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Apartment interior design: lines and colours [BAB 2019]
Get PDFThis is the project of reconstruction and adaptation of the apartment interior space in Trešnjevka street in Belgrade. The main conceptual idea is developed from the issue of the heating pipes movement. in the new spatial organisation. Accordingly, the main issue in the project became the main spatial concept - heating pipes became the main spatial motif in the centre of the new open space. Therefore, the main motif initiated the whole spatial identity. The pipes are additionally accentuated with vivid colouring and interpreted in the structure that holds the continuous outline consisted of dining table, counter and the shelf that circles the living room space. In addition, the most of the furniture is designed or custom made with the idea of colours and lines emphasising
51. Мајска изложба Удах [награда]
Get PDFГрафички одговор на тему 51. Мајске изложбе Удах, је одговор на концепцију изложбе као дах свежине. Лакоћа форми које се преплићу и коришење цyан и минт тонова, графички су приказ свежег, лаганог. Кружне форме представљају кружење, ритам и обнављање, док њихов несталан карактер је представа светлости и пулсирања
Frequencies: Invisible Architecture, Comprehensive Sensing - Architectural Integration and Design [STRAND 2019]
Get PDFThe research ‘Frequencies’ deals with the questions of multisensory integration and processing (cross-modal perception) and extended multisensorial spatial awareness in relation to architecture. It investigates comprehensive sensing technologies, intelligence, and robotics, and their architectural integration or other ways by which they can be architecturally operationalised, suggesting the idea and the form of the architectural object as a measuring and sensing instrument—a sophisticated machine—in complex relations with humans and the environment.
For these purposes, a multi-frequency band scale/diagram has been created in order to uncover the ways in which complete spectrum analysis and filtering work in a black box as a part of the above-explained architectural system. The output modules of the architectural instrument (calibrated to work within the precise frequential domain) identify, allocate, and track the source of the detected signal.Exhibited Object: Architecture-Instrument [kinetic programmable architectural structure] - architectural prototype and technical solutionExhibited Elements: 1. Architecture-Instrument (kinetic programmable architectural structure) - architectural prototype and technical solution, 2. Posters (+ supplementary printed material), 3. Video Material: [https://vimeo.com/368214907], https://vimeo.com/36822435, https://vimeo.com/368229565 ; 4. Blog Presentation: https://dciricexoglobaleyes.tumblr.com/ ; Strand Exhibition Photo Credits: © MIlan Maksimović, Strand;Rad je prikazan u delu publikacije - Nasl. str. prištampanog teksta: Exhibition boo
Fragmentation - New Reality [STRAND 2019]
Get PDFDrawing on the idea that abstraction of architectural design is repeatedly demonstrated by new concepts, and that the idea of the design contains a fragment of its internal laws, the paper raises the question of alteration of forms towards new time- space categories. In contrast to Euclidean geometry based on the continuity of geometric forms, fragmented forms draw upon deformations and variability, operating in the limit zones, for the design, zones of the greatest creativity and potentiality. A new understanding of reality shaped by digitization of all systems has created the basis for forms of self-organization, openness, contingency, and emergence. What we have before us is basically a new aesthetics that goes beyond the horizon of visible in a way that allows the whole world and all its parts to be seen in a completely new, immaterial way. This means that architectural forms appear in the visibility zones, together with the forms of their systemic dislocation.
In contrast to Euclidean geometry based on the continuity of geometric forms, fragmented forms rest on the idea of deformation and variability, in the limit zones of the greatest creativity and potentiality. A new understanding of reality shaped by digitization (of a system) has created new concepts such as self-organization, openness, contingency, emergence, and thus a new aesthetics that goes beyond the horizon of visible. Aesthetics of the digital allows the world and all its parts to be seen in a completely new, immaterial way.
Challenging the influence of digital technologies on architectural practice, despite the introduction of new concepts and terms such as trans-architecture, generic architecture, digital morphogenesis and fluidity, can be read at the moment of its actualization, or when it is translated from the virtual (space) into a real context. The question of the flexibility of understanding these concepts concerns replacing physical form by digital design (Jeska, 2008). This concept of architectural object as a variable structure opens up the possibility of stretching architecture (Maxwell, 1996), which is no longer expected to be static, but in its actualization after the virtual. Spatial flexibility, as a concept, allows objects to be variable and to adapt to the spatial and temporal changes in the context.
