkretnih teorijskih stavova postavljeno je sedam ključnih tema savremene klasične arhitekture, odnosno ustanovljeno sedam novih tematsko-teorijskih postavki u okviru teme, koje daju osnovu za čitanje teorije savremene klasične arhitekture i njene veze sa renesansom. Na osnovu razvijenog dijahronijskog tumačenja teorijskih postavki u arhitekturi u čijem opsegu postoji složena i višestrana relacija između arhitekture i šireg kulturnog polja društvenih nauka, proizilazi nova interpretativna postavka savremenih pojava istorije i teorije arhitekture.	Contemporary classical architecture is an important problem field in the recent history and theory of architecture. Its growing presence on the contemporary architectural scene elicits a study into its genesis and modes of presentation; a critical analysis of its protagonists’ ideas; a synthetic exploration into the main problems of displaying the history of ideas underpinning classical architecture; and finally, a formulation of a comprehensive set of notions related to this modern phenomenon. This study deals with the theoretical positions of contemporary classical architects with which they explain their work; moreover, it attempts at defining relations and establishing a continuum of ideas between contemporary classical architects and the theoreticians of Renaissance architecture. Furthermore, insight is provided into the manifestations of theoretical thought on contemporary classical architecture within modern architectural theory along with the definitions of the authors’ theoretical views upon which it has been classified as a significant theoretical form of architecture in the 21st century. Theoretical considerations behind contemporary classicism in architecture are clearly distinguished from those of other contemporaneous theoreticians. In their individualistic approach to the history of architecture and attitudes towards the ideas of collectivism, historicism, the spirit of the times, and formalism they group with the Renaissance theorists. Collectivism and historicism are rejected with the view that a piece of art is not determined by the random and volatile context to which an individual (artist) belongs. They maintain the thesis on history in which the laws of each art are perfected over time, first by formalizing the corpus of facts observed on the buildings in the history of architecture, then by evaluation and examination of these facts, and finally, by their sublimation and transformation into abstract types and general rules for the modern user. They advocate formalism in architecture which annihilates the zeitgeist. Aesthetic qualities associated with architecture arise from the properties defined by the spatial model of the building so that it is the form rather than the meaning which is believed to contribute to architectural evaluation; it is argued that in the design process the architectural form is set first, and only then its articulation into ideas is considered. In the first part of the study, the general theoretical principles of the history and theory of architecture are grouped into subheadings according to precise methodological criteria, and are then cross-referenced to the theoretical arguments presented in the second part. There are seven key themes singled out from the specific theoretical views on contemporary classical architecture and seven new thematic and theoretical positions are established within the topic, which provide the basis for the reading into the theory of contemporary classicism in architecture and its relationship with the Renaissance. The developed diachronic exposition of theoretical positions in architecture, encompassing its complex and multi-faceted relation with a wider cultural field of social sciences, yielded a new interpretation of contemporary phenomena in architectural history and theory.	true
Definisanje metodoloških principa regeneracije napuštenih železničkih koridora u Republici Srpskoj	Defining methodological principles for regeneration of abandoned railway corridors in the Republic of Srpska	Ovo istraživanje se bavi definisanjem metodoloških principa regeneracije napuštenih železničkih koridora i mogućnostima njihove primene u Republici Srpskoj. Napušteni industrijski železnički koridori predstavljaju posebnu kategoriju braunfild prostora prema kojima je neophodno zauzeti specifičan odnos u procesu njihove urbane obnove. Utvrđivanje najadekvatnije metode urbane obnove ovih prostora predstavlja prvi cilj istraživanja. Kako bi se pronašao najadekvatniji metod za urbanu obnovu braunfild lokacija, analizom dostupne literature i kritičkom analizom sadržaja, su istraženi fenomen braunfild lokacija i različite metode urbane obnove. Istraživanje je pokazalo da je metoda urbane regeneracije predmet istraživanja mnogih autora i da uključuje obnovu braunfild lokacija koja može da izazove pozitivne efekte sa ekološkog, ekonomskog i socijalnog aspekta. Stoga je najadekvatniji metod urbane obnove ovih prostora metod urbane regeneracije i on može da ponudi najprihvatljivija rešenja obnove, čuvajući identitet ovih lokacija, čime je potvrđena prva hipoteza istraživanja. Drugi deo istraživanja se sastoji od epistemološkog i fronetičkog okvira istraživanja vođenog ka definisanju metodoloških principa regeneracije napuštenih železničkih koridora kao drugog cilja istraživanja. Naime, istraživanja u oblastima arhitekture i urbanizma se bave naukom koliko i objektom istraživanja i njegovim kontekstom pa su efikasnija kada svoju metodologiju zasnivaju na spoju 'čistog znanja' (episteme) i 'praktične mudrosti' (fronezis). Epistemološki okvir istraživanja je obuhvatio analizu teorijskih utemeljenja i aktuelnih naučnih saznanja unutar koncepta održivosti (ekološke, ekonomske i socijalne), a na osnovu strategija odabranih teorija su definisani epistemološki metodološki principi regeneracije napuštenih železničkih koridora. Fronetički okvir istraživanja je baziran na individualnoj deskripciji odabranih studija slučaja uspešne regeneracije napuštenih železničkih koridora i njihovoj komparativnoj analizi na osnovu čega su definisani fronetički metodološki principi regeneracije napuštenih železničkih koridora. Komparativnom analizom VI epistemoloških i fronetičkih metodoloških principa regeneracije je dokazano da spoj fronezis i episteme doprinosi široj postavci metodoloških principa regeneracije napuštenih železničkih koridora, čime je potvrđena druga hipoteza istraživanja. Treći deo istraživanja se odnosi na primenjeni deo istraživanja u kojem se ispituje upotrebljivost i validnost metodoloških principa regeneracije napuštenih železničkih koridora u Republici Srpskoj kao trećeg cilja istraživanja. Prvo je analizom dostupne literature i kritičkom analizom sadržaja objašnjena postojeća situacija u Republici Srpskoj koja se odnosi na identifikaciju, mapiranje, stanje i obnovu braunfild lokacija, sa posebnim osvrtom na industrijske železničke kolridore. Zatim su metodom in situ sprovedena terenska istraživanja na šest industrijskih poligona, koji se nalaze na području tri grada/opštine Republike Srpske (Banja Luka, Prijedor i Novi Grad). Analizom činjeničnog stanja urađeno je mapiranje industrijskih železničkih koridora u formi kataloških obrazaca, kao savremenog instrumenta za mapiranje braunfilda, a zatim je proverena upotrebljivost i validnost metodoloških principa regeneracije napuštenih železničkih koridora i definisane su smernice za obnovu ovih prostora. Ovim je pokazano da definisani principi predstavljaju referentne preporuke za proces planiranja obnove napuštenih železničkih koridora, čime je potvrđena treća hipoteza istraživanja. Doprinos istraživanja je dvojak jer je tema istraživanja aktuelna i sa naučnog i sa praktičnog stanovišta. Naučni doprinos istraživanja se odnosi na sintezu relevantnih znanja unutar predmetnih oblasti, njihovo upotpunjavanje novim naučnim saznanjima i razvoj teorijsko-metodološkog pristupa za formulisanje principa regeneracije napuštenih železničkih koridora. Praktični doprinos istraživanja se odnosi na mogućnost primene metodoloških principa regeneracije na konkretnim poligonima napuštenih železničkih koridora u cilju pronalaženja realnih rešenja njihove obnove, kao i adekvatnijeg razmatranja problema i potencijala napuštenih železničkih koridora u toku procesa urbanističkog i arhitektonskog planiranja i projektovanja. Na osnovu svega navedenog zaključuje se da ovo istraživanje predstavlja podlogu za dalja istraživanja koja se odnose na kreiranje strategija, koncepata i zakonskih propisa u procesu regeneracije napuštenih železničkih koridora u Republici Srpskoj na čijem prostoru je neophodno obezbediti nove propise za obnovu ovih VII lokacija. S toga, metodološki principi regeneracije napuštenih železničkih koridora, koje definiše ovo istraživanje, mogu biti osnova za definisanje novih legislativnih dokumenata. Takođe, metod koji bi pružio najkvalitetnije rezultate u praksi je usaglašavanje urbanističke planske dokumentacije sa metodološkim principima regeneracije napuštenih železničkih koridora. Istraživanje može poslužiti i kao baza za planiranje, projektovanje i implementaciju zelenih koridora, kao nezaobilaznog koncepta u savremenoj arhitektonsko-urbanističkoj praksi.	This research focuses on process of defining methodological principles for regeneration of abandoned railway corridors in the Republic of Srpska and their usage potential. Abandoned industrial railway corridors represent a special category of brownfield areas and thus require a special treatment within the urban renewal process. Primary goal of this research is to determine the most appropriate method for urban renewal of such areas. The brownfield sites phenomenon and various urban renewal methods were explored, by analyzing the available literature and by critical analysis of the content, in pursuit of the most appropriate method for urban regeneration of brownfield sites. The research has shown that the urban regeneration method was the subject of research of many authors and that it includes the brownfield renewal process that could have positive effects on the ecological, economic and social aspects of life. Therefore, the most appropriate method for urban renewal of such areas is the urban regeneration method, which can offer the most acceptable concepts for renewal while preserving the identity of a location, thus confirming the first hypothesis of the research. The second part of this research consists of the epistemic and phronetic organizational research directed towards defining methodological principles for regeneration of abandoned railway corridors, which is the second goal of this research. In fact, research in domain of architecture and urbanism explore science, as well as research objects and their contexts, and is more effective when its methodologies are based on a combination of 'pure knowledge' (episteme) and 'practical wisdom' (phronesis). Epistemic organizational research includes the analysis of the theoretical background and current scientific knowledge within the concept of sustainability (environmental, economic and social), and the epistemic methodological principles for regeneration of abandoned railway corridors were defined based on the strategies of the chosen theories. Phronetic organizational research is based on individual descriptions of particular case studies of successful abandoned railway corridors regeneration processes and their comparative analysis, and it was the basis for defining the phronetic methodological principles for regeneration of abandoned railway corridors. A comparative analysis of the epistemic and phronetic methodological regeneration principles has shown that the conjunction of the episteme and phronesis contributes to having a broader set of IX methodological principles for regeneration of abandoned railway corridors, which confirms the second hypothesis. The third part of the research refers to the applied research examining the usability and validity of the methodological principles for regeneration of abandoned railway corridors in the Republic of Srpska, which is the third goal of the research. First was given an explanation of the current situation in the Republic of Srpska regarding identification, mapping, status and renewal of brownfield locations, based on analysis of the available literature and critical content analysis, with particular emphasis placed on abandoned railway corridors. That was followed by field researches conducted with application of in situ method on six industrial polygons located in areas of three cities/municipalities in the Republic of Srpska (Banja Luka, Prijedor and Novi Grad). The industrial railway corridors where mapped by analyzing the state of facts and the mapping was done in the form of catalog cards, a modern instrument for brownfield mapping, after which the usability and validity of the methodological principles for regeneration of abandoned railway corridors where tested and guidelines for renewal of these areas were defined. This indicates that the defined principles constitute reference recommendations for process of planning of abandoned railway corridors renewal, which confirms the third hypothesis. This research has a dual impact because it explores the subject which is deemed contemporary from both scientific and practical viewpoint. The scientific impact of the research refers to the synthesis of the relevant knowledge within the subject area, its modification by new scientific information and development of the theoretical and methodological approach for formulation of principles for regeneration of abandoned railway corridors. The practical impact of the research refers to the prospect of applying the methodological regeneration principles to specific polygons of abandoned railway corridors for purpose of finding realistic solutions for their renewal, as well as to adequately contemplate problems and potentials of the abandoned railway corridors in the process of urban and architectural planning and designing. Based on everything presented above it can be concluded that this research represents a foundation for further research directed towards creating strategies, concepts and regulations for process of regeneration of abandoned railway corridors in the Republic of Srpska, for there is a necessity to provide new regulations for renewal of such locations on this territory. Therefore, the methodological principles for regeneration of abandoned railway corridors defined in this research could be used as the basis for defining new legislative documents. Also, harmonization of urban planning documentation with the methodological principles for X regeneration of abandoned railway corridors is a method that would enable achieving the best results in practice. This research can also be used as a foundation for planning, designing and implementation of green corridors, an unavoidable concept in contemporary architectural and urban practice.	true
Graditeljski principi ohridske vernakularne arhitekture i savremene strategije održivog projektovanja i građenja	Building principles of Ohrid vernacular architecture and contemporary strategies for sustainable design and construction.	Ovaj rad se bavi analizom graditeljskih principa primenjivanih u ohridskoj vernakularnoj arhitekturi koji su relevantni za savremenu teoriju i praksu održivog projektovanja i građenja. Termin ohridska vernakularna arhitektura se odnosi na tradicionalnu stambenu arhitekturu grada Ohrida. Predmet rada su održive strategije građenja i odabir materijala primenjeni kod ohridske vernakularne arhitekture, to jest gradske kuće orijentalnog tipa sagrađene u Ohridu od 18. do početka 20. veka. Osnovni cilj istraživanja jeste da se dokumentovano i naučno argumentovano utvrdi i objasni da ohridska tradicionalna kuća, kao regionalni predstavnik šire balkanske vernakularne arhitekture iz otomanskog perioda, poseduje inkorporirane principe i strategije savremenog održivog projektovanja i građenja. U ovom radu je prvenstveno razmatrana problematika dominantnih diskursa o održivoj, vernakularnoj i regionalnoj arhitekturi. Zatim, objašnjen je nastanak i razvoj ohridske tradicionalne kuće kao regionalni arhitektonski izraz balkanske vernakularne arhitekture sa svojim autohtonim karakteristikama. Sistematska obrada podataka u vezi sa osnovnim karakteristikama ohridske kuće izvedena je pomoću klasifikacije prema ključnim karakteristikama relevantnim za savremeno održivo projektovanje: dispozicija objekta (u odnosu parcele i urbane matrice grada), morfologija objekta, materijal, način održavanja objekta. Tipološka klasifikacija proizašla iz ovako određenih ključnih karakteristika je omogućila definisanje tri tipa ohridskih kuća: kuća organizovana oko unutrašnjeg dvorišta, visoka kuća u nizu i slobodnostojeća visoka kuća. Naredni segment rada predstavlja naučno opisivanje i objašnjenje utvrđenih održivih principa, strategija i metoda na primeru ohridske vernakularne arhitekture i njihova sistematizacija prema konceptualnom metodološkom okviru savremenog održivog diskursa. Osim razmatranja održivih strategija i metoda primenjenih na primeru ohridske vernakularne arhitekture, tokom istraživanja je izvedena i korelacija između principa, strategija i metoda održivog projektovanja i građenja i principa građenja ohridske vernakularne arhitekture. Rezultati ovakve korelacije predstavljaju obrasce na osnovu kojih je moguće ustanoviti održive metode zajedničke za oba koncepta. Konstatovano je da sva tri tipa ohridske kuće predstavljaju realni, objektivni, instinktivni i intuitivni arhitektonski odgovor prilagođavanja kuće konkretnim prirodnim i stvorenim uslovima okruženja, što je ujedno i glavni princip održive arhitekture. I pored postojećih razlika i varijacija između i unutar glavnih tipova, ohridska vernakularna arhitektura ima jedinstven i karakterističan izraz. To je rezultat onih karakteristika koje su zajedničke za svaku kuću sagrađenu na južnoj padini Gornjeg grada: kaskadno ređanje kuća na južnoj padini kako bi bile izložene insolaciji, ventilaciji i lepim vizurama, tehnika zidanja masivnog zida, tehnika izvođenja bondručne konstrukcije, optimizovanje potencijala lokacije, reupotreba materijala, inkorporiranje otpada u nove građevinske materijale, vertikalna organizacija unutrašnjeg prostora na tri glavne celine (ekonomske prostorije, zimski i letnji stan), parcijalno (sezonsko) korišćenje delova objekta, kao i multifunkcionalna namena zimske boravišne prostorije i unutrašnjeg dvorišta. Nabrojane karakteristike, koje su u duhu održivog projektovanja i građenja, kod sva tri tipa ohridske kuće su zaslužne za formiranje autentičnog i prepoznatljivog izraza ove regionalne vernakularne arhitekture.	This research analyses the building principles applied in the examples of Ohrid vernacular architecture, relevant for the contemporary theory and practice of sustainable design and construction. The term Ohrid vernacular architecture refers to the traditional secular architecture in the town of Ohrid. The subject of this research is the applied sustainable building strategies and selection of building materials, prominent in Ohird vernacular architecture i.e. urban houses of oriental type built in Ohrid from 18th to the beginning of 20th century. The primary goal of the research is to document and scientifically prove and explain that the Ohrid traditional house, as regional representative of the wider Balkan vernacular architecture from the Ottoman period, has had incorporated principles and strategies of contemporary sustainable design and construction. In this work, initially, the problematics of the dominant discourse on sustainable, vernacular and regional architecture is elaborated. Furthermore, the appearance and development of traditional Ohrid house as a regional expression of Balkan vernacular architecture is explained with all of its autochthonous characteristics. The systematic elaboration of data, related to the basic characteristics of the Ohrid house, was performed through a typological classification of the key characteristics relevant to the contemporary sustainable design: building disposition (in relation to the parcel and the urban matrix); morphology of the building, the material, and the manner of building maintenance. The typological classification deriving from the above defined key characteristics allowed for defining the following three basic types of the Ohrid house: house organized around inner courtyard or house with patio, tall house in a row and detached high house of freestanding type of house. The next segment of this work is a scientific description and elaboration of the established sustainable principles, strategies and methods in the example of the Ohrid vernacular architecture and their systematization in contrast to the conceptual methodological framework of the contemporary sustainable discourse. Apart from elaborating sustainable strategies and methods applied in the example of Ohrid vernacular architecture, in this research a correlation between the principles, methods and strategies of sustainable design and construction and the principles of constructing Ohrid vernacular architecture was established. The results of this correlation are the patterns on the basis of which it becomes possible to identify sustainable methods conjoint for the both concepts. It has been ascertained that all of the three Ohrid house types represent real, objective, instinctive and intuitive architectonic answer to adaptation of the house to its specific natural and artificial conditions of the surroundings, which in essence, is the main principle of sustainable architecture. And despite of the existing differences and variations between and within the main types, the Ohrid vernacular architecture has a unique and characteristic expression. This is a result of the mutual characteristics of all houses built on the southern hills of the Upper Town: cascade positioning of the houses on the southern hill, thus all of the houses would experience insolation, ventilation and beautiful views; the technique of constructing the bondruk construction system; optimizing the location potential, reuse of the building material, incorporating the waste into new building material, vertical organization of the inner space into three main partitions (utility rooms, summer and winter apartment), partial (seasonal) use of different house parts, as well as multifunctional use of the winter dwelling rooms and the inner courtyard. The above-listed characteristics, in line with sustainable design and construction, represented within the three types of Ohrid house, are responsible for creating authentic and recognizable expression of this type of regional vernacular architecture.	true
