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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 |
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Korpus Paralelnih Sažetaka doktorskih disertacija na srpskom i engleskom jezikuVisoko-kvalitetan skup kratkih prevoda Ukupno 10.492 paralelnih jedinica. Velika većina sadrži i paralelizovane naslove. |
Parallel Serbian-English corpus of doctoral dissertation abstractsHigh-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])
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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