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Space Syntax
Get PDFThe Space syntax emerged in mid 1980s both as a theory of spatial and social systems and method that allows the research of these phenomena offering an understanding of the built environment and social processes. The term refers to the space as a system of syntactic relations, and syntax as a set of rules that determines the way certain elements are composed. It was conceived by Bill Hillier, Julienne Hanson, and members of The Bartlett, University College London. The method is used to decode functionality and structure of the space and to analyze real situations, aiming to answer questions on how and why societies create different spatial organizations / patterns. It enables comparative analysis of buildings and settlements across both space and time, and hence it can be valuable for understanding and demystifying complex layers of historical morphology important for urban design decisions. In education, it offers an evidence-based approach and foundation of the analytical thinking. Space syntax method has been used for research in architecture, urban design, urban planning, transport, while recenly it becomes relevant as well to archaeology, information technology, urban and human geography, and anthropology
Human Scale Space and Polarised Communities: New Ruralities as New Forms of Reciprocity and Moderation within the Transition of Modernistic Landscape
Get PDFThe mega block pattern was widely used in the construction of new settlements in Belgrade in the
1960s and 1970s, especially in the modernist landscape of New Belgrade. The mega block model has been challenged, among others by sociologists and psychologists for the alienation of man, that is, for the inability of a large agglomeration to establish a relationship with the environment and develop a sense of belonging to the community and place. Planned on the concept of a dwelling community (stambena zajednica), these neighborhoods have undergone significant changes over the last three decades. Close-up view of the mega block’s ambience indicate the presence of the idea of human scale space, whether it was designed or planned that way originally or if it was cultivated that way by residents. Today, in urban practice, planning frameworks are being created for new construction within the mega block, with the model being taken from the traditional city structure (infill of the block’s inner space and building on the regulation), that is supposed to be cost-effective and acceptable for market conditions. The pattern of a traditional city block is being incorporated into the peripheral unbuilt parts of the mega block and as a result social polarization in space is visible. In the 1980s, this pattern of transformation of the mega block by inert filling up of undeveloped surfaces was advocated precisely with the idea of restoring human scale to the oversized public spaces of modernist settlements. Absurdly, the result is just the opposite. In parts of high-density settlements, as a consequence of the construction of new structures in the mega block, we find incomparable differences between polarized communities and reconsider the human scale of megastructures. In what way, under what conditions, in the tension between these two opposing concepts, can we see an opportunity for New ruralities as new forms of reciprocity and moderation
Porodična kuća, Vrčin [BAB 2021]
Get PDFPorodična kuće u Vrčinu, u neposrednoj blizini Beograda predstavlja svojevrsnu zabelešku u vremenu koje je okarakterisao početak pandemije i želja mnogih da se izmeste na neko bezbednije mesto. Zamišljena kao letnja kuća za odmor, u datom momentu predstavlja utočište i sigurnu bazu za bekstvo iz svakodnevice i užurbanog gradskog okružunja.
Otvoreni prostori namenjeni opuštanju i rekreaciji su u direktnoj vezi sa unutrašnjim delom objekta, što je omogućeno velikim otvorima i staklenim površinama čime je naglašena vizuelna i fizička veza. Kretanje korisnika je jasno usmereno, kako u spoljašnjem, tako i u unutrašnjem prostoru. Kontrasti zatvorenih i otvorenih prostora grade različite ambijentalne celine, koje daju mogućnost korisniku da arhitekturu kuće prilikom svakog boravka doživljava iznova i na drugačiji način.
Završna obrada zidova objekta od sibirskog ariša, za cilj ima da umekša veoma strogi i neornamentalni tretman fasadnih površina. Kontrast kao princip oblikovanja prostora oslikava se i u tretmanu objekta i partera, odnosno, denivelisane betonske pristupne zone. Patina, koja naglašava prolaznost vremena, sve više integrišući objekat u prirodno okruženje, ističe nameru autora da korisnik kuću neprekidno doživljava iznova.The family house in Vrčin, in the immediate vicinity of Belgrade, serves as a kind of chronicle of the time characterized by the beginning of the pandemic and the desire of many to move to a safer place. Originally conceived as a summer vacation home, at the given moment, it represents a refuge and a secure base for escaping everyday life and the hectic urban environment.
Open spaces designed for relaxation and recreation are directly connected to the interior of the building, facilitated by large openings and glass surfaces, emphasizing the visual and physical connection. The movement of the occupants is clearly directed, both in the outdoor and indoor spaces. Contrasts between enclosed and open spaces create various ambient zones, providing the user with the opportunity to experience the architecture of the house anew and in a different way with each visit.