Revitalizacija centara u selima brdsko-planinskih područja istočne Srbije	Revitalization of the village centres in mountain areas of Eastern Serbia	Područja poput brdsko - planinskog istoka Srbije su, u uslovima radikalnih izmena društvenih koncepcija tokom protekla dva veka, doživljavala česte razvojne diskontinuitete, u logici postupanja i dešavanja u prostoru, odnosno u formiranju kulture oblikovanja životne sredine. Motivi za istraživanje mogućnosti revitalizacije centara u selima i specifičnim ruralnim područjima, nalaze se u pokušaju pronalaženja ispravnog razvojnog koda. Isti bi uključivao, sa jedne strane, njihove postojeće prirodne i stvorene resurse i potencijale, a sa druge strane, matricu ispravnog prostornog intervenisanja u njima. Istraživanje predstavlja ispitivanje mogućnosti očuvanja nasleđenih ambijentalnih vrednosti i tradicionalnih pojavnosti i običaja u seoskim sredinama, kroz uvažavanje i pravilno usmeravanje upliva savremenih urbanističkih, socioloških, ekonomskih, demografskih i drugih fenomena, potreba i pojava u društvu. U vidu predmeta – modela istraživanja, tretirano je osam seoskih naselja u istočnoj Srbiji, od kojih je opsežna analiza izvršena na jednom od njih - primarnom, dok su preostala naselja kao sekundarni modeli, tretirani sa osnovnim karakteristikama i potencijalima u komparativnom postupku i svođenju relevantnih rezultata. Primarni model, analiziran je kao reprezentativan predstavnik istovremeno tipičnog i u mnogim aspektima posebnog naselja. Društveno – ekonomske i prostorne uslovnosti, predstavljale su kontekst za analizu prostornih promena, kroz niz definisanih vremenskih perioda od agrarnog, preko zanatskog do industijskog društva i današnjeg vremena tranzicije. Uočene su pojavnosti u stambenoj, a posebno javnoj arhitekturi centara, kao i njihov položaj u širem kontekstu, odnosno u svetlu formiranja V kvalitetnih turističkih klastera. Isti bi se osmišljavali na osnovama postojećih prirodnih i antropogenih resursa i potencijala u okruženju, ali i na bazi predpostavke novog hijerarhijskog umrežavanja naselja, sa novim centrima u ruralnim područjima, nezavisno od postojećih administrativnih podela i nelogičnih teritorijalnih pripadnosti. Kao i za druga područja i naselja u njima, i za oblast brdsko - planinskog istoka Srbije pa i same centre u selima, postoje neaktivirani programi adekvatnog delovanja, koji bi u većoj meri doprineli bržem izlasku iz stagnacije i krize i ublažavanju dugogodišnje depopulacije i deagrarizacije. U meri ispravnosti početnih hipoteza, odnosno pozitivno ocenjenih postavljenih ciljeva istraživanja, stvoriće se teoretski okviri za predlaganje principa pravilnog pristupanja budućem razvoju i delovanju u prostornom planiranju i modelovanju konkretnih osetljivih ruralnih prostora. Osmišljenim stručnim reagovanjem u brdsko – planinskim prostorima Istočne Srbije, a posebno dobro prepoznatim i odabranim centralnim funkcionalnim tačkama u mrežama naselja, postigla bi se održiva revitalizacija opustošenih i dehumanizovanih naselja. Posledično tome, aktivirali bi se do sad neiskorišćeni prirodni i stvoreni resursi, u gravitacionim područjima oko centara, na osnovama osmišljenih organizovanih programa, čime bi se pojavila prilika za savremen i održiv razvoj ruralnih sredina i naselja u njima.	Due to radical shifts of society concepts during the last two centuries, areas such as the mountain region of Eastern Serbia have frequently experienced developmental discontinuity from the aspect of logic of spatial action and events, i.e. the formation of the culture of environment shaping. The motivation for research into the possibility of revitalization of centres in villages and specific rural areas can be found in the attempts at identifying the correct development code. The said code would include, on one hand, their existing natural and artificial resources, and on the other hand, the matrix of correct spatial intervention. This research represents the examination of the possibility for preservation of inherited ambient values and traditional manifestations of customs in rural communities through respect and correct channelling of the influences of contemporary urban, sociological, economic, demographic and other phenomena, needs, and occurrences in the society. Within the scope of this paper- research model, we have reviewed eight rural settlements in Eastern Serbia, with a comprehensive analysis of one of them – the primary settlement, while the remaining ones were treated as secondary models, and their basic characteristics and potentials were used for comparison purposes, as well as for the purposes of calculating relevant results. The primary model was analysed as a characteristic representative of the both typical and by many aspects specific settlement. The social, economic and spatial circumstances provided a context for the analysis of spatial changes during a sequence of defined historical periods, from the agrarian, through craft-oriented, to industrial society and the current transition era. We have highlighted the characteristic phenomena in the architecture of centres as apartment buildings, and especially as public facilities, as well as their position in the wider context, i.e. in the light of formation of top-quality tourism clusters. VII They would be based on the existing natural and anthropogenic resources and potentials in the community, as well as on the new supposed hierarchical settlement network, with new centres in rural areas, independent of the existing administrative organization and illogical territorial affiliations. As in the case of other areas and settlements situated in them, inactive adequate action programmes focusing on the mountain region of Eastern Serbia, and the villages centres themselves, do exist, and they would be able to contribute to a faster exit from stagnation and crisis, as well as to the alleviation of long-standing depopulation and deagrarization. The theoretical framework for proposal of principles of appropriate approach to future development and action in spatial planning and modelling of specific sensitive rural spaces will be developed in line with the degree of credibility of the starting hypotheses, i.e. the positively assessed established research objectives. Well-formulated professional action in mountain regions of eastern Serbia, especially in the form of properly identified and selected central functional points in settlement networks, would accomplish sustainable revitalization of deteriorated and depopulated settlements. Consequently, we would witness the activation of untapped natural and artificial resources in the gravitation zones around centres, based on designed organized programmes, which would, in turn, provide an opportunity for modern and sustainable development of rural areas and settlements located in them.	true
Modelovanje ponašanja arhitektonskih objekata usled potresa od miniranja na površinskim kopovima	Modelling of response of architectural objects under the impact of blast induced vibrations in open pits	U ovoj disertaciji su izučavani pomeranje tla i natpritisak vazdušnog udara koji su prouzrokovani miniranjem, kao i njihovi uticaji na okolne objekte (kuće, domaćinstva), u površinskim kopovima krečnjačkog kamenog agregata. Krečnjak je odabran kao reprezentativna stena za ispitivanje vibracija tla, budući da je to najrasprostranjeniji tip stene u Srbiji i da se najčešće koristi u građevinske svrhe. Takođe, na krečnjaku je urađeno mnogo eksperimentalnih istraživanja potresa prouzrokovanih miniranjem. Prilikom izvođenja redovnih radova na miniranju u kamenolomima krečnjaka merene su brzine oscilovanja tla u blizini okolnih objekata. Uticaji potresa izazavanih miniranjem, u skladu sa postojećom zakonskom regulativom i inženjerskom praksom, procenjeni su korišćenjem konvencionalnih prediktora. Tačnost (pouzdanost) predviđanja korišćenjem konvencionalnih prediktora procenjena je u odnosu na zabeleženu maksimalnu brzinu oscilovanja tla. Kao rezultat istraživanja predložen je novi model za procenu uticaja korišćenjem veštačkih neuronskih mreža sa tri glavne ulazne jedinice (ukupno eksplozivno punjenje, maksimalno punjenje po intervalu usporenja paljenja eksploziva i rastojanje od mesta miniranja do mernog mesta), sa jednim skrivenim slojem i jednim izlazom (maksimalnom brzinom oscilovanja tla). Uticaj na postojeće objekte procenjen je poređenjem maksimalnih brzina oscilovanja sa vrednostima definisanim postojećim vibracionim standardima. Radi detaljnije procene stvarnih uticaja potresa izazvanih miniranjem na okolne kuće izvršena je numerička analiza naprezanja i deformacija u elementima konstrukcije ovih objekata. Ovaj postupak predstavlja nestandardnu metodu u analizi uticaja od miniranja na arhitektonske objekte. Ponašanje okolnih objekata pod dejstvom potresa od miniranja modelovano je metodom konačnih elemenata korišćenjem akademskih i komercijalnih softverskih paketa. Registrovani vremenski zapisi iskorišćeni su za direktnu dinamičku analizu objekata u okolini mesta miniranja. Rezultati dobijeni ovim postupkom pokazuju koji su elementi najopterećeniji i na kojim mestima se mogu očekivati pojave prvih oštećenja. Ta mesta, kao mesta pojave prvih potencijalnih oštećenja, moraju biti predmet posebne pažnje tokom izvođenja miniranja. Rezultati analize okolnih objekata pokazali su da su naprezanja i deformacije od izvedenih miniranja znatno manja od dozvoljenih, što je i očekivano za miniranja izvedena prema važećim standardima. Sa ciljem da se utvrdi uticaj potresa od miniranja na tipske arhitektonske objekte izvršena je analiza nekoliko karakterističnih tipova zidanih i armiranobetonskih objekata korišćenjem registrovanih vremenskih zapisa. Rezultati su pokazali da su naprezanja i deformacije analiziranih tipova objekata, za uticaje registrovane na mernim mestima, manji od dozvoljenih. Dodatnom analizom utvrđena su rastojanja i količine eksploziva koji mogu da izazovu oštećenja. Na taj način, primenom ovog postupka, moguće je utvrditi bezbedna rastojanja od mesta miniranja, a za različite tipove arhitektonskih objekata.	In the present dissertation analyses of the ground motion and air-blast overpressure induced by blasting, as well as their effects on neighbouring buildings (houses, households), in limestone quarries is given. Limestone is chosen as a representative rock unit for investigating the ground vibration because it is the most common rock type in Serbian quarries, and limestone is mostly used rock type for civil engineering purposes. Moreover, there have been many experimental investigations carried out on blast-induced vibrations in limestone. Peak particle velocity near neighbouring structures was measured during ordinary blasting operations in limestone quarries. The effects of blast-induced ground motion were evaluated by conventional predictors, in accordance with legal regulations and engineering practice. Their predictive power was estimated in relation to peak particle velocity. A new artificial neural network model for the prediction of blast impact on building was introduced with three input units (total charge, maximum charge per delay and distance from explosive charge to monitoring point), with one hidden layer and one output unit (peak particle velocity). Effects on existing architectural buildings were estimated by comparing peak particle velocities with values defined by existing vibration standards. In order to more precisely evaluate real effects blast-induced ground motion on neighbouring buildings, a numerical stress – strain analysis of structural elements was carried out. This procedure is a non-standard method in analysis of the impact of blasting on surrounding objects. Surrounding buildings were modelled with finite element method using academic and commercial software packages. Measured time recordings were used for the direct dynamics analysis. The obtained results indicate which elements are the most loaded and on which points damages can be expected to occur first. The results of calculations show that blasting performed in accordance with positive vibration standards cause far less stresses and strains than allowed thus avoiding damages on buildings. In order to determine the effects of blast-induced ground motion on type architectural objects, an analysis was performed on several characteristic types of brick and reinforced concrete buildings using measured time recordings. The results show that stresses and strains of the analysed types of objects are lesser than allowed for impacts registered on the measuring points. Distances and explosive quantities, that do not exceed allowed stresses of the analysed object, were calculated using conventional predictors and the given procedure. In that way, by applying this non-standard method, it is possible to determine safe distances from blasting points for chosen authoritative criteria, and for different types of architectural buildings.	true
Arhitektonski model kvir prostora: studija slučaja Beograda	Architectural model of queer space: case study of Belgrade	U ovom radu se ispituje arhitektonski model, kao niz pravilnosti u prostornim odnosima po kojima se oblikuje arhitektonska struktura, koji služi da ograniči LGBTK (lezbejska, gej, biseksualna, transrodna i kvir) mesta i odvoji ih od, i istovremeno spoji ih sa heteronormativnim okruženjem u Beogradu. Istraživanje se prvenstveno odnosi na poslednjih dvadest godina, od kada je u Beogradu počela normalizacija kvir prostora, sa pojavljivanjem prvih mesta koja su javno samopromovisana kao LGBTK mesta. Arhitektonska podela, koja odvajaja/spaja ova mesta sa okruženjem, istovremeno služi da oblikuje ukupni kvir prostor grada kao prostor podele. Heteronormativnost se u ovom radu posmatra kao poredak koji prisilno održava binarnu podelu među stanovnicima na samo dve normalne grupe, strejt muškarce i strejt žene, od kojih svaka u jednoznačnoj međuzavisnosnosti održava svoj pol, rod, seksualnu orijentaciju, praksu i društvenu ulogu, nasuprot drugoj grupi. S druge strane, pojam kvir se koristi da bi objedinio sve identitete koji izmiču heteronormativnosti. Kvir prostor je prostor čija upotreba ne podleže obavezno i na svakom svom mestu heteronormativnosti, već su mogućnosti za oblikovanje identiteta u njemu brojne i različite, a zbog heteronormativne opresije je podeljen na oblasti pritiska i oblasti slobode. Kvir tela su ona koja u svojoj praksi prelaze tako nastalu granicu u gradu, za razliku od tela koja ostaju i opstaju isključivo u heteronormativnom polju. Cilj je da se ispita uloga arhitekture, istovremeno i kao discipline i kao izgrađene ili simboličke prostorne strukture, u oblikovanju kvir prostora u početku procesa normalizacije LGBTK identiteta u Beogradu. Gradski kvir prostor se oblikuje kroz samoorganizovanje i sasvim je ignorisan od lokalne arhitektonske discipline i njenih institucija. Zbog toga je istraživanje VI moralo krenuti od prostornog života i prakse stanovnika, a ne od institucionalnih projektantskih i planerskih dokumenata i aktivnosti. Pažnja je najviše usmerena na gej i lezbejske prakse, predstave i živote, jer su ove grupe najvidljivije kao nosioci oslobađanja. Najširi teorijski okvir koji prostorne prakse tela i življene prostore objedinjuje sa arhitekturom pronađen je u Lefevrovoj (Lefebvre) prostornoj dijalektici, prema kojoj je proizvodnja društvenog prostora zasnovana na trijadi prostorne prakse kao percipiranog, reprezentacija prostora kao zamišljenog i prostora reprezentacije kao življenog prostora. Novim čitanjem Lefevrove dijalektike proizvodnje prostora iz ugla kvir teorije, nudi se metodološki okvir kojim je moguće povezati prostorno-arhitektonske modele koji nastaju u popularnom i stručnom govoru o i oko kvir osoba kroz upotrebu arhitektonskih metafora plakara, sopstvene sobe, četiri zida i periferije, sa prostorno-arhitektonskim modelima u prostornoj praksi i u strukturi na kvir mestima i oko kvir mesta u materijalnom prostoru grada. Najpre se ispituje percipirani kvir prostor kao prostorna praksa strukturno uslovljenih kontakata kvir tela i sa kvir telima u gradu, kroz ograničenja u kretanju, pogledu i drugim čulnim opažajima. Prvo se analizira arhitektura kao instrumentu za opažanje, po ugledu na koncept naprave za uramljivanje (framing device) Beatriz Kolomine (Colomina 1992). Potom se analizira arhitektura kao instrument za orijentisanje, po ugledu na fenomenološki koncept naprave za orijentisanje (orientation device) Sare Ahmed (Ahmed 2006a). Na osnovu načina na koji izgrađena struktura služi da sakrije i dezorijentiše kvir telo u gradu na početku procesa normalizacije, pokazuje se da percipirani kvir prostor nastaje asimetričnom podelom na heteronormativno polje i kvir mesta, kao prostorna praksa kojom se prostor krivi oko kvir tela i mesta, zajedno sa pravcima kretanja i percepcije, i praksa kojom se otežava istovremeno određivanje položaja i orijentacije kvir tela u arhitektonskoj strukturi grada. Potom se analizira reprezentacija kvir prostora koja nastaje u govoru kroz upotrebu arhitektonskih metafora plakara, sopstvene sobe, četiri zida i periferije. Složeno značenje ovih metafora i njegova veza sa situacijom LGBTK VII osoba u prostoru se analizira na osnovu dve grupe lingvističkih teorija. Prema grupi teorija poređenja je sličnost prostornih odnosa u metafori i društvenih odnosa kvir osoba ključna za prenošenje značenja. Prema grupi teorija interakcije i govornog čina, upravo je razlika između ta dva odnosa ključna. Na osnovu ova dva pristupa vidimo kako jedna ista prostorna struktura može poslužiti istovremeno za izopštavanje i uključivanje LGBTK osoba u društvo. Arhitektonska struktura koja se pojavljuje kao slika u kvir metaforama, kao i kasnije arhitektonska struktura u materijalnom prostoru grada na i oko kvir mesta će biti analirana na nivou prostornog modela po ugledu na metod koji su koristili Hilijer i Hanson (Hillier and Hanson 1984). Modeli će biti oblikovani apstrahovanjem arhitektonske strukture na osnovu restrikcija u kretanju do ćelijskog nivoa, kao i u odnosu na način povezivanja među ćelijama. Ovako oblikovani modeli otkrivaju da je telo u kvir metaforama uvek smešteno iza granice spolja/unutra. Pored toga, oni pokazuju da je moguće posmatrati ove metafore u sinergiji, jer se svaka od njih odnosi na po jedan hijerarhijski nivo na skali arhitektonske razmere, pa svaka uključuje i podrazumeva narednu. Zbog toga je moguće preklopiti njihove prostorne modele, kako bi se dobio sintezni model kvir prostora koji nastaje u govoru. Ovako formirani sintezni model ukazuje na kvir mesto kao na ono koje je višestruko odvojeno granicama spolja/unutra iz heteronormativnog javnog gradskog prostora. Izdvajanje kvir tela je takvo da se ono nalazi istovremeno u unutar centra i na periferiji. Zbog toga je ovaj model nazvan modelom unutrašnje periferizacije. U periodu o kome ovde govorimo pojavljuje se i smenjuje na desetine različitih LGBTK mesta u gradu. U analizi življenog kvir prostora stanovnika u Beogradu najpre će biti formirana tipologija kvir mesta u odnosu na kriterijume na osnovu kojih njihova arhitektonika učestvuje u oblikovanju percipiranog i reprezentovanog kvir prostora, kao i u odnosu na njihovu namenu i ulogu u aktivnostima stanovnika. Na osnovu ovako oblikovane tipologije biće prikazan razvoj LGBTK mesta u vremenskoj perspektivi u poslednjih dvadesetak godina, kao i prema njihovoj dispoziciji u gradu. Za istorijat LGBTK mesta koristiće se različiti pisani, arhivski i elektronski izvori, kao i 24 polustrukturisana VIII intervjua sa organizatorima i posetiocima ovih mesta, obavljena u periodu između 2010. i 2016. godine. Pored intervjua korišćen je i antropološki metod direktnog posmatranja i etnografije koji je primenjivan u poslednjih dvadeset godina, na velikom broju opisanih mesta. Isti metod svođenja arhitektonske strukture na model, metod koji je korišćen da bi se analizirala strukura prikazana u metaforama, biće primenjen i ovde kako bi se modelovala pojedinačna LGBTK mesta u prostoru grada. Na taj način je omogućeno međusobno poređenje prostornih modela na ovim namenski i arhitektonski veoma raznorodnim lokacijama. Tako je takođe moguće porediti njihove modele sa modelom unutrašnje periferizacije. Odavde je zaključeno da se model unutrašnje periferizacije sa manjim odstupanjima u celom ovom periodu