Abstraction of the universal is not what explains, but what must be explained, and the aim is not to rediscover the eternal or the universal, but to create the conditions for producing the new. The world is logical in accordance with the possibilities given by abstraction, even if not all the possibilities (potentials) have been realized (Rajchman, 1998), and in a sense precisely because of it.Rad se nalazi u delu publikacije - Nasl. str. prištampanog teksta: Exhibition boo
Syntactic aspects of hypergraph polytopes
No full textThis paper introduces an inductive tree notation for all the faces of polytopes arising
from a simplex by truncations, which allows viewing face inclusion as the process of
contracting tree edges.These polytopes, knownas hypergraph polytopes or nestohedra,
fit in the interval from simplices to permutohedra (in any finite dimension). This
intervalwas further stretched by Petri´c to allowtruncations of faces that are themselves
obtained by truncations. Our notation applies to all these polytopes. As an illustration,
we detail the case of Petri´c’s permutohedron-based associahedra. As an application,
we present a criterion for determining whether edges of polytopes associated with the
coherences of categorified operads correspond to sequential, or to parallel associativity
Everyday Aesthetics in Architecture and Applied Arts [abstract]
No full textAesthetics is a philosophical discipline whose object of interest since its creation has been continuously developed and expanded to this day. Since its establishment in the 18th cen- tury as a science of the sensual knowledge of the world and phenomena, the focus of aes- thetics was primarily focused on theoretical, philosophical, axiological and critical consid- erations of art, nature and beauty. Over time, aesthetics has expanded its research beyond the framework of individual arts to relations that govern among different arts, then the relationship between art and other disciplines, to eventually emerge from the fields of art and spread to fields of science, technology, ecology, media and communication, sociology, religion, politics, economics, etc. Therefore, today we can talk about the aesthetics of ar- chitecture, aesthetics of music, aesthetics of media, aesthetics of science, aesthetics of reli- gion, aesthetics of technology, aesthetics of computer software, environmental aesthetics, aesthetics of everyday life, ecological or green aesthetics, etc.
Nowadays, at the time of proliferation of visual sensations and more perfect media-com- munication technologies, the boundaries of art are lost, and the boundaries of aesthetics have become more dispersive. Aesthetics in the 21st century has become one of the main determinants of today’s global neoliberal capitalist society. As a special type of knowledge and reasoning, aesthetics represents a specific relationship to the world based on which everything that a person does, thinks and creates can be interpreted from an aesthetic angle. Modern technology constitutes the basis and main mechanism of the process of aestheticization subjected to science, art, society, production, politics, economy, religion, philosophy, media, culture and everyday life. The aestheticization of everyday life is a phenomenon that started with the rapid progress of technology, science and industrial production at the beginning of the 20th century. Today our modern society lives and acts aesthetically. Starting from art, architecture, applied arts, music, film, theater, religion, politics, economy, social communication, technological gadgets, home interiors, gardens, clothes, cooking, blogging and life coaching – everything can be a subject of aesthetical consideration.
The aesthetic sphere has become one of the main infrastructural spheres of everyday life. The process of aestheticization is present everywhere, whereas aesthetic values consti- tute the primary domain of the emancipation of man today in society, politics, economics, culture and art.
The aesthetics of architecture and the aesthetics of applied arts represent the subtypes of aesthetics that will be examined in this paper from a common aesthetic position, in an attempt to share the same or similar theoretical and practical aspects. The essence of ar- chitecture and applied art is the artistic creation of buildings, structures and objects that, in addition to certain aesthetic requirements, primarily seek to satisfy requirements of us- ability, functionality, comfort and adaptability. Aesthetic considerations of the works of ar- chitecture and applied arts also include considerations of style, poetics, artistic expression, creativity, material adequacy and overall appropriateness in terms of the form and content of the work itself.