The final finishing of the walls of the building with Siberian larch aims to soften the very strict and non-ornamental treatment of the facade surfaces. The contrast as a design principle is also reflected in the treatment of the building and the ground floor, including the uneven concrete access areas. The patina, which emphasizes the passage of time, increasingly integrates the building into the natural environment, highlighting the author's intention for the user to continuously rediscover the house
BMT Penthouse – Reconstruction [BAB 2021]
Get PDFThis is a reconstruction and adaptation project of the penthouse in Vracar, Belgrade, with total interior design and custom-made furniture and lighting.
The reconstruction project of the space included the opening of a plan with the idea of creating the fluidity of the inner space, which overflows with the effects of the view of Belgrade, from the Temple of St. Sava to the Bridge to Ada and New Belgrade. The view from the living room area on the Temple and the roofs of Vracar is accentuated by glass openings that extend over the entire surface of the wall.
A special challenge in the project was the revitalization and stripping of the Avramenko ribbed ceiling in order to give the entire space of the penthouse additional openness, height and attractiveness. The ceiling is additionally accentuated by black-and-white-copper custom lighting.
The main design concept in the interior was the black-and-white elegance with copper accents and details. All furniture elements are custom-made in the same black-and-white-copper palette.
The idea of fluidity and flows of the whole space, apart from the structure, was also realized by materialization - reflection in space, usage of glass, mirrors, continuity of granite white floor with black patterns and simple light treatment of walls.
The central part of the apartment is an open plan kitchen, dining area and living room that visually forms a unique whole. The theme of black and white elegance, through a minimalist approach in the design and decor of the central part, spills over to the main bathroom, as well as to the night zone and the second bathroom belonging to it. The kitchen part is accentuated by a black cubic motif of the work zone in glass and kerock surfaces, which is located in the middle of the white elements in which the kitchen appliances are hidden. The high black table, with a copper construction has a surface made of kerock, designed to be an additional work surface in the kitchen, a half-bar, or a dining table for 6 people, depending on the needs and in accordance to the contemporary living everydayness
Department stores “Beograd” and consumerism in Yugoslavia in the 60s
Get PDFŠezdesete godine dvadesetog veka i privredna reforma u Jugoslaviji omogućile su smanjenje uloge države i uvođenje tržišnog kapitalizma koji je obezbedio brži industrijski rast, ali za koji se takođe može tvrditi da je bio pod značajnim uticajima zapadne i američke kulture. Kao rezultat ovih promena, nastao je i ekonomski model Robnih kuća „Beograd“ koji je imao veliki uticaj na tržište, potrošačko društvo, ali i na prostore u centralnim gradskim područjima u gradovima širom bivše Jugoslavije. Osnovna tema rada je ispitivanje uticaja konzumerizma u socijalističkom društvu Jugoslavije na pozicioniranje, funkciju, oblikovanje i konstrukciju objekata Robnih kuća „Beograd“ u periodu između XIX i XX veka. U radu se zastupa teza da je politika potrošačkog društva, masovne proizvodnje i konzumerizma značajno uticala na planiranje i projektovanje objekata robnih kuća, ali i da se osim univerzalnosti ekonomskog modela ne može govoriti i o uniformnosti oblikovanja. Shodno tome, istraživanje specifičnosti modela u različitim socio-kulturnim kontekstima, može doprineti razumevanju njihovog značaja u istoriji razvoja grada, u cilju nalaženja adekvatnih rešenja za njihovu adaptaciju u savremenim uslovima.the role of the state and enabled the introduction of market capitalism. On the one side, it provided the greatest industrial growth, but on the other side, it was under the significant influence of Western and American culture and as such, impacted greatly on the general society and culture. As a result of these changes, the economic model of Department Stores “Belgrade” was established, having the great influence on the market, consumer society, but also on the places in the central city areas throughout the former Yugoslavia. This model had a strong impact through the demolition of old buildings and establishing a new look, that should serve as expression of modernity and prosperity of the state. The main purpose of the paper is to examine the influence of consumerism in the socialist society of Yugoslavia on the positioning, function, design and construction of the Department stores “Belgrade” in the period between the XIX and XX century. The paper argues that the politics of consumer society, mass production and consumerism had a significant influence on the planning and design of department stores, but also that, apart from the universality of the economic model, it cannot be argued for the uniformity of design. Consequently, research on the specificity of the model in different socio-cultural contexts can contribute to understanding their significance in the history of city development to find adequate solutions for their adaptation in modern conditions. This study aims to discover the general elements of the influence of consumerism on the department stores. The conceptual framework is grounded in theoretical research of the issues of consumerism, consumer culture and the socialist regime in Serbia and the research of audiovisual advertising material created while DS “Beograd” was at the peak of their success. The analysis of the impact of consumerism on positioning, design and construction of buildings RK “Beograd” will be conducted through the establishment of the link between consumer society ideology hidden behind slogans of RK “Beograd” with notions of modernity, universality and functionality of space and the role that consumer have in the architecture of department stores. In the study, the case study method was used for the analysis of Serbian examples where the relationship above was observed, and elements are tested. Elements are further elaborated through comparative analysis to open up the discussion about possible ways on how other buildings in department stores could be analyzed without intention to develop generalized theory