uporno ponavlja u strukturi LGBTK mesta. Ponavljanje modela unutrašnje periferizacije na kvir mestima moguće je tumačiti na dva načina. Ako ga posmatramo kao primenu reprezentacije kvir prostora oblikovane u govoru, onda možemo zaključiti da ovaj model dosledno ponavlja društvene odnose integrisanja kroz izolovanje i otkrivanja kroz skrivanje koji je imanentan kvir telima. Međutim, proširujući teoriju performativnosti Džudit Batler (Judith Butler) na prostorne fenomene, možemo da posmatramo kako ovo citatno i učestalo ponavljanje unutrašnje periferizacije, koje kreće iz govora i prelazi u gradski prostor, pa se nastavlja dalje od mesta do mesta, proizvodi LGBTK identitete. U uočenoj promeni arhitektonskog modela unutrašnje periferizacije na mestima povremenih žurki, kao i na prijateljskim mestima možemo prepoznati lagano klizanje ka otvorenosti u načinu obrazovanja lokalnih LGBTK identiteta. Svi ovi zaključci govore o razvoju kvir prostora u Beogradu kao samoorganizovanoj praksi. Imajući to u vidu, kao i iskustva velikih gradova na Zapadu, gde je normalizacija kvir prostora daleko uznapredovala i delimično institucionalizovana, predlaže se i dodatno istraživanje i upoznavanje potreba i mogućnosti u lokalnim uslovima, kako bi se u okviru lokalne arhitektonske discipline moglo započeti planiranje i projektovanje za LGBTK zajednice i time kreirao slobodniji grad primereniji svojim stanovnicima. IX	In this paper we examine an architectural model, as a system of regularity in spatial relations by which is formed an architectural structure, which serves to delimit the LGBTQ (Lesbian, Gay, Bisexual, Transgender and Queer) places and separate them from, and at the same time to connect them with heteronormative environment in Belgrade. The research is primarily related to the last twenty years, since the beginning of normalization of queer space of Belgrade, with the appearance of the first places that are openly LGBTQ. Architectural division, which connects/disconnects these places with the environment, serves simultaneously to shape the queer space of the city as a whole as a space of division. Heteronormativity in this paper is seen as an order which oppressively maintains binary division among the inhabitants into two normal groups, straight men and straight women, each of which keeps its sex, gender, sexual orientation, practice and social role in an unambiguous interdependence, as opposed to the other group. On the other hand, the notion of queer is used to bring together all the identities which escape heteronormativity. Queer space is a space whose use is not always and at each of its places heteronormative. The opportunities for the creation of identity in this space are numerous and varied. Because of heteronormative oppression queer space is divided into areas of pressure and the areas of freedom. Queer bodies are those which in their practice cross the border which is produced in this way in the city, as opposed to the bodies that remain and survive in a heteronormative field only. The aim is to examine the role of architecture, both as a discipline and as built or symbolic spatial structure, in the creation of queer space at the beginning of the process of normalization of LGBTQ identities in Belgrade. Queer space of the city is formed by self-organization and it is completely ignored by local architectural discipline and its institutions. Therefore, this research should start from the spatial life and practices of XI the population, rather than from institutional designing and planning documents and activities. The attention was primarily focused on the gay and lesbian practices, performances/representations and lives, because these groups are the most visible in liberation. The widest theoretical framework, which combines spatial practices of the body and lived spaces with the architecture, is found in Lefebvre’s spatial dialectics, according to which the production of social space is based on the triad of spatial practice as perceived, representations of space as conceived and spaces of representation as lived space. The new reading of Lefebvre dialectic of production space from the perspective of queer theory, offers the methodological framework which can relate spatial architectural models, which appear in the popular and professional discourse on and about queer people through the use of architectural metaphors of the closet, the room of one’s own, the four walls and the periphery, to the spatial and architectural models in the spatial practices and in the structure in and around the queer places in the material space of the city. The perceived queer space is examined as a spatial practice of structurally conditioned contacts of queer bodies and with queer bodies in the city, through restrictions in movement, sight and other sensory perceptions. First, the architecture is analyzed as an instrument of perception, following the concept of framing device by Beatriz Colomina (1992). Then we analyze the architecture as an instrument of orientation, following the phenomenological concept of orientation devices by Sara Ahmed (2006a). Based on the way the built structure serves to hide and disorient queer body in the city at the beginning of the normalization process, it is shown that the perceived queer space is generated by asymmetric division into heteronormative field and queer places, as a spatial practice which curves space around queer bodies and places, together with the lines of movement and perception, and also practice which makes it difficult to simultaneously determine the position and orientation of queer bodies in the architectural structure of the city. Afterwards, we analyze the representation of queer space that appears in the speech through the use of architectural metaphors of the closet, the room of one’s own, the four walls and the periphery. Complex meaning of these metaphors and its connection to the XII LGBTQ situation in space are analyzed based on two groups of linguistic theories. According to the group of comparison theories the similarity of spatial relations in metaphor and social relations of queers is the key to the transfer of meaning. According to the group of theories of interaction and speech act, it is the difference between these two relations that is the key. Based on these two approaches, we see how one and the same spatial structure can be used simultaneously for exclusion and inclusion of LGBTQ people in the society. The architectural structure that appears as an image in queer metaphors, and later architectural structure in the material space of the city in and around queer places, will be analyzed by spatial model based on the method used by Hillier and Hanson (1984). The models will be designed by abstracting architectural structures to the level of cells, based on restrictions in the movement and in relation to the way of connection between cells. The models formed in this way reveal that the body in queer metaphors is always located behind the outside/inside border. In addition, they show that it is possible to observe these metaphors in synergy, as each of them relates to one hierarchical level of architectural scale, and each includes and implicates the following one. It is therefore possible to overlay their spatial models, in order to create a synthesis model of queer space that emerges in the speech. The synthesis model indicates a queer place as the one that is separated from heteronormative public urban space by multiple outside/inside borders. Segregation of queer bodies is such that the body is simultaneously inside the center and in the periphery. That is why this model is labeled a model of inward peripherization. In the period considered in this paper dozens of various LGBTQ places appear and succeed one another in the city. In the analysis of lived queer space in Belgrade will be formed typology of queer places in relation to the criteria by which their architectonics participate in the shaping of perceived and represented queer space, and in relation to their use and role in the activities of the inhabitants. Based on this typology, the development of LGBTQ places in the last twenty years will be shown in time perspective, and according to their disposition in the city. The history of LGBTQ places will be supported with various written, archival and electronic sources, as well as with XIII 24 semi-structured interviews with the organizers and visitors of the places, carried out between 2010 and 2016. In addition to the interviews, an anthropological method of direct observation and ethnography was used in the last twenty years in most of the described places. The same method of reducing the architectural structure to the model, method which was used to analyze the structure in metaphors, will be applied here too, in order to model LGBTQ places in the city. In this way it is possible mutual comparison of spatial models in functionally and architecturally very diverse locations. It is also possible to compare their models with the model of inward peripherization. It is concluded that the model of inward peripherization is persistently repeated in the structure of LGBTQ places, only with small deviations throughout this period. Repeating of the model of inward peripherization in the queer places can be interpreted in two ways. If we look at it as an application of representations of queer space designed in a speech, then we can conclude that this model consistently repeats social relations of integration through isolation and disclosure through closure, which is immanent to queer bodies. Nevertheless, by extending Judith Butler’s theory of performativity to spatial phenomena, we can observe how this citation and iteration of the inward peripherization, which moves from the speech to urban space, and continues on from place to place, produce LGBTQ identities. By the noted change in the architectural model of the inward peripherization in places of occasional parties, as well as in friendly places, gently sliding towards openness in the way of shaping of local LGBTQ identities can be recognized. All these conclusions describe the development of queer space in Belgrade as a self- organized practice. Bearing this in mind, as well as taking into account the experiences of large cities in the West, where the normalization of queer space is much more advanced and partly institutionalized, further research and learning needs and opportunities in local circumstances is proposed, in order to begin planning and designing for LGBTQ communities within the local architectural discipline and thus to create a more liberal city, more appropriate to its inhabitants. XIV	true
Savremeni prostori heterotopija u arhitekturi	Contemporary spaces of heterotopians in architecture.	Inicijalna namera ovog rada je detektovanje prostornih fenomena, a potom njihova inkorporacija u teorijske postulate Mišela Fukoa (Michel Foucault) o „drugim prostorima“ ili heterotopijama. U tom cilju potrebno je dati prikaz dominatnih tendencija prisutnih u urbanom pejzažu. Trenutni arhitektonski i urbani prostor je, pretpostavlja se, „distanciran“ od moderne i postmoderne paradigme, usled čega ga je teško pojasniti i kategorisati. Pored toga, iako opšti aktuelni društveni i kulturni ambijent odaje utisak nepostojanja prostora za produkciju nečeg novog i autentičnog, sveprisutniji su fenomeni koji tu pretpostavku negiraju. Zapravo karakteristična fragmentacija, nedefinisanost, neuravnoteženost današnjih okolnosti u društvenom i prostornom kontekstu sugerišu i na odbacivanje stereotipnih formi. Sve prisutniju su prostorni asamblaži, koji su ad hok rešenja, ili pastiši u vidu novih nadograđivanih, implementiranih struktura ili formi u urbanom pejzažu. U takvom ambijentu koncept tradicionalne urbane celine biva narušen, tako da ono što definiše celovitost u vidu prisustva kontinuiteta i u vidu izvesne svesti o postojanosti i trajanju biva potisnuto. Diskontinuitet, kako vremenski, tako i prostorni, negira istorijsku hijerarhiju događaja, tako da dolazi do narušavanja simboličke slike i prostornog identiteta grada. Takođe, u radu će se naparviti osvrt na utopijsko i distopijsko promišljanje i projektnu praksu, u cilju detektovanja nove „topije“ ili novog toposa, kao neminovnog „utopijskog nasleđa“. Aktuelnost teorije Mišela Fukoa o hoterotopijama je prepoznata kao koncept deteritorijalizacije ili prostornoh izmeštanja, kao i kao koncept pozicije između realnosti i fikcije. U radu je kroz teorije o „drugosti'“pojašnjena sama konceptualizacija i principi nastanaka i svojstava „novih-starih“ fenomena ili heterotopija. Naime, ove prostorne fenomene definiše novi set odnosa koji je i uslovljen uticajem opšteg kulturno- društvenog ambijenta. Stoga, nije isključivo reč o autonomnim i izolovanim heterotpskim strukturama, već se mora uzeti u obzir i njihova adaptibilnost i kreiranje nekih novih „hibridnih“ formi, „trećih mesta“, ili „prostora između“ za koje se može pretpostaviti da su sve prisutniji u arhitektonskoj i urbanističkoj teoriji. Budući, da je hipoteza zasnovana na pretpostavci o promeljivom identitetu, lokalitetu i značenju heterotopija kao i na pretpostavci da neke strukture koje se temelje na konceptu identiteta, jesu i nisu heterotopije, analizirani su aspekti koji definišu identitet toposa, potom i heterotoposa. Heterotopije svedoče o pomerenim granicama kada je reč o arhitektonskoj i urbanističkoj praksi. Može se pretpostaviti da današnje socio-kulturne okolnosti ukazuju na inferirnost stanovnika grada i njegovu potrebu za traganjem skloništa, nekim vidom izolacije, azila, pribežišta, dok je na drugoj srani reč o traganju za prostornim senzacijama. I u jednom i drugom slučaju pretpostavlja se da je reč o heterotopijama ili dva oprečna prostorna fenomena koji će u radu biti analizirani.	The initial intention of this work is detecting spatial phenomena, then their incorporation in theoretical postulates of Michel Foucault about ''other spaces'' or heterotopias. Due to that goal there is a need to give a display of dominant tendencies present in urban landscapes. Current architectural and urban space is, it is presumed, ''distant'' from modern and postmodern paradigm, due to which is hard to explain and categorize it. Nevertheless, although general actual social and cultural environment reveals the impression of nonexistence of space for production of something new and authentic, all-present are phenomena which negates that presumption. Actually the characteristic fragmentation, undefined, imbalance of today circumstances in social and spatial context suggest also rejecting of stereotypical forms. More present are spatial assemblages which are ad hoc solutions or pastiches in form of new upgraded, implemented structures or forms in urban landscape. In that environment the concept of traditional urban whole is disrupted, thus that which defines wholeness in form of presence of continuity and in form of certain consciousness about the existence and duration is rejected. Discontinuity, like temporal, thus spatial negates historical hierarchy of events, so it comes to violation of symbolical picture and spatial identity of the city. Also, in this work it will be made a review on utopian and dystopian reflection and project praxis, in order to detect the new ''thopia'' or new topos, as unavoidable ''uthopical heritage''. Actuality of Michel Foucault’s theory about heterotopias is recognized as the concept of deterritorization and spatial relocation, as well as concept of the position between reality and fiction. In this work through the theories of ''otherness'' is explained the conceptualization and principles of occurrence and properties ''new-old'' phenomena and heterotopias. Namely, this spatial phenomena are defined by new set of relations which is conditioned by the influence of the general cultural and social environment. Therefore, it is not the issue exclusively about autonomous and isolated heterotopic structures, but there is a need to take into consideration their adaptability and creating some new ''hybrid'' forms, ''third places'', or the spaces ''in-between'' which are presumed to be more and more present in architectural and urban theory. Being, that hypothesis is based on presumption of mutable identity, location and meaning of heterotopias, likewise on presumption of structures which are based on the concept of identity, are and are not heterotopias, aspects which define identity of topos are analyzed, then also heterotopos. Heterotopias testify about moved borders when there is a word about architectural and urban praxis. It can be presumed that today social and cultural circumstances show inferiority of the citizens and their need for shelter search, some kind of isolation, asylum, refuge, while on the other side there is a word about search of spatial sensations. In both cases, it is presumed that there is a word about heterotopias or about two contrary spatial phenomena which are to be analyzed.	true
Arhitektura Šar planinskih sela sa posebnim osvrtom na stvaralaštvo sredačkih zidara	Architecture of Šara mountain villages with a particular view on the entrepreneurship of Sredačka district masons	Šarplaninska sela bogata su kulturno-istorijskim spomenicima iz skoro svih perioda ljudske civilizacije. Oni su rasuti po najprivlačnijim prirodnim ambijentima ove planine, ali i u kompleksima stare arhitekture u urbanim i ruralnim celinama spomeničkog karaktera. Prizren je prava riznica kulturnog nasleđa; to je „grad-muzej“, biser stare arhitekture. Prizrenu se, u mnogo čemu, pridružuje Tetovo, na drugoj strani Šar-planine. Ali, dok se u arhitekturi gradskog urbanog tkiva oseća uticaj orijentalne arhitekture, dotle su šarplaninska sela uspela da sačuvaju i osobenosti izvorne, autentične arhitekture srpskog naroda koji od davnina živi na ovoj našoj planini. Šar-planina je zato pravi arhitektonski i etnološki park, koji do današnjih dana svedoči o istorijskom razvoju i trajanju ljudskog života na njoj. U tom arhitektonsko-etnološkom parku sreću se izvorni arhitektonski oblici, koji su zbog udaljenosti sela u dalekom, visokoplaninskom prostoru, stvoreni od lokalnog materijala i koji su oblikovani na najbolji način u datim klimatskim i socijalnim uslovima, ali uvek skladno, prepoznatljivo i sa nenadmašnom pečalbarskom veštinom sredačkih zidara. Zato kompleksi sa starim seoskim kućama, zajedno sa prirodnim ambijentom u kome se nalaze, deluju nestvarno, poput „malog grada“, prenesenog i utkanog u njih pečalbarskom veštinom zidara koji su gradili kuće u svojim selima, pa arbanaške kule, od Prizrena, preko Rumunije i sve do američkih zemalja. Narodno neimarstvo u selima Šar-planine dostiže svoj vrhunac na razmeđu između XIX i XX veka. To se posebno vidi na stambenim objektima iz tog perioda koji poseduju izuzetnu obradu arhitektonske konstrukcije i autohtonost arhitektonskog oblika. Značajna je društveno-istorijska pojava pečalbarenja majstora‒zidara, koja je na indirektan način uslovila i pojavu ovako jedinstvene arhitekture. Prema tome, može se zaključiti da je arhitektura u selima Šar-planine rezultat autohtonih karakteristika sredine u kojoj je nastala, ali i elemenata koji su rezultat pečalbarskih kretanja njenih vrsnih zidara. Verujem da će ovaj rad skrenuti pažnju naše naučne i stručne javnosti na ovaj deo arhitektonskog nasleđa, te da će doprineti boljem sagledavanju arhitekture ovog, pomalo zaboravljenog područja i naći svoju primenu u daljim arhitektonskim istraživanjima.	The villages of Šar Mountain are characterised by abundant cultural-historical monuments from different periods of human civilisation. The heritage that is widely spread over the most attractive natural landscapes also is noticeable in the form of the complexes of old town or village architecture with monumental character. Prizren is a real treasury of cultural heritage; it is the "town-museum", and the pearl of traditional architecture. In many aspects, Tetovo, from the other side of Šar Mountain, joins Prizren. While oriental influence is noticeable in the architecture of urban tissue, the villages on Šar mountain, on the other hand, contain preserved authentic architecture of Serbian population that it inhabiting this area since olden times. Šar mountain is hence genuine architectural and ethnological park that witnesses on historical development and life continuum. In this architectural-ethnological park, original architectural forms may be found. Due to large distances and high mountain space, the forms, made of locally available materials and with high skills of the masons of Sredačka župa, are shaped according to climatic and social conditions, in all cases with the right measure and recognizable character. From these reasons, old houses' complexes, together with natural landscape in which they are set, seem unreal and resemble of "small town" with embodied skills of artisans who firstly built houses in their own villages, and then Arbanas towers, from Prizren, over Romania, all until the United States. Traditional construction in the villages of Šar Mountain reached its culmination at the turn of the 19th to 20th century. This is especially visible on residential buildings with remarkable structure and autochthonic architectural form. On the other hand, the socio- cultural phenomenon of the artisans' emergence has also influenced the appearance of this unique architecture. In this regard, it may be concluded that the architecture of Šar Mountain villages represent the result of autochthonic environmental characteristics as well as of the movement and skills of its excellent masons. It is believed that the work focusing on this part of architectural heritage will get the attention from our scientific and professional public, contribute to better overview of the research area and find its application in further architectural studies.	true
Primena koncepata umetničkih instalacija u arhitektonskom projektovanju	The use of concepts of art installations in architectural design.	Teza se bavi istraživanjem umetničke instalacije kao 'prostorne prakse' koja se koncipira i realizuje između umetničkog i arhitektonskog projekta. U užem smislu, istraživanje je usmereno alternativnim prostornim idejama koje se tiču novog seta odnosa između subjekta i prostornog poretka kao i novih načina nastanjivanja i aproprijacije prostora. Kroz teorijski diskurs utemeljen u metodologiji arhitektonskog projektovanja i teoriji savremene umetnosti, predmet rada se usmerava na analizu referentnih primera koji ukazuju na načine na koje su određene prostorne situacije istražene preko instalacija osmišljenih od strane umetnika i arhitekata. Pozicioniranje umetničke instalacije kao 'prostorne prakse' između polja istraživanja umetnosti i polja istraživanja arhitekture zahtevalo je kritički pregled referentnih tekstova koji se odnose na zamisao 'međuprostora' i odredilo je interdisciplinarni karakter ovog istraživanja. Polazne hipoteze u ovom radu su da umetnička instalacija otvara novo polje za arhitektonska istraživanja u fazi koncipiranja i realizacije projekta te da umetnička instalacija može da se postavi u polje arhitektonske teorije i prakse kao samostalni vid stvaralaštva koji preispituje i menja ustanovljeni odnos koncipiranja i realizacije arhitektonskog projekta. Uporište hipoteza zasnovano je na tumačenjima savremenih teorija arhitekture i umetnosti, prema kojima upotrebom principa korišćenih u koncipiranju i realizaciji umetničke instalacije arhitekti mogu da dinamiziraju projektantski proces usvajajući manje determinišući okvir i oslobađajući arhitekturu definisanosti sopstvenim medijima (Rendell, 2006; Grosz, 2001; Hill, 1998; Bonnemaison & Eisenbach, 2009). Tako se, preuzimanjem osobenosti umetničkih instalacija unutar istraživanja u arhitektonskom projektovanju, problematizuje uspostavljeni poredak arhitektonskog projektovanja sa ciljem formiranja samostalne profesionalne pozicije. S’ obzirom na to da je ovo istraživanje sprovedeno na 'dijagonalnoj osi' između umetnosti i arhitekture, doprinos ove disertacije je dvojak. Prva grupa razultata istraživanja sumira, kroz izdvojene studije slučaja, ključne koncepte umetničkih instalacija unutar polja istraživanja umetnosti. Druga grupa rezultata istraživanja upućuje na potencijal i značaj koncepata umetničkih instalacija u arhitektonskom projektovanju, te sumira, kroz studije slučaja, koncepte umetničkih instalacija kao arhitektonske kategorije. Istraživanje naglašava značaj uloge umetničkih instalacija u arhitektonskom projektovanju i postavlja nova istraživačka pitanja koja vode nadograđivanju znanja u oblasti procesa projektovanja. Takođe, istraživanje umetničke instalacije sa stanovišta arhitektonskog projektovanja ističe važnost interdisciplinarnosti u projektovanju i istraživanju i značaj integrisanja načela umetnosti u oblast arhitektonskog projektovanja sa ciljem stvaranja inovativnog pristupa problematici projektovanja.	The thesis is engaged in researching art installations as 'spatial practices' that are conceived and implemented between the artistic and architectural project. In a narrow sense, the research aims to alternative spatial ideas concerning a new set of relations between the subject and a spatial order, as well as new ways of appropriation of space. Through theoretical discourse based in the methodology of architectural design and the theory of contemporary art, thesis item is routed to analyze reference examples that indicate the ways in which certain spatial situations are explored through installations designed by artists and architects. Positioning art installations as 'spatial practices' between the fields of research of art and research of architecture required a critical view of reference texts that refer to the concept of 'betweenness' and gave an interdisciplinary character to this research. The initial hypothesis in this thesis is that art installation opens up a new field of architectural research in conceiving and implementing the project so that art installations can be placed in the field of architectural theory and practice as an independent form of creativity that challenges and changes the established relationship of conception and realization of architectural project. A main stay of the hypothesis is based on interpretations of contemporary theories of architecture and art, according to which the use of the principles used in the design and realization of the artistic installation, the architects can dynamize the designing process of adopting a less determining framework and liberating architecture, defining its own media (Rendell 2006; Grosz, 2001; Hill, 1998; Bonnemaison & Eisenbach, 2009). Therefore, by assuming the characteristics of art installations within research in architectural design, the established order of architectural design with the goal of creating an independent professional positions is problematised. Given that this research was conducted on the 'diagonal axis' between art and architecture, the contribution of this thesis is twofold. The first set of results summarizes, through isolated case studies, key concepts of art installations within the field of art research. The second group results indicate the potential and importance of the concepts of art installations in architectural design, and summarizes, through case studies, the concepts of art installations as architectural categories. The study emphasizes the importance of the role of art installations in architectural design and sets new research questions that lead to the upgrading of knowledge in the field of the design process. Also, the study of art installations from the standpoint of architectural design emphasizes the importance of interdisciplinarity in the design and research and the importance of integrating the principles of art in the field of architectural design with the aim of creating innovative approach to the issue of design.	true
Modelovanje jonosfere za potrebe određivanja uticaja na GPS signale u mrežnom RTK okruženju	Ionosphere modeling for the purposes of determination of influence to the GPS signals within network RTK environment.	Doktorska disertacija posvećena je razvoju odgovarajućeg modela za potrebe predikcije jonosferskih korekcija zadovoljavajuće tačnosti za mrežne RTK (eng. Real Time Kinematic) aplikacije. Kao prvi korak ka ostvarenju ovog cilja vršeno je ispitivanje kratkoročnih vremenskih karakteristika jonosfere na regionalnom prostornom nivou, kako bi se kvantifikovalo njeno ponašanje tokom različitih sezonskih i dnevnih perioda. Korišćeni su podaci sa mreže permanentnih stanica na teritoriji Republike Srbije. Analiza je vršena za četiri različita sezonska perioda tokom prethodnog solarnog maksimuma tokom 2013. i 2014. godine. Nakon toga vršeno je analiziranje promena sadržaja elektrona u D regionu izazvanim solarnim H-flerovima na osnovu čega su istraživane vremenske promene TESD (eng. Total Electron Content in D region) i njihov udeo u ukupnom TES (eng. Total Electron Content) odnosno ukupnom kašnjenju GPS (Global Positioning System) signala. Na kraju pristupljeno je definisanju odgovarajućeg modela za potrebe predikcije jonosferskih korekcija za mrežne RTK primene na teritoriji Srbije. Testirane su dve prediktivne šeme bazirane na metodu linearne regresije i primeni neuronskih mreža. Pokazalo se da primena neuronskih mreža daje bolje rezultate i da je u stanju da prediktuje jonosfersko kašnjenje na nivou tačnosti od ± 5cm u proseku od oko 9 minuta u odnosu na realnu stopu jonosferskih promena. Ovi rezultati sugerišu da tehnika modelovanja primenom neuronskih mreža, može da se primeni kod mreža RTK sistema za prediktovanje greške jonosferskog kašnjenja koji će omogućiti pozicioniranje na centimetarskom nivou tačnosti. ii	Doctoral dissertation is dedicated to the development an of appropriate model for the purposes of prediction of ionospheric corrections with satisfactory accuracy for network RTK (Real Time Kinematic) applications. As a first step towards achieving this goal, short-term temporal ionospheric characteristics on regional spatial level were investigated in order to quantify its behaviour during different seasonal and daily periods. Data from permanent network stations on the territory of the Republic of Serbia were used. The analysis was conducted for four different season periods during the previous solar maximum during the years 2013 and 2014. After that the analysis of the change in the content of electrons in the D region caused by solar X-flares was performed, based upon which the temporal changes ТЕСD (Total Electron Content in D region) and their share in total TEC (Total Electron Content), i.e. the total delay of GPS (Global Positioning System) signals were investigated. Finally, an appropriate model for the purpose of the prediction of ionospheric corrections for network RTK applications on the territory of the Republic of Serbia is produced. Two predictive schemes based on the linear regression method and on the use of neuron networks were tested. It has been shown that the use of the neuron networks gives better results and is able to predict ionospheric delay on ±5 cm accuracy level in 9 minutes average in regards to the real rate of ionospheric changes. These results suggest that the modelling technique using neuron networks can be applied for predicting the ionospheric delay error in network RTK systems that will enable centimeter level positioning. iv	true
Ar deko u srpskoj arhitekturi	Art deco in Serbian architecture	Kao graditeljska pojava ar deko je uočen u istoriografiji 1966. godine, povodom prve retrospektive Međunarodne izložbe savremenih dekorativnih i industrijskih umetnosti, održane u Parizu 1925. Pojava interesovanja istoriografije za ar deko podudarila se sa slabljenjem modernističke dominacije, čiji su kriterijumi bili zasnovani na utilitarnoj, racionalnoj i socijalno opravdanoj arhitekturi. Srpska istoriografija pokušala je da ukaže na ar deko u srpskoj arhitekturi 1990. godine, ali je do početka novog milenijuma tumačenje ovog stila bilo marginalizovano. Tek 2001. fenomen ar dekoa definisan je u okvirima nacionalne graditeljske baštine, a 2013. godine je predstavljanjem inostranoj javnosti bio postavljen u širi međunarodni okvir. Ovaj rad ima za cilj da na osnovu proučavanja relevantne i dostupne arhivske, muzejske, hemerotečke i fototečke građe, kao i dokumentacije iz privatnih zbirki, uz analize neizvedenih projekata i objekata na terenu, šire definiše pojavu ar dekoa u srpskoj arhitekturi, ukaže na razloge njegovog pojavljivanja, stilske odlike, rasprostranjenost i kvantitativnu zastupljenost. Cilj je da se ar deko sagleda paralelno sa tokovima koji su prikazani u dosadašnjoj istoriografiji i izdvoji ga naspram njih, kroz definisanje njegovih osobenosti i prepoznatljive morfologije. Komparativnom analizom sa svetskim primerima ar deko stila, rad teži da ukaže na osobenost stilske nekoherentnosti, kreativnog individualizma i obilje motiva, koji su ostvarenje snažnog umetničkog pokreta. Ar deko traži unikatnost forme i realizovane ideje, ali poseduje osobine koje tvore princip stila, savremenog, luksuznog i dekorativnog. Princip savremenog dopušta inspiraciju istorijskim epohama, od kojih posebno reinterpretira nacionalne, klasične i egzotične teme, ne dopuštajući direktno citiranje njihovih motiva. Istovremeno ar deko parafrazira brojne savremene umetničke pojave koje mu prethode, i koje u međuratnom periodu još uvek stvaraju sliku modernog. Parafrazirane teme i motive ar deko upotrebljava isključivo u dekorativnu svrhu, kao instrument stvaranja pretstave o luksuzu. Izrazitoj zastupljenosti ar dekoa u srpskoj arhitekturi doprineli su snažan uticaj Pariza kao umetničkog, školskog i kulturnog uzora, i svest o potrebi stvaranja nove arhitekture koja će oslikavati savremeno doba i modernog pojedinca. Vreme kada se javio ar deko obeležio je eskapizam „ludih dvadesetih“, dinamika, tehnološki napredak i emancipacija. Snažna posleratna izgradnja srpskih gradova, pre svega Beograda, bila je jedan od presudnih faktora za intenzivnu zastupljenost ar deko građevina. Potreba stvaranja pretstave o luksuzu, iskazivana kroz savremeni, moderni dekor, opredelila je investitore u međuratnoj epohi, i usmerila graditelje ka novom „modernom“ stilu. Arhitektura ar dekoa u Srbiji, se po svojoj funkciji deli na javnu i privatnu, profanu i sakralnu. Postoje internacionalni i nacionalni tok ar dekoa u srpskoj arhitekturi. U razvoju stila uočavaju se rana, zrela, i pozna razvojna faza. Objekti po svojim tipološkim karakteristikama svrstavaju se u skulptoralnu i ornamentalnu grupu. U odnosu na razvojnu fazu, karakternu grupu i afinitete graditelja primećuju se različiti stepeni dekorativnosti objekata, koje prepoznajemo kao objekte naglašenog, umerenog i svedenog tipa. Prvu ranu fazu razvoja ar dekoa u srpskoj arhikteturi predstavlja rana recepcija stila u periodu od 1920. do 1927. godine, nastala pod snažnim uticajem arhitekture Pariza nakon Prvog svetskog rata i Međunarodne izložbe moderne dekorativne i industrijske umetnosti održane 1925, po kojoj je ovaj stil dobio svoje ime. Uporedo sa francuskim uticajem mogu se pratiti i uticaji češke arhitekture, stilske preformulacije secesije i umetnosti bečke radionice, odjeci italijanskih uticaja, kao i dekorativnih formulacija koje su doneli ruski arhitekti emigranti, čiji je uticaj takođe evidentan u formiranju arhitekture ar dekoa u Srbiji. Od 1927. godine nastaju prelazni projekti kojima se završava rana i počinje zrela faza srpskog ar dekoa. U ovoj fazi nivo parafraziranja inostranih uzora umanjen je u korist lične inventivne interpretacije likovnog koncepta modernog dekorativnog luksuznog stila. Osobina zrelog ar deko stila u srpskoj arhitekturi jeste sinteza moderne forme i fasadne plastike, kao i jačanje ornamentalnog pravca ovog stila, izraženog u upotrebi modernih i istorijskih, klasičnih ili nacionalnih motiva, koji se apstrahuju u ornament. Period kraja treće decenije je trenutak kada ar deko u Srbiji doživljava najsnažniju ekspanziju i vrhunac svog razvoja u pogledu raznovrsnosti koncepcija ar deko stila kakve razvijaju arhitekti Branko i Petar Krstić, Milan Zloković, Milan Sekulić, Dragiša Brašovan, Dušan Babić, Đuro Borošić, Aleksandar Vasić, Jan Dubovi, Viktor Lukomski, Aleksandar Deroko, Momir Korunović, Jordan Petrović. Unjihovom radu ostvaren je snažan spoj arhitekture i dekorativnih elemenata primenjene umetnosti: skulpture, reljefa, ornamenata, polihromije materijala, kovanog gvožđa i hromiranog metala primenjenog na dekor ulaznih kapija. U srpskoj recepciji ar dekoa rado aplicirani, reljefi tematski variraju od muzičkih scena, sporta, zabave, do heroja I svetskog rata, radnika u polju, simbola porodice i materinstva, od istorijskih i mitoloških tema do prikaza simbola modernog doba – automobila i aviona. Obožavanje ornamenta i njegova mašinska produkcija omogućili su upotrebu serijski proizvedenih dekorativnih elemenata. Demokratizacija i manufakturna proizvodnja dekorativnih elemenata primenjenih na arhitekturu, stvorila je široku rasprostranjenost ar dekoa u Srbiji, ostvarenu kroz ornamentalni dekorativni modernizam, specifičnu osobenost u srpskoj recepciji ar deko stila. Izostavljajući skulptoralnu dekoraciju i razvijajući dekorativne ormanametalne profilacije kao likovni „omot“ građevine, ovu tendenciju preuzimaju saradnici biroa Đure Borošića, arhitekte Momčilo Belobrk, Jovan Bjelović i njihove kolege Miladin Prljević, Grigorije Samojlov, Franjo Urban, Branislav Marinković, Andrej Papkov, Aleksandar Medvedev, Đorđe Tabaković, Valerij Staševski, idr. Ar deko tridesetih godina ulazi u svoju poznu fazu, koju krakteriše primena dekorativne skulpture i reljefa na pročišćenim fasadnim površinama. Istovremeno arhitektonske forme pozne faze ar dekoa poprimaju asocijativno- simbolične elemente, koje ih povezuju sa brodovima, avionima, radio aparatima i drugim mašinama koje su obeležile moderno doba. Formalne asocijacije javile su se u projektima Dušana Babića, Bogdana Nestorovića, Dragiše Brašovana. Poznu fazu razvoja ar dekoa, u domenu pročišćavanja i monumentalizovanja formi prepoznajemo i u projektima i ostvarenjima Miladina Prljevića, Rajka Tatića, Aleksandra Medvedeva, Grigorija Samojlova, braće Krstić. Ar deko je otklonio izvesnu hermetičnost modernističke aprstraktnosti i stvorio mogućnost prihvatanja umekšane paradigme moderne arhitekture, kao alternacija purističkoj krajnosti moderne arhitekture. Ar deko je zaključio razvojni tok nacionalnog stila i klasičnih evokacija, reinterpretirajući istorijske predloške i stavljajući ih u kontekst savremenih potreba. Ar deko je u srpskoj arhitekturi predstavljao novu struju baziranu na želji umetnika i naručilaca, da se arhitektura ostvari kao umetničko delo koje kroz svoju dekorativnost ukazuje na individualizam i inventivnost autora, kao i na socijalni status, ukus i emancipovanost onoga koji ovo delo poseduje. Likovne osobine forme, piktoralnost, efekat i nagoveštaj glamura, izbili su u prvi plan. Baziran na formalnim efektima fasadizam preovlađuje u odnosu na konstruktivne eksperimente, a traganje za novim i jedinstvenim, izraženo je u arhitekturi kroz unikatnost koja potencira predstavu o luksuznom. Ar deko je neodvojiv od pojave praktičnog modernog prostora, kome daje auru luksuza i mode, umekšavajući estetsku kategoriju modernizma apliciranjem dekorativnog sloja kojim ga približava popularnoj kulturi. Ar deko je u srpskoj arhitekturi predstavljao savremeni međunarodni stil koji je oblikovao stambene zgrade, vile, bioskope, poslovne zgrade i banke, državne, vojne, dinastičke i crkvine objekte, nacionalne i druge javne spomenike. Široka zastupljenost ar dekoa u srpskoj arhitekturi ukazuje na to da ova pojava, nije uzgredna i bez dubljeg značaja za srpsku umetnost i kulturu, i širi evropski i vanevropski kulturni prostor. Određivanje ar dekoa u srpskoj arhitekturi, trebalo bi da usmeri njegovo buduće istraživanje, da produbi njegovo vrednovanje, prezentovanje i zaštitu, ali i da osavremeni čitanje nacionalnog graditeljstva u skladu sa tokovima prisutnim u međunarodnoj nauci. -	The Phenomenon of Art Deco architecture was noticed by historiography in 1966, on the occasion of the first retrospective of the International Exposition of Modern Industrial and Decorative Arts, held in Paris in 1925. The historiographical interest for Art Deco coincided with the fading of the modernist domination, whose criteria was based on the virtues of the architectural utility, rationality and social justification. Serbian historiography tried to point out Art Deco in Serbian architecture in 1990. but its reading was left marginalized until the beginning of the new millennium. It was only in 2001. that the Art Deco phenomenon was defined in terms of national architectural heritage, and in 2013. it was internationally launched and placed in a broader international framework. This paper aims to broadly define the appearance of Serbian Art Deco architecture, pointing out the reasons for its occurrence, stylistic features and its distribution and quantitative representation. The study is based on relevant and accessible documents found in archives, museums, publications, photo documentation and private collections as well as the analyses of non-realized projects and constructed objects. The aim is to examine Art Deco parallel to the architectural trends shown by the previous historiography and allocate it against them by defining its characteristics and distinctive morphology. Following a comparative analysis with the international examples of Art Deco style, this paper aims to emphasize the characteristic stylistic incoherence, creative individualism and variety of motives which came out of a powerful artistic movement. Art Deco requires the uniqueness of form and implemented idea; its characteristics make up the principle of a style: modern, luxurious and decorative. Its modern principles allow historical inspiration especially reinterpreting national, classic and exotic themes, avoiding the direct citing of their motives. As a new style Art Deco paraphrases numerous contemporary artistic phenomena that precede it and still creates a modern image in the period between two world wars. It uses paraphrased themes and motifs solely for decorative purposes, as a tool of creating the representation of luxury. Strong influence of Paris as an artistic, educational and cultural model and awareness of the need for a new architecture that would reflect contemporary life and a modern individual, had contributed to an outstanding presence of Art Deco in Serbian architecture. The appearance of Art Deco was marked the by escapism of “Les Annees Follies” or "Roaring Twenties", followed by dynamics, technological progress and emancipation. Strong reconstruction of Serbian cities after WWI, especially Belgrade - the capital of the Kingdom of Yugoslavia was one of the decisive factors for an intense appearance of Art Deco buildings. The necessity to create representations of luxury, presented in a contemporary, modern decor, had determinate investors in the interwar epoch, and directed the builders to a new "modern" style. According to its function, Art Deco architecture in Serbia is divided into public and private, secular and sacred. There are international and national course of the Serbian Art Deco architecture. We can note early, mature, and late stages in the development of the style. For their typology, objects belong to the sculptural and the ornamental group. In relation to the developmental phase, characteristic group and the affinity of architects, we can note different degrees of decorative: emphasized, moderate and of reduced type. The first early stage of development of Art Deco in Serbian architecture is represented by the early reception of the style in the period 1920-1927. It was formed under the strong influence of the architecture of Paris after World War I, and the International Exhibition of Modern Decorative and Industrial Arts held in 1925, that later gave the style its name. Along with the French influence we can trace influences of Czech architecture, the style reformulations of Secession, and the achievements of the Wiener Werkstätte, echoes of Italian influence, as well as decorative formulations made by Russian architect immigrants, whose influence is also evident in the making of the Art Deco architecture in Serbia. The year 1927 faces transitional forms that bring to the end the early stage, and indicate the mature phase of Serbian Art Deco. At this stage, the level of paraphrasing of foreign models is reduced in favor of personal inventive interpretations of the concept of modern decorative and luxurious style. The characteristics of mature Art Deco style in Serbian architecture are the synthesis of modern forms and decorative plastic, as well as strengthening of the ornamental style, expressed in the use of modern and historical, traditional or ethnic motives, abstracted in the ornament. On the end of the third decade Art Deco in Serbia experiences its strongest expansion and the culmination of its development in terms of the diversity decorative concepts, developed by architects Petar and Branko Krstić, Milan Zloković, Milan Sekulić, Dragiša Brašovan Dušan Babić, Djuro Borošić, Alexandar Vasić, Jan Dubovi, Viktor Lukomski, Alexandar Deroko, Momir Korunović, Jordan Petrović. Their work has accomplished a powerful blend of architectural and decorative elements of applied art: sculpture, relief, ornaments, polychrome materials, iron and chrome metal applications in the decoration of the entrance gates. The Serbian reception of Art Deco widely used reliefs with themes ranging from music performances, sports, entertainment, the heroes of WWI, workers in the field, symbols of family and motherhood, of historical and mythological themes, to displays of symbols of the modern era - cars and airplanes. The worship of the ornament and its mechanical production, enabled the use of mass- produced decorative elements. The democratization of production and manufacturing of decorative elements applied to architecture, created a wide spread of Art Deco in Serbia, largely achieved through an ornamental decorative modernism, a specific characteristic of the Serbian reception of the style. Omitting the sculptural decoration and developing decorative ornamental profiles, as art "cover" of the building, this tendency was accepted by collaborators of Djuro Borošić Bureau, architects Momcilo Belobrk, Jovan Bjelović and their colleagues Miladin Prljević, Grigorije Samojlov, Franjo Urban, Branislav Marinković, Andrej Papkov, Alexandar Medvedev, Dojrdje Tabaković, Valery Staševski, etc.. Art Deco enters its late phase in the thirties, which is characterized by the application of decorative sculptures and reliefs on the purified facades. At the same time the architectural form of late deco style acquires associative and symbolic elements, connecting buildings with ships, airplanes, radios and other machines that have marked the modern era. Associative forms appeared in projects of Dušan Babic, Bogdan Nestorović, Dragiša Brašovan. The late phase of Art Deco development we recognize in the projects and achievements od Miladin Prljević, Rajko Tatić, Alexandar Medvedev, Grigorije Samojlov, and brothers Petar and Branko Krstić, in domain of purification and monumentalisation of architectural form. Art Deco has restrained containment of modernist abstraction and created the possibility of accepting softened paradigm of modern architecture, as well as alternation for purist extremes of modern architecture. Art Deco concluded developmental course of the national style and classic evocations, reinterpreting historical templates and putting them in the context of contemporary needs. Art Deco in Serbian architecture represented a new course based on the desire of artists and investors, to achieve architecture as a work of art, which, through its decoration suggests individualism and inventiveness of the author, as well as social status, taste and emancipation of those who this work possess. Visual characteristics of form, picturesqueness, effect and a hint of glamour, broke out in the foreground. Based on the formal effects facade decorativeness prevails in relation to structural experiments, a search for the new and the unique is expressed in architecture, whose uniqueness emphasizes the idea of luxury. Art Deco is inseparable from the emergence of practical modern space, to which it gives an aura of luxury and fashion, emollient the aesthetic category of modernism by applying decorative layer which makes it closer to the popular culture. Art Deco in Serbian architecture represented a contemporary international style that has shaped buildings, villas, theaters, office buildings and banks, government, military, dynastic and ecclesiastical edifices, national and other public monuments. Broad representation of the Art Deco style in Serbian architecture suggests that this phenomenon is not incidental and that it has a deep significance for the Serbian art and culture, as for the broader European and non-European cultural space. Determination of Art Deco style in Serbian architecture should focus its future research to deepen its evaluation, presentation and protection, but also it should modernize reading of national architecture in accordance with the present trends in international science. -	true
Inovacije jezika savremene arhitekture od umetničke prakse i kinetizma do kinetičkih arhiskulptura	Language innovations of contemporary architecture from artistic practice and kineticism to kinetic archisculpture	Osnovni predmet istraživanja priložene doktorske disertacije obuhvata pojedine inovacije jezika savremene arhitekture koje na najbolji način korespondiraju sa primerima razvoja i uticaja umetničke prakse na pojavu i razvoj kinetizma i arhiskulpturalnosti u savremenoj arhitekturi. Odabrani su i obrađeni reprezentativni primeri kinetičke vajarske prakse, zatim kinetičke arhitekture kao i primeri kinetičkih arhiskulptura, sa detaljnom analizom interakcije umetničke i arhitektonske prakse na njihova kinetička i latentno dinamička svojstva pokreta u okviru strukture kojom se izražavaju. Pored istorijskih parametara i preseka pojedinih primera kao i različitih modela utvrđivanja prisustva umetničke prakse i unapređenja vizuelnih svojstava objekata, metoda induktivne analize odnosno teorijsko logička analiza bila je primarna metoda u istraživanju i sagledavanju estetskih i vizuelnih karakteristika razvoja kinetičkih i interaktivnih arhitektonskih struktura koji su predmet ove studije. Naučni doprinos disertacije predstavlja formiranje uvida u mogućnosti unapređenja primene umetničke prakse za razvoj inovacija jezika savremene arhitekture kao i uvođenje novih pojmova koji egzistiraju i nužno uspostavljaju uočljivim već postojeće karakteristike pojedinih inovativnih pojava savremene kinetičke arhitekture. Problem istraživanja prevashodno jeste postojeće stanje nedovoljne uočljivosti uloge uspostavljenih i mogućih relacija odnosa savremene skulpture i arhitekture. To nameće kroz sam predmet istraživanja dalju analizu odnosa vajarske prakse i arhitekture u cilju što jasnijeg definisanja inovacija koje taj odnos uspostavlja u jeziku savremene arhitekure i potrebama njenog daljeg razvoja. Primarni ciljevi ovog rada bili su: - Ispitivanje fenomena estetike i njene razvojne slojevitosti kroz istorijski pregled nastanka i razvoja kinetičke umetnosti i njenih odnosa sa arhitekturom. Ukazivanje na primere kojima se može uspešno čitati i definisati povezanost vajarske kinetičke prakse u stvaralačkim i inovativnim procesima jezika savremene arhitekture. - Sagledavanje mogućnosti kreativnog čitanja predhodnih iskustava u cilju formiranja budućih inovativnih koncepcija za unapređenje postojećih nedovoljno definisanih modela estetskog i ''responsive'' promišljanja arhiskulptoralne strukturalnosti. Prepoznavanje pojavnosti kinetičkih arhiskulptura. - Mogućnosti daljeg razvoja arhiskulptoralnih struktura kroz primenjivija tumačenja problema njihove primene u okviru iskustava savremene umetničke prakse. Ukazivanje na nove tendencije razvoja kinetičke arhiskulpture u inovativnim procesima razvoja jezika savremene kinetičke arhitekture. U radu na pomenutim ciljevima istraživanje je sprovedeno u tri faze: U prvoj fazi rada ( glava I. i glava II.) pojašnjeni su pojmovi i definisan je istorijat odnosa kinetičke skulpture i kinetičke ahitekture u karakterističnim periodima prepoznatljivim kroz njihovo uzajamno delovanje. Na osnovu tog sagledavanja priloženi su karakteristični primeri i naglašeni su određeni ciljevi kao i neki od očekivanih rezultata istraživanja ove disertacije. U drugoj fazi istraživanja ( glava III.) ovaj rad ispostavlja nekoliko uzajamno povezanih celina namenjenih njegovim daljim poljima istraživanja. Osim istraživanja arhiskulptoralnih pojava u arhitekturi 19 og i 20 vj, rad obuhvata i istraživanje ideja filozofskih koncepcija koje se bave arhiskulptoralnošću kao i ispitivanjem uloge arhiskulpturalnosti u savremenim arhitektonskim i umetničkim koncepcijama 20 og. i 21 veka. U ovoj fazi istraživanja rad obuhvata i analizu istorijskih i razvojnih parametara koji definišu, iniciraju, uspostavljaju i utvrđuju pojedina svojstva transkulturalnosti i njenog značaja za uočavanje savremenih estetskih svojstava sadašnjih i budućih struktura kinetički definisanih arhiskulptura. U okviru ove faze rada i njenog analitičkog postupka ukazalo se na inovacije jezika savremene arhitekture kroz određene modele i praksu koja je predhodila u oblastima razvoja kinetičkih arhiskulptoralnih struktura na koje se i odnosi ovo istraživanje. Poslednja treća faza (glava IV.) predstavljena u radu odnosi se na prikaze rezultata predhodnih celina istraživanja sagledavanjem novih tenedencija i mogućnosti razvoja savremene kinetičke arhitekture, uz poređenja sa početnom hipotezom i ukazivanje na mogućnosti otvaranja daljih tema i polja budućih istraživanja i njihovih mogućnosti u datoj oblasti. Navedenim celinama istraživanja rad ukazuje na važnost podela, identifikacije i klasifikacije kinetičkih struktura kako na polju umetničke prakse tako i u odnosu na već prepoznate i jasno razvijene vrednosti inovacija kinetičke arhitekture (kroz oslonac na već postojeća, komparativna i primenjiva rešenja savremene vajarske prakse). Ostvareni predmet istraživanja je identifikacija, podela i prepoznavanje uloga novih tendencija koje ostvaruje savremena arhitektura kada se uspešno oslanja na vajarsku praksu i njena iskustva. Ostvareni naučni cilj ovog istraživanja je razvijanje dubljeg poimanja vrednosti promišljanja umetničke prakse i mogućnosti njenog aktivnog učešća u budućim razvojnim segmentima kreiranja novih oblika kinetičkih i arhiskulptoralnih struktura. Uspostavljanje što boljih estetsko filozofskih vrednosti promišljanja u primeni inovacija struktura nastalih delovanjem umetničke prakse. Ukazivanje na poseban značaj u nastajanju slobodnog i kreativno kordiniranog rešavanja problema urbanog prostora kroz bolje tumačenje pomenutih relacija umetničke prakse u odnosu na sve složenije fenomene savremene kinetičke arhitekture sa naglaskom na njihova uzajamna delovanja, smisao i mogućnosti antropomorfnog razvoja. Ovo istraživanje u relacijama umetnosti i arhitekture nema za cilj rešavanje problema, već njihovo što pravilnije pokretanje i artikulisanje, ukazujući na sve češća mesta susreta prakse i utopije kroz preispitivanje realnosti sa aspekata likovnih i vajarskih vrednosti umetničke prakse, najnovijih interfejsa u umetnosti dizajna i tehnoloških imperativa kao postojećih polaznih stanja pojedinih inovativnih pojava jezika savremene kinetičke arhitekture. Rad ukazuje i na strateške vrednosti inovacija kinetizma umetničke prakse kao mogućnosti razvoja antropomorfnog jezika savremene arhitekture kroz naglašavanje likovnih i oblikovnih aspekata rešenja i primene konceptualno definisanih novih umetničkih medija čija primena može trajno i uspešno uspostaviti kvalitetniji doživljaj kao i razvojne mogućnosti pojedinih urbanih i arhitektonskih struktura. Definisanjem postojanja kinetičkih arhiskulptura, ovo istraživanje daljom analizom njihovog porekla i značaja, razvija dublje sagledavanje i konstatovanje odnosa umetničke prakse i njenog delovanja na pojedina inovativna rešenja savremene arhitekture. Time se otvara čitav poligon mogućih zadataka koje sublimira i nagoveštava razvoj ovog istraživanja kako u estetskom domenu tako i u polju kordinirane kreativnosti kojom se neophodno već sada uokviruje simulakrum novog tehnološkog doba budućnosti, kako društva u celini tako i same arhitekture kao njegovog nezamenjivog svedoka.	The main subject of the research of the attached doctoral dissertation includes certain innovations of language of contemporary architecture that best correspond with examples of the development and influence of artistic practice on the emergence and development of kineticism and sculpturalism in modern architecture. Representative examples of kinetic modeling practices were selected and processed, then the examples of kinetic architecture, as well as the examples of kinetic sculpturalism, with detailed analysis of the interaction of artistic and architectural practices on their kinetic and dynamical properties of movements within the structure that expresses them. In addition to the historical parameters and the intersection of certain examples as well as different models of the determination of the presence of the artistic practices and of the improvement of the visual properties of objects, the method of inductive analysis or theoretical logical analysis was the primary method in the research and in the interpretation of aesthetic and visual characteristics of the development of kinetic and interactive architectural structures that are the subject of this study. The scientific contribution of the dissertation is in the formation of insights in the possibilities of the improvement of the application of artistic practices for development of innovations of language of contemporary architecture as well as the introduction of new concepts that exist and necessarily establish noticeable pre-existing characteristics of individual innovative phenomena of contemporary kinetic architecture. The primary research problem is the current state of lack of visibility of the role of established and potential relations of contemporary sculpture and architecture. It imposes through the subject of the research the further analysis of the relations of the sculptural practice and the architecture in order to provide a clearer definition of innovations that this relation establishes in the language of the contemporary architecture and the needs of its further development. The primary objectives of this study were: - Examination of the phenomenon of aesthetics and its developed layering through a historical review of the origin and development of kinetic art and its relations with architecture. - Consideration of possibilities of creative reading of previous experiences for the purpose of forming a future innovative concepts for improvement of the existing ill- defined models of aesthetic and 'responsive' thinking archisculpture structuralism. Identifying the occurrence of kinetic archisculpture. - Possibilities of further development of the archisculpture structures through more applicable interpretations of the problem of their application within the experiences of contemporary artistic practice. Pointing on the new tendencies of the development of kinetic archisculpture in innovative processes of the development of the language of contemporary kinetic architecture. To this end, the research was conducted in three phases: In the first phase of the research (Chapter I and Chapter II) are clarified the concepts and is defined the history of relations of kinetic sculptures and the kinetic architecture in the characteristic periods which are recognizable through their mutual engagement. On the basis of such consideration are attached the typical examples and are highlighted certain objectives as well as some of the expected results of this dissertation. In the second phase of the research (Chapter III) this work presents several mutually linked units which are marked for its further areas of the research. Besides the research of the archisculpture in the architecture of the 19th and 20th century, this work also includes the examination of the ideas of the philosophical concepts that deal with archisculpture as well as the examination of the role of the archisculpture in contemporary architectural and artistic conceptions of 20th and 21st century. In this phase of the research this work also includes the analysis of the historical and developmental parameters which define, initiate, establish and determine the specific properties of XX and its significance for detection of contemporary aesthetic properties of current and future structures kinetically defined XX. Within this phase of work and its analytical procedure we indicated on the innovations of the language of the contemporary architecture through specific models and practice which proceeded in the areas of the development of kinetic XX structures on which this research is referenced. The last third phase (Chapter IV) which is presented in this work refers to the reviews of the results of the previous parts of the research by considering new tendencies and possibilities for the development of the contemporary kinetic architecture, by comparison with the initial hypothesis and by indication on possibilities of opening further topics and fields of future researches and their possibilities in a given area. With those specified research entities this work points to the importance of the divisions, the identification and classification of the kinetic structures both in the field of artistic practice as well as in relation to the already recognized and clearly developed values of innovations of kinetic architecture (through support to the already existing, comparative and applicable solutions of contemporary modeling practices). The realized subject of this research is the identification, classification and recognition of the roles of the new tendencies that makes modern architecture when it successfully relies on sculptural practice and its experiences. The achieved scientific goal of this research is to develop a deeper understanding of values of the artistic practice and of the possibilities of her active participation in future developing segments of creation of new forms of kinetic and archisculpture structures. The establishment of the best possible aesthetic philosophical reflection values in applying of the innovation of the structures formed by artistic practices. The indication on the special importance in the emerging of free, creative and coordinative problem solving of the urban space through the better interpretation of the mentioned relations of the art practice in relation to the more complex phenomena of contemporary kinetic architecture with a focus on their mutual actions, meaning and the possibilities of anthropomorphic development. This research in relations of art and architecture has no aim to solve the problem, but its right movement and articulation, citing on increasingly frequent practice rendezvous and utopia through questioning of the reality with aspects of fine art values and sculptural practice, the latest interface in the arts of design and technological imperatives as existing startup condition of certain innovative phenomena of contemporary language of kinetic architecture. This work also indicates on the strategic values of innovations of the kineticism as the artistic practice as the possibility of development of anthropomorphic language of contemporary architecture through emphasizing artistic and formal aspects of the solution and application of conceptually defined new artistic media whose implementation can permanently and successfully establish a better quality experience as well as development opportunities of certain urban and architectural structures. By defining the existence of kinetic archisculpture this research by further analysis of their origin and significance, is developing a deeper understanding of relations of artistic practice and its effect on some innovative solutions of contemporary architecture. This opens a whole range of possible tasks that sublimate and suggest the development of this research both in the aesthetic domain but also in the field a coordinated creativity that already and necessarily makes the simulacrum of a new technological age of the future as well as society as a whole and the very architecture as his irreplaceable witness.	true
Modeli energetski efikasnih gradskih hotela u klimatskim uslovima Beograda	Models of energy efficient city hotels in Belgrade climate conditions	Ovaj rad ispituje energetska svojstva hotelskih objekata atrijumskog tipa u klimatskim uslovima Beograda. Cilj je ispitati uticaj atrijuma na energetske potrebe hotela za grejanjem i hlađenjem, kao i doprinos primenjenih mera za poboljšanje energetskih svojstava na jednom od četiri predložena modela. Energetske karakteristike objekata dobijene su korišćenjem EnergyPlus simulacione platforme, uzimajući u obzir parametre toplotnog komfora i klimatske podatake za područje Beograda. Izvršeno je poređenje odabranih rezultata prema određenim pojedinačnim kriterijumima, kao i prema više kriterijuma istovremeno. Rangiranje predloženih modela prema više kriterijuma izvršeno je u prvom koraku pomoću PROMETHEE metode višekriterijumskog odlučivanja, dok je konačno rangiranje modela izvršeno Borda metodom grupnog odlučivanja. Metodološki pristup u ovom istraživanju obuhvata kreiranje hipotetičkih modela hotelskih objekata sa atrijumom, numeričku simulaciju njihovih energetskih performansi, komparativnu analizu dobijenih rezultata i rangiranje predloženih alternativa sa aspekta energetskih svojstava zgrade. Glavni zadatak ovog istraživanja je da ispita uticaj atrijuma različitog oblika, pozicije orijentacije i strukture omotača na energetske karakteristike hotelskih objekata i da utvrdi energetski najoptimalniji model hotelskog objekta sa atrijumom za beogradske klimatske uslove.	Annual energy performances of atrium type hotel buildings in Belgrade climate conditions are analysed in this paper. The objective of this paper is to examine the influence of the atrium on the hotel building energy demands for space heating and cooling, as well as to examine the contribution of applied measures for improvement of energy performance of one selected model. The energy performance results are obtained using EnergyPlus simulation engine, taking into account Belgrade climate data and thermal comfort parameters. The selected results are compared and the hotels are ranked according to certain single- and multi- criteria. The ranking of the proposed modes is conducted using PROMETHEE multi-criteria method followed by the final rankig using Borda model of group decision-making. The methodological approach in this research includes the creation of a hypothetical model of an atrium type hotel building, numerical simulation of energy performances of design alternatives of the hotel building with an atrium, comparative analysis of the obtained results and ranking of the proposed models from the building’s energy performance perspective. The main task of the analysis is to examine the influence of the atrium, its shape, position, orientation and envelope structure on the energy performance of the hotel building. The goal of this research is to determine the most energy efficient model of the hotel building with atrium for Belgrade climate condition.	true
Prostori univerziteta i naučnih kompleksa u savremenim transformacijama grada	Spaces of universities and scientific complexes within contemporay city transformations.	Ova teza se bavi istraživanjem odnosa grada i prostora univerziteta i naučnih kompleksa, povezujući istorijske, društvene i tehnološke implikacije razvoja urbane sredine. Kritička istraživanja imaju važnu ulogu u preispitivanju povezanosti grada i inovacija zasnovanih na znanju. Shodno tome, uloga inovacija i znanja naglašena je kao jedan od ključnih generatora uspešnosti urbane sredine. Ovo istraživanje analizira postojeće pravce ekonomije znanja, ističući slučaj Beograda kao primer lokalne prakse. Značaj istraživanja je u definisanju prostornih modela univerziteta, univerzitetskih kampusa i naučnih kompleksa (R&D zona) koji stimulišu pojavu novih tipova urbane strukture, kao i intenzivnije povezivanje grada na lokalnom i internacionalnom nivou. Doprinos istraživanja je u proučavanju procesa integracije gradskih prostora i R&D zona, kao i svih ostalih relevantnih faktora najnovijih inicijativa, koje pokreću univerziteti i naučnoistraživačke institucije u okviru savremenih transformacija grada. Mnogobrojni društveno-ekonomski i politički tokovi, koji definišu poželjnu ravnotežu između finansijskih ambicija, svesti o životnoj sredini i održivosti, utiču na razvoj savremenih gradova. Razmatranjem prostornih tipova univerziteta i naučnih kompleksa ističe se važnost centralnog, javnog prostora – agore. Savremenim inicijativama koje potiču od univerziteta i istraživačkih institucija stimuliše se značaj novih prostornih formacija i digitalnih nadgradnji, stvarajući veoma plodno okruženje za intelektualnu razmenu, produkciju i rasprostranjenost znanja i inovacija.	Thе thesis researches field is the relationship between the city and the spaces of university and scientific complexes, establishing historical, social and technological implications of the development of an urban environment. Critical research plays an important role in the examination of connections between the city and knowledge-based innovations. Consequently, the role of innovation and knowledge has been emphasized as one of the crucial generators of urban success. This research analyses the current directions of the knowledge economy, with the example of Belgrade highlighted as an instance of a local practice. The research contribution is in defining the facts on how universities, university campuses and scientific complexes (R&D zones) stimulate the emergence of new tipos of urban structure, intensively linking themselves to city on the local and international levels. Contribution of the research topics lies in the process of integration of urban spaces and R&D zones, as well as all other relevant factors of the latest initiatives launched by universities and scientific research institutions within the processes of contemporary city transformations. A number of socio-economic and political processes influence the development of contemporary cities by defining the beneficial balance between financial ambitions, environmental awareness and sustainability. The consideration of spatial types emphasizes the importance of the central, public spatial content – the agora space. The most recent initiatives, originating from universities and research establishments, stimulate the emergence of new spatial formations and digital upgrading, thus setting up a fertile environment for intellectual exchange and the production and diffusion of knowledge and innovations.	true
Zaštita i revitalizacija Beogradske tvrđave kao istorijskog jezgra grada	Protection and revitalisation of the belgrade fortress as a historical city core	Beogradska tvrđava predstavlja složenu i slojevitu spomeničku prostornu celinu, sa manje ili više očuvanim materijalnim ostacima iz svih istorijskih epoha njenog vekovnog razvoja. Razvijajući se na ruševinama rimskog kastruma, preko vizantijskog kastela, srednjovekovnog utvrđenog grada, sve do najsavremenije bastione fortifikacije - Tvrđava je prilagođavana potrebama vremena, ali je u svim epohama dokazivala svoj izuzetno važan geostrateški položaj. Na brojne preobržaje Tvrđave uticale su – pored geostrateškog položaja - istorijske, društvene i političke okolnosti. Istorijske okolnosti su se menjale, kao i vlastodršci, ali je Tvrđava zadržavala svoj značaj i odbrambenu namenu - bilo da se u okviru utvrđenja razvijala gradska struktura ili su se formirali isključivo vojni fortifikacioni sistemi. Oslobađanjem od turske vlasti 1867. godine započeo je proces transformisanja Tvrđave u javni gradski prostor, koji se odvijao kroz dva različita perioda: parcijalnog uređenja delova tvrđavskog prostora koje vojska postepeno napušta, predajući ih gradu na korišćenje i perioda institucionalizovane, sistemski sprovođene zaštite i revitalizacije. Ovaj prostor koji predstavlja istorijsko gradsko jezgro - nukleus razvoja urbanog Beograda - uprkos sistematskim radovima na zaštiti i revitalizaciji, danas se ne koristi u skladu sa svojim značajem i mogućnostima. Prostor Tvrđave ne predstavlja deo gradskog prostora kakav bi po svom značaju, položaju i vrednostima trebao biti – ni po nameni, ni po funkcionalnoj povezanosti. Utvrđivanje razloga ovakvog stanja vršeno je kroz vrednovanje istorijskih struktura, ali i svih promena iz novije istorije kroz koje se odvijao proces transformacije tvrđavskog u javni gradski prostor. Tome je doprinela i analiza stepena realizacije ideja, koncepata i planova iz perioda transformisanja tvrđave u javni prostor, kao i konzervatorskih principa i metoda primenjenih u periodu institucionalizovane delatnosti zaštite graditeljskog nasleđa.. III Redefinisanje značenja i revalorizacija Beogradske tvrđave bili su preduslov za utvrđivanje konzervatorskog pristupa, koji omogućuje bolju integraciju tvrđavskog i gradskog prostora. U tom smislu, posebna pažnja je posvećena analizi potencijala i ograničavajućih faktora sa stanovišta postojećih veza ali i blokiranih komunikacija na relaciji Tvrđava – grad. Proverom novog konzervatorskog pristupa i tretmana Tvrđave u sklopu ukupnog fonda graditeljskog nasleđa u centralnim zonama grada, u odnosu na savremenu teorijsku osnovu zastupljenu u međunarodnim poveljama i preporukama, definisan je novi metodološki postupak koji se može primeniti i u praksi i u zakonodavstvu zaštite graditeljskog nasleđa.	The Belgrade Fortress is complex and stratified spatial heritage unit with more or less preserved material remains dating from all the historical periods, testifying to ita centuries long development. Growing on the ruins of an old Roman military camp, then a Byzantine castle and a mediaeval fortified town, all the way to a modern fortified bastion – the Fortress was being adapted to the particular needs of each period, but it was also a proof of an important geostrategic position. Besides the geostrategic position, the numerous Fortress transformations were also influenced by historical, social and political circumstances. Historical circumstances were changing, as well as the rulers, but the Fortress retained its significance and defending purpose – whether an urban structure was growing inside or the military fortification systems. The liberation from the Turkish rule in 1867 was a starting point for the transformation process from the fortress to a city public space, occurring in two different periods: a partial rearrangement of the Fortress areas which the army was gradually abandoning, ceding them to the city, and a period of formal and systematic protection and revitalisation. This area – being a historical city core, a nucleus of the urban Belgrade development – despite the systematic protection and revitalisation works, today is not put to use in accordance with its significance and possibilities. The Fortress area is not integral to the city space – either in its purpose or functional connection, which by its importance, position and values should be. In order to find the reasons for such a situation, historical structures valorisation was conducted and the valorisation of all the changes occurring in the recent history when the process of transformation from the fortress to the city space was taking place. Also, analyses were conducted of how far ideas, concepts and plans were realised in the period when the Fortress was being transformed to a public space, as well as the conservation principles and methods implemented in the period of formal architectural heritage protection activities. Redefining the significance and revalorisation of the V Belgrade Fortress constituted a prerequisite for establishing a conservation approach which would enable a better integration of the Fortress and city areas. To that end, a special focus has been put on an analysis of the potentials and limitation factors, from the aspect of the already existing connections but also of the obstructing roads along the Fortress – city direction. By testing a new conservation approach to and the treatment of the Fortress, as part of the overall architectural heritage stock in the city central zone, against the modern theoretical grounds established in the international charters and recommendations, a new methodological process has been defined, which could be implemented in both the architectural heritage protection practice and legislation.	true
Uticaj koncepta kreativnog grada na pozicioniranje u globalnoj hijerarhiji urbanih centara	Impact of creative city concept on a position in global hierarchies of urban centers	Proces globalizacije, pokrenut informaciono-tehnološkom revolucijom i smanjenjem cene transporta, promenio je ulogu i poziciju grada. Kao manji entiteti, gradovi su bili fleksibilniji i lakše su se prilagođavali izazovima globalizacije, čime su preuzeli vodeću ulogu u odnosu na oslabljenu državu. Centri nacionalne ekonomije postali su čvorovi kroz koje protiču globalni kapital, informacije i ljudi. Nekadašnji sistem država zamenila je globalna mreža gradova, a gradovi su postali lako zamenljivi i našli su se u poziciji međusobne kompeticije, kao preduslova razvoja i ekonomskog rasta. Vodeći globalni gradovi su oni u kojima je koncentrisana najveća količina globalnog kapitala, političke i društvene moći. Oni se nalaze na vrhu globalnih hijerarhija urbanih centara. Ispod njih gradovi su rangirani u skladu sa pozicijom i značajem na globalnom tržištu. Period posle 80-ih godina 20. veka obeležio je i proces prelaska sa fordističke na postfordističku ekonomiju. U procesu deindustrijalizacije vodeću ulogu u ekonomiji grada preuzeo je napredni uslužni sektor. Kao kriterijum za određivanje pozicije grada u globalnim hijerarhijama urbanih centara najčešće je korišćena koncentracija predstavništava internacionalnih kompanija koje se bave finansijskim uslugama, računovodstvom, marketingom, osiguranjem, pravom i menadžmentom. Istovremeno, postfordistička ekonomija je zahtevala fleksibilno poslovanje, brze promene i prilagođavanja zahtevima, što je inovativnost i kreativnost postavlja u prvi plan. Uspeh proizilazi samo kao rezultat kreativnog procesa. Početak 21. veka obeležili su rast kreativne ekonomije, njeno učešće u ukupnoj globalnoj ekonomiji, udeo u nacionalnim prihodima i prihodima grada, kao i političko prepoznavanje značaja za budući razvoj. Industrije zasnovane na znanju, kognitivnoj obradi informacija i kreativnosti pojedinaca i grupa prepoznate su od strane velikog broja gradskih uprava kao najvažnije za buduću kompetitivnost i globalnu poziciju. Inicijalne nacionalne i lokalne politike koje suse oslonile na značaj kreativne industrije pratio je intenzivan rast broja naučnih radova, među kojima su se izdvojila dva kao najpopularnija. Prvi je zastupao tezu o značaju kreativnog grada, odnosno kreativne gradske uprave i kreativnih rešenja za izazove globalizacije i postfordističke ekonomije. Drugi je naglašavao da je glavni resurs gradova kreativna klasa i da gradovi treba da se koncentrišu da unaprede svoju atraktivnost za ovu grupu. Popularnost koncepata se odrazila na široku primenu u urbanim politikama i strategijama razvoja. Istovremeno, izazvala je i niz kritika, počevši od neutemeljenosti stavova i jednostranosti pristupa, do kritike nerazumevanja konteksta i vremenskog okvira koji je potreban da se razvije kreativni grad. S druge strane, inicijalni koncept je bivao produbljivan i formirani su novi pristupi, koji u prvi plan stavljaju značaj koncentracije kreativne industrije u specijalizovanim klasterima, postojanje kreativnog miljea u gradu, povezivanje nauke i umetnosti, kao i značaj socijalnih veza i poslovnih uslova za koncentraciju kreativne klase. Bez obzira na razmimoilaženje stavova, svima je zajedničko shvatanje da u savremenoj globalnoj ekonomiji vodeću ulogu u razvoju grada imaju kreativna industrija i kreativni pojedinci i grupe. Kreativna industrija i kreativna klasa postali su vodeći elementi globalne kompetitivnosti gradova u 21. veku. Socijalna interakcija koja je moguća samo u gradovima oduvek je rezultovala privlačnošću gradova za kreativne pojedince, stoga ne iznenađuje što se u velikim gradovima koncentriše kreativna industrija. Vodeći globalni gradovi istovremeno su i vodeći centri kreativne industrije. Postoji evidentna korelacija između pozicije u globalnoj hijerarhiji urbanih centara i razvijenosti kreativne industrije i koncentracije kreativne klase u gradu. Procenat učešća u globalnoj razmeni kreativnih dobara i usluga povezan je sa pozicioniranjem grada. Ipak, ovakva korelacija nije stopostotna, i nije kreativna industrija razvijena u jednakom obimu u svim gradovima, pogotovo ne kod onih u nižim rangovima hijerarhije. Ne mogu i ne treba svi gradovi da budu kreativni. Rastući značaj kreativne industrije vidljiv je i u kriterijumima formiranja globalnih hijerarhija urbanih centara, gde se fokus pomera kaoceni uslova koji podstiču inovativnost i kreativnost, kao što su tehnička infrastruktura, koncentracija talenata, broj patenata, ulaganja u istraživanje i razvoj, kvalitet života i sl. U cilju analize uloge koju je koncept kreativnog grada odigrao u unapređenju pozicije u globalnoj hijerarhiji urbanih centara, izvršena je komparativna analiza tri evropska grada koja su unapredila svoju poziciju u periodu od 1986. do 2012. godine. Analizirani su Helsinki, Beč i Budimpešta, čija se globalna kompetitivnost u ovom periodu bazirala na konceptu kreativnog grada. Analizom se zaključilo da je unapređenje pozicije ovih gradova u hijerarhiji nastalo kao posledica razvoja kreativne industrije i klase usled usmerenih aktivnosti grada i spontanog rasta. Osnovni primenjeni principi razvoja bili su formiranje kreativnih inkubatora i klastera, finansijska podrška istraživanju i razvoju, unapređenje obrazovanja, kao i podizanje atraktivnosti urbanih prostora i kvaliteta života u gradu, s ciljem privlačenja kreativne klase. Spontani razvoj se odvijao kroz formiranje kreativnih distrikta. Zaključuje se da se gradovi nisu fokusirali samo na interpretaciju i opredmećenje jednog koncepta, već su se oslanjali na lokalne specifičnosti, trajektorije razvoja i spontani rast kreativne industrije, te kombinovali više različitih pristupa koji su bili adekvatni. Uspeh je proizašao kao rezultat promišljenog delovanja gradske uprave, a ne kao rezultat proste primene predloženih mera istaknutih autora ili kao kopiranje dobrih praksi. Rezultati dobijeni komparativnom analizom odabranih gradova provereni su kroz studiju slučaja Beograda. Pri analizi Beograda uočava se odsustvo primene koncepta kreativnog grada u strategijama urbanog razvoja. Uticaj na ovakvo stanje ima i nedostatak nacionalnih strategija povezanih sa kreativnom ekonomijom. Koncept je prisutan u novijim urbanističkim planovima, ali njegovo sprovođenje kroz urbanističke projekte i realizacije ne postoji. S druge strane, vrlo je uočljiv samostalni razvoj kreativne industrije u Beogradu i spontano formiranje specijalizovanih klastera u određenim delovima grada. Beograd postaje globalno prepoznat upravo po kreativnoj industriji i specifičnom kreativnom miljeu. U doktorskoj disertaciji definisana tipologija pristupa razvoju kreativne industrije i klase služi kao platforma za razvoj lokalno specifičnih metoda grada Beograda. Bira se onaj set mera i pristupa koji najviše odgovara lokalnom kontekstu, istoriji Beograda i već prisutnoj trajektoriji razvoja kreativne industrije. Mere imaju za cilj da ubrzaju i podstaknu dalji razvoj, više nego da nametnu novi sistem. Samo prilagođen set pristupa, uz primenu inovativnih rešenja rezultovaće unapređenjem globalne kompetitivnosti Beograda i pozicije u globalnim hijerarhijama urbanih centara. Doprinos istraživanja je dvojak. Naučni doprinos se ogleda u teorijskom unapređenju razumevanja uloge koju koncept kreativnog grada ima u pozicioniranju u globalnim hijerarhijama urbanih centara. Pored toga, istraživanje metodoloških pristupa razvoju kreativne industrije i kreativne klase unapređuje saznanja o primeni koncepta u strategijama, planovima i efektima na unapređenje pozicije grada. Praktičan doprinos istraživanja odnosi se na evropska iskustva u razvoju kreativnog grada, kao i na iskustva Beograda. Analiza iskustava iz inostranstva doprinosi razumevanju međusobne veze između nacionalnog okvira, lokalnog konteksta i primenjenog seta mera za razvoj kreativne industrije i klase. Ključan praktični doprinos predstavljaju pregled razvoja kreativne ekonomije u Beogradu i redefinisanje pristupa za unapređenje globalne kompetitivnosti uključivanjem koncepta kreativnog grada.	Process of globalization, initiated by information and technology revolution, as well as transportation costs reduction, has changed the role and position of the city. Cities, as smaller entities, have been more flexible and adaptable to globalization-related challenges, which led them to the leading positions over the weakened countries. Centers of national economy have grown into nodes through which global capital, information and people flow. Former system of national states has been replaced by global network of cities. Cities, moreover, have become easily replaceable and mutually competitive, which has become a prerequisite for the development and economic growth. Leading global cities are the ones with the highest concentration of global capital, in conjuction with political and social power. They top global hierarchies of urban centers. Underneath, cities are ranked according to their position and significance at the global market. Furthermore, period after 1980s has been marked by the transition from Fordist to post- Fordist economy. In the process of deindustrialization, leading position in city economy has been taken by the advanced services sector. Criteria for determining city’s position in global hierarchies of urban centers have been mostly based on concentration of international companies headquarters engaged in financial services, accounting, marketing, insurance, law and management. At the same time, post-Fordist economy has required flexible business making, openness to fast changes along with adaptability to demands, which all have brought innovation and creativity into the spotlight. Success comes only as a result of creative process. The beginning of 21st century was marked by growth of creative economy, its participation in overall global economy, its share in national and city incomes, as well as the political recognition of its importance for the future growth. Industries based on knowledge, cognitive information processing and individual and collective creativity were recognized by a large number of urban governments as the most important ones for city’s future competitiveness and its global position. Initial national and local policies based on importance of creative industries were followed by intense increase in number of scientific works, among which two stood out as the most popular. The first one presented the thesis of creative city importance; in other words - importance of a creative government and creative solutions to challenges of globalization and post-Fordizm. The second one stressed that the main resource of cities today is the creative class, along with the idea that cities should concentrat their efforts on improving their attractiveness to this group. Popularity of concepts has resulted in wide use in urban polices and strategies for development. At the same time, it induced a series of criticism, ranging from criticizing unfounded opinions unilateral approach, to highlighting the lack of understanding of context and time needed for creative city development. On the other hand, the initial concept was deepened and new theoretical approaches were formed. Among them, concepts which stood out were the ones stressing the importance of creative industry concentration in specialized clusters, together with creative milieu existence in the city, connections between art and science, as well as the importance of social relations and business conditions for the concentration of creative class. No matter the divergence of attitudes, they all shared common understanding about leading role of creative industry and creative individuals and groups in contemporary global economy. Creative industries and creative class have become leading elements of cities’ global competitiveness in the 21st century. The type of social interactions characteristic for cities only, has always made cities attractive for creative individuals; therefore, it is not surprising that, in large cities, creative industry is concentrated. Leading global cities are also leading centers of creative industries. There is an evident correlation between city’s position in global hierarchy or urban centers and, at one hand, level of creative industries’ development, and, on the other hand, concentration of the creative class in city. In the global trade, share of creative goods and services is closely associated to the positioning of the city. However, this correlation does not make one hundred percent; besides, creative industry is not getting developed to the same extent in all cities, especially in lower ranks of hierarchy. Not all cities can be, neither should be creative. Creative industries’ growing importance is visible in the criteria of global hierarchies of urban centers, where the focus has shifted towards the evaluation оf conditions which encourage innovation and creativity, such as technical infrastructure, concentration of talents, number of patents, investments placed in research and development, quality of life, etc. In order to analyze the role of creative city concept in city’s position enhancement in global hierarchies of urban centers, comparative analysis has been conducted, examining three European cities which improved their positions from 1986 to 2012. Those are cities of Helsinki, Vienna and Budapest, whose global competitiveness in the stated period was based on the creative city concept. It is concluded that enhancement of these cities’ positions in the hierarchy is a result of creative industry and class development, induced both by targeted activities and the spontaneous growth. Basic development principles that were applied were these ones: formation of creative incubators and clusters, financial support for research and development, improvement of education, raising the attractiveness of urban space and the quality of life in the city, aiming to attract the creative class. The conclusion is that cities were not focused only on the interpretation and implementation of one concept. Depending on distinctive local characteristics, trajectories of cities’ development, as well as spontaneous growth of creative industries, cities combined several different approaches – the most adequate ones. Success came as a result of thought-through operations of city government; not from plain application of measures proposed by popular authors, nor from direct copying of good practices. The results obtained by comparative analysis of the chosen cities have been examined through the case study of Belgrade. The analysis of Belgrade indicates the lack of creative city concept application in policies and strategies of urban development. This situation is partly a result of deficiency of national strategies related to creative economy. Concept has found its application in recent urban plans, but its implementation in urban projects and constructions is non-existent. On the other hand, it is evident that creative industries develop independently in Belgrade and that they form spontaneously specialized clusters in certain parts of the city. Belgrade has become globally recognized due to its creative industries and specific creative milieu. This doctoral dissertation defines typology of approaches to development of creative industries and class, which serves as a platform for the development of methods, specific for Belgrade. The set of measures and approaches that suits best local context, history and already present trajectories of creative industries development has been selected. The measures aim to accelerate and support city’s further development, rather than to impose new system. Only a tailored approach, with application of innovative solutions, will result in improving the Belgrade’s global competitiveness and enhance its position in global hierarchies. There are two main contributions of this his research. The scientific contribution is reflected in enhancement of theoretical understanding of the role that the creative city concept has in positioning in global hierarchies of urban centers. In addition, research of methodological approaches to the development of creative industries and creative class improves knowledge about the application of the concepts into strategies, plans and effects on the city’s position improvement. Practical contribution of this research is related to three European cities’ experience in developing a creative city, as well as the experience of Belgrade. Analysis of international experience contributes the understanding of the interrelationships between the national framework, local context and the applied set of measures for the development of creative industries and class. Key practical contributions are providing an overview of creative economy development in Belgrade, as well as redefining approaches to the improvement of its global competitiveness, by including creative city concept.	true
Principi formiranja lokalnih modela arhitektonsko-tehnoloških intervencija za adaptaciju ruralnih područja na klimatske promene	Forming local models of architectural and technological Interventions in the rural areas as a way of climate change adaptation	Istraživanje koje će ova doktorska teza predstaviti bavi se procesom formiranja modela arhitektonsko‐tehnoloških intervencija za adaptaciju ruralnih područja na klimatske promene na različitim nivoima lokalnog. Ovako definisani modeli biće predmet razmatranja sa stanovišta različitih teorijskih pristupa, uz ispitivanje i pozicioniranje pojma arhitektonsko‐tehnoloških intervencija u kontekste lokalnog, ruralnog i klimatskih promena. Poseban deo ovog rada čini osvrt na seosku arhitekturu i ruralizam, predstavljen kroz studiju slučaja regije Zapadnog Pomoravlja, kao i studija izvodljivosti definisanih lokalnih modela na pomenutom području. Rad potencira uporedno ispitivanje više lokalnih faktora relevantnih kako za definisanje lokalnog konteksta, tako i za valorizaciju arhitektonsko‐ tehnoloških intervencija. Istraživanje razmatra pitanje da li je moguće generisati opšti metod za formiranje lokalnih modela arhitektonsko‐ tehnoloških intervencija pozicioniranih u kontekst klimatskih promena.	The research that this doctoral thesis will present evolves around the process of creating local models of architectural and technological interventions for adapting rural areas to climate change. Once defined, models will become a subject of different theoretical discussions. Term architectural and technological interventions will be analyzed and positioned in the contexts of local, rural, and climate change. Special part of this work researches rural architecture and ruralism in Republic of Serbia through the case study of West Pomoravlje region. Feasibility study of previously defined local models will be conducted on the same territory. The core of this work is a comparative analysis of multiple local factors relevant for definition of local context, as well as for categorization of architectural and technological interventions. The research will address the question whether it is possible to set a general method for creating local models of architectural and technological interventions positioned in the context of climate change or not.	true
Planiranje urbanog priobalja u kontekstu primene mera adaptacije na poplave:primer Beograda	Planning of urban waterfront area in the context of application rate adaptation to floods: example of Belgrade	Jedan od najznačajnijih prostornih resursa u mnogim gradovim širom sveta predstavlja prostor gradskog priobalja. Istraživanje je postavljeno tako da fenomen razvoja priobalja predstavlja oblast u okviru koje će se analizirati kriterijumi i principi vezani za proces donošenja odluka u okviru klimatski odgovornog planiranja. Tema je tretirana na ovaj način, jer smatram da, upravo priobalje, često opterećeno industrijskim sadržajima, poseduje najveći potencijal za prenamenu i širenje gradskog tkiva, pa tako i za implementaciju principa klimatski odgovornog planiranja u proces njegovog razvoja. Ovakvi procesi pokrenuti su i traju u mnogim svetskim gradovima, dok su na našem prostoru neizbežni i predstavljaće ogromnu šansu za sprovođenje klimatski odgovornog planiranja, za čiju je primenu neophodno postojanje i razumevanje ovakvih parametara. Polazeći od hipoteze da je prostor priobalja najpogodniji za sprovođenje klimatski odgovornog planiranja u Beogradu, u radu će biti primenjene metode analize (identifikacije i klasifikacije) ključnih parametara vezanih za donošenje odluka u klimatski odgovornom planiranju, kao i komparacije primera iz literature u okviru teme implementacije ovakvih parametara u proces planiranja. Kako je istraživanje vezano za ispitivanje mogućnosti uspostavljanja i primene parametara klimatski odgovornog i održivog planiranja na prostoru beogradskog priobalja, očekivani rezultati su smernice za implementaciju u proces njegovog razvoja, namenjene planerima i stručnoj javnosti.	One of the most significant area assets in cities all over the world is the waterfront area. The research was devised in such a way that the development of the waterfront area will include an analysis of the criteria and principles linked with the decision-making process within environmentally responsible planning practices. The topic was developed thus as I consider that it is the waterfront area which is often encumbered by industrial effluence yet it has the greatest potential for reconstruction and expansion of the urban milieu, and thus also for the implementing of the principles of environmentally responsible planning practices in the process of development. Such processes have been initiated and are under way in many cities around the world and are inevitable in this area as well, representing a huge chance to carry out environmentally responsible planning practices. For the application of the mentioned, it is necessary to understand the given parameters. Starting from the hypothesis that the waterfront area is the most suitable for carrying out environmentally responsible planning practices in Belgrade, the paper will implement analysis methods (identification and classification) of the key parameters linked with decision-making in environmentally responsible planning practices, as well as comparing examples from literature in regards to the topic of implementing such parameters within the planning process. As the research is linked with testing the possibilities of establishing and applying the parameters of environmentally responsible and sustainable planning practices within the area of Belgrade’s waterfront, the expected results are to be guidelines for their implementing in the process of development, aimed at planners and specialists.	true
Socijalistički realizam u arhitektonskoj i urbanističkoj teoriji i praksi Jugoslavije	Socialist realism in architectural and urban planning theory and practice of Yugoslavia	Socijalistički realizam se najčešće interpretira kao nametnuta doktrina čije se represivne odlike traže po formi, uglavnom u odnosu na nešto drugo: u opoziciji na modernizam, kao povratak stilova 19. veka, kao protopostmodernizam u kome arhitektonski elementi „govore“ o represivnosti režima, ili se pak od potrage odustaje i konstatuje monstruozna eklektična mešavina nejasnih estetskih načela. Istraživanja ovog pravca u umetnosti Jugoslavije dodatno su određena stigmom jugoslovensko-sovjetskog sukoba, i po pravilu se odlikuju traženjem jugoslovenskog „trećeg“ puta, to jest, isticanjem razlika u odnosu na sovjetsku praksu i pronalaženjem otklona od navodnog socrealističkog estetskog šablona za koji se ni u sovjetskom kontekstu nije znalo šta tačno predstavlja, sve polazno sa tezom da je ukinut 1948. godine, iako je tek tada proglašen sa partijske govornice. U ovom radu se polazi od stava sovjetskih teoretičara: da socijalistički realizam nije bio stil nego metod umetničke proizvodnje, te da ga kao takvog i ne treba razmatrati po formi. Odlike datog metoda nisu naime neophodno dolazile iz domena umetnosti - višedecenijsku izgradnju vlasti Josifa Staljina obeležilo je podvođenje svih društvenih segmenata pod okrilje države, odnosno, totalizacija društva integrisanjem političkog interesa u sve, od ekonomije do privatnog života. Promena političkih strategija je, samim tim, i zaista mogla da nalazi svoj odraz u svakoj pa i u umetničkoj praksi, koja je zauzvrat, kao deo totalnog mehanizma, razradom partijskih inicijativa u širokom krugu stručne javnosti jednako učestvovala u konstruisanju političkog sistema. Do dijalektičke povezanosti politike i umetnosti nije se stiglo dekretom – socijalistički realizam (1934) i teorija odraza Todora Pavlova (1936) bili su naknadna eksplikacija datog stanja, što treba uzeti u obzir i kada se traže razlike u odnosu na slučaj Jugoslavije. Pokušaj da se čitavo jugoslovensko društvo postavi na nove socijalističke osnove nije se mogao sprovesti primenom nego planskim i sistematskim uvođenjem sovjetskog ekonomskog i kulturnog modela, u odnosu na konkretne istorijske, ekonomske, političke i kulturološke uslove. Kako je uvođenje socijalističkog realizma tu bilo neposredno vezano sa interesima Komunističke partije Jugoslavije, koja ga je prvo propagirala a onda po promeni spoljnopolitičkih okolnosti i ukinula, u radu se analizira razvojni put sprege politike i umetnosti koja je u uspostavljana po sovjetskom uzoru: od predratnih rasprava na umetničkoj levici, preko pripreme i iv sprovođenja Petogodišnjeg plana posle Drugog svetskog rata, do odricanja od sovjetskog modela po obnavljanju veza sa Zapadom 1950. godine. U tome se umesto po formi i konstatovanja represije nad umetnicima, pa time i njihove nevinosti pred datim sistemom, socijalistički realizam razmatra kao metod konstrukcije i distribucije moći u domenu umetnosti, i kao takav traži u međuprostoru između naredbi Partije i pojedinačnih dela: u institucionalnom okviru i organizaciji građevinske i projektantske prakse, programskim karakteristikama planova i projekata, samom procesu izgradnje, arhitektonskoj kritici i teorijskim postavkama tehničkih nauka i umetnosti. Za ove aspekte se pretpostavlja da, uz komparativnu analizu dešavanja na unutrašanjem i spoljnopolitičkom planu, pružaju bolji uvid u raznovrsnost, suptilnost i totalnost političkog delovanja u domenu arhitekture i datom kontekstu, koliko i u angažman arhitektonske prakse na ostvarenju programa Partije. U radu se, drugim rečima, otvara pitanje kako je pod okriljem socijalističkog realizma vlast gradila arhitekturu, ali i kako je arhitektura gradila vlast.	Socialist realism is usually interpreted as an imposed doctrine whose repressive features are sought in form, mainly in relation to something else: in opposition to modernism, as a return to styles of the 19th century, as proto-postmodernism in which the architectural elements "speak" of the repressiveness of the regime, or the quest is given up on altogether for a monstrous eclectic mix of obscure aesthetic principles to be affirmed. Art historiography of Yugoslavia is additionally determined by the stigma of Yugoslav-Soviet conflict, and is typically characterized by seeking the Yugoslav 'third way', that is, by emphasizing differences over Soviet practice and finding deviations from the alleged socrealistic aesthetic pattern, which was not properly defined in the Soviet context either, all based on the claim that it was abolished in 1948, although it was only then declared by the Party. This dissertation is based on the position of Soviet theorists: that socialist realism was not a style but a method of artistic production, that as such should not be analyzed in form. The characteristics of a given method were not necessarily coming from the domain of art - several decades of Joseph Stalin’s building of power marked the procuring of all segments of society under the aegis of the state, that is, the totalization of society by integrating political interests in everything, from the economy to private life. The changes of political strategies were ultimately able to find their reflection in each, and therefore in artistic practice, which, in turn, as a part of that total mechanism, elaborated Party initiatives in a wide range of experts and thus constructed the political system. The dialectical relationship of politics and art had not occurred by decree - Socialist Realism (1934) and the Theory of reflection of Todor Pavlov (1936) were the subsequent explication of the given system, which should be taken into account when seeking differences in relation to the case of Yugoslavia. The attempt to place the entire Yugoslav society on a new socialist basis could not have been carried out by applying, but rather by planned and systematic enforcing of Soviet economic and cultural model, according to specific historical, economic, political and cultural conditions. The enforcing of socialist realism was also directly related to the interests of the Communist Party of Yugoslavia, which firstly endorsed it and then, after the circumstances in foreign policy have changed, abolished it. Therefore, this study tracks the development of the coupling of politics and art that was introduced in Yugoslavia after the Soviet example: from pre-war debates between left wing artists, through the preparation and implementation of the Five Year Plan after the Second World War, to the renunciation of the Soviet model after the relations with the West were restored in 1950. In that, instead of analyzing it in form or vi proclaiming the repression of artists, and thus their innocence in front of the system, socialist realism is considered a method of construction and distribution of power in the domain of art, sought in the opening between Party directives and individual works: in the institutional framework and organization of construction and design practices, program characteristics of plans and projects, the process of building, as well as in architectural criticism and theoretical principles of technical arts and sciences. These aspects, along with a comparative analysis of events in internal and foreign affairs, are assumed to provide a better insight into the variety, subtlety and the totality of political action in the field of architecture and a given social context, as well as in the involvement of architectural practice in carrying out the political agenda of the Party. The dissertation, in other words, raises the question of how under the auspices of socialist realism the government built architecture, but also how architecture built the power.	true