Since today’s man predominantly lives in cities, our environment is primarily determined by the architecture and objects of applied arts that we use almost daily. Therefore, in a joint interaction, architecture and applied arts form a specific atmosphere that will be explored in this paper through the concept of everyday aesthetics. Everyday aesthetics is one of the domains of modern aesthetics and constitutes one of the wider concepts of environmental aesthetics. Everyday esthetics involves human common objects, environments and activi- ties that constitute people’s daily life, for example: artifacts of daily use, chores around the house, everyday activities, such as eating, walking, bathing, meeting with people, sport, architectural and interior design, design of objects and tools, etc.
The main aim of the paper is to explore the complex relationships that govern the domain of aesthetics of architecture and applied arts. From the point of view of the aesthetics of everyday life and the aesthetics of atmosphere, significant concepts of modern aesthetics of architecture and applied arts will be analyzed, such as: aesthetic objects, aesthetic recip- ients, aesthetic experience, relationships between contemporary forms and their content, aesthetic perception considering contemporary technological conditions, the idea of total design and aesthetic unity, and others.
The paper seeks to clarify the contemporary movements of aesthetics, above all the phil- osophical discipline which today deals not only with art, aesthetic categories and philoso- phizing of art, but is directly present in man’s everyday life – in the actions and thoughts that man takes, in social connections and objects that man creates. The evolution of aesthetics is now viewed through the evolution of technology that traces the development of archi- tecture and applied arts. Technological innovations, change of work technology, and transi- tion to computer-aided design have largely changed aesthetic thinking about architecture and applied arts. The boundaries of architectural and design profession have opened up to interdisciplinary and transdisciplinary connections of designers, architects, psychologists, sociologists, IT designers, managers, experts, industrial engineers, and many others.
The results of this paper confirm the change of the focus of aesthetics from art to every- day life and to people as actors, creators and consumers of aesthetic experience. In this respect, a new aesthetic discourse of interaction of technology, applied arts, architecture and art is realized. This disposition of the problem of aesthetics from the domain of art in the domain of environment (both natural and built environment) and the domain of practicality and everyday life caused by processes of cultural and general globalization can be seen as a decline in the philosophical integrity of aesthetics. On the other hand, aes- thetics in the domain of everyday human life tries to build a comprehensive humanistic and philanthropic approach. Therefore, the environmentalist position of the aesthetics of architecture and applied arts finds a mutual confirmation both in the philosophical tradition of aesthetics and in the practical perception of aesthetics – especially through relations that rule between man, nature, society, art and objects that man creates and consumes in an intellectual and practical manner. Theoretical results of this paper are also supported by practical examples, while the study as a whole raises one of the main issues of the mobility of knowledge beyond the boundaries of aesthetics as a philosophical discipline. This points to new ways of development of the essence through multidisciplinary, interdisciplinary, cross-disciplinary and transdisciplinary approaches of the examination of art, architecture, applied arts, science and life in the unity of the main philosophical values of beautiful, good and true
Towards the development of higher quality social housing in Serbia: social housing apartment building in Požarevac
Get PDFНовоизграђени објекат за социјално становање у
Пожаревцу презентује успешно реализован пројектантски
напор да се у оквирима ригорозних норматива и
ограничених финансијских средстава за дату намену
креираjу квалитетна стамбена архитектура и просторни
амбијент примерен будућим корисницима. Урбанистичкоархитектонско решење указује на интегрално разматрање
контекстуалних условљености, просторно-функционалних
захтева и специфичних потреба циљних, социјално
угрожених категорија станара. Адекватан стандард
становања, социјална одговорност, визеулна изражајност
и атрактивност архитектуре, препознају се као основни
принципи примењене методологије пројектовања
и унапређеног приступа сагледавању комплексне
проблематике социјалне станоградњеу Србији.
Кључне речи: социјално становање, Пожаревац, Србија,
квалитет становањаThe newly constructed social housing apartment building in
Požarevac is a successfully completed design effort to create
quality residential architecture and a spatial environment
suitable for its future users, within the framework of rigorous
spatial norms and limited financial resources. The urban
architectural solution indicates an integral consideration of
contextual conditions, spatial and functional requirements
and the specific needs of the targeted, socially disadvantaged
categories of tenants.
The basic principles of the design methodology applied are
an adequate standard of housing, social responsibility, visual
expressiveness and architectural attractiveness, as well as an
improved approach to understanding the complexity of the