Urban Narratives
Get PDFDiverging notions of what is meant with and under narrative(s), it’s (their) function and use has
been in the centre of research and practical attention in previous years especially regarding the narrative and rhetorical structure of urban theory, planning and design. The concept of narrative is ’’borrowed’’ from literary theory, where notion of narratology is commonly described as the study of narrative structure, looking at what narratives have in common and what makes one different from another
Performative and affective heritage
Get PDFPerformative and affective heritage is a form of heritage that is constantly being constructed and reconstructed in accordance with changes in the socio-cultural context. It refers to spaces that encourage the emotional and imaginary relationship of users, expressed through the examination and reproduction of the past, as well as the reconstruction of existing systems of meaning by developing new interactive practices. These features derive from the historical character of the heritage space, as parts of the past that remain different from the environment, often free and suitable for critical expression, action, and spontaneous appropriation. The process of performativity and affectivity itself must be collective so that different actors can incorporate their different views into debates. In this context, heritage is a polygon of free expression and experimentation through which it is constantly re-examined and changed. In this way, this type of heritage remains active and self-sustaining through current socio-cultural interactions
Climate Sensitive Design
Get PDFClimate-sensitive design is the approach to architectural design which is routed in the understanding of specific climate conditions and its impacts on building design. Primarily it is related to issues of achieving human comfort in buildings through building design that is aligned with local climate conditions. It is similar to terms climate responsive design, bio-climatic design, or design with climate, last referring to the seminal book of Victor Olgyay (1963, Princeton University Press). This design approach today is considered a basis for energy-efficient, green or sustainable design. It is also deeply connected to studies of vernacular architecture as part of the built heritage, since vernacular architecture is always climate sensitive and offers lessons for contemporary reinterpretation. It may appear strange to even highlight the importance of education on climate-sensitive design, since it should be the basis for any design, but too many decades of uniform design solutions across different climates gave poor results in terms of energy efficiency and quality of buildings, so it is necessary to emphasize the importance of these issues
Energy Conscious Design
Get PDFEnergy conscious design mainly refers to design approach which involves holistically addressing energy performance of a building throughout the design process, aiming to minimise energy demands and consequently provide sustainable structure with reduced carbon footprint.
Energy retrofit of existing buildings is seen as one of key strategies in building sector that should contribute to carbon neutral goals (European and worldwide) in the forthcoming years, especially in the regions with accumulated architectural heritage where the pace of new construction is very low.
While energy conscious design is still mainly focused on buildings’ operating energy, the embodied energy is perceived as an issue that should be further addressed since the share of embodied energy will rise as the operating energy is reduced. The same goes for the energy needed for disassembly of building components, reuse and recycling of materials and products.
The awareness of the scope of issues relevant for energy conscious design, as well as adequate design strategies and tools are necessary in the formation of architects that should shape our built environment through 21st century
Kreativno-inovativni multifunkcionalni centar „Ložionica‟ Mostarska petlja, Beograd [prva nagrada]
Get PDFProjekat kreativno-inovativnog multifunkcionalnog centra „Ložionica‟ ima za cilj da kroz sinergiju starog i novog doprinese prirodnom, društvenom i semantičkom ozdravljenju prostora nekadašnje Okretnice, Ložionice i Vodotornja Železničke stanice Beograd i njenog neposrednog okruženja, kao i da predmetnu lokaciju strateški pozicionira kao simbolično mesto savremenog progresa u domenu kreativnih industrija i šire. Sinergija starog i novog se odnosi, sa jedne strane, na tretman pojedinačnih celina kulturno-istorijskog nasleđa koje se čuvaju – Ložionica, Okretnica i Vodotoranj, a sa druge na odnos projekta prema celini predmetne lokacije, odnosno na uvođenje novih građenih struktura u okviru osetljivog, istorijski i kulturološki izuzetno značajnog prostornog ambijenta. Nove strukture sa postojećim elementima nasleđa stupaju u energetski intenzivan dijalog, što naglašava i čuva kvalitete i starog i novog, i istovremeno gradi novu savremenu prostornu celinu multifunkcionalnog centra „Ložionice‟, koja kao jedinstven entitet doseže daleko dalje od pojedinačnih elemenata koji je čine.saradnik: Vuk Zlatkovi