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PaSaž

Korpus Paralelnih Sažetaka doktorskih disertacija na srpskom i engleskom jeziku

Visoko-kvalitetan skup kratkih prevoda

Ukupno 10.492 paralelnih jedinica. Velika većina sadrži i paralelizovane naslove.

Parallel Serbian-English corpus of doctoral dissertation abstracts

High-quality set of short translations

A total of 10,492 parallel units. The vast majority also contain parallel titles.

from datasets import load_dataset
dataset = load_dataset("jerteh/PaSaz")

print(dataset["train"][3088])

Editor

Nikola Janković

@Nikola-92

Citation:

@article{skoric24korpusi,
  author    = {\vSkori\'c, Mihailo and Jankovi\'c, Nikola},
  title     = {New Textual Corpora for Serbian Language Modeling},
  journal   = {Infotheca},
  volume    = {24},
  issue     = {1},
  year      = {2024},
  publisher = {Zajednica biblioteka univerziteta u Srbiji, Beograd},
  url       = {https://arxiv.org/abs/2405.09250}
}

Истраживање jе спроведено уз подршку Фонда за науку Републике Србиjе, #7276, Text Embeddings – Serbian Language Applications – TESLA.

This research was supported by the Science Fund of the Republic of Serbia, #7276, Text Embeddings - Serbian Language Applications - TESLA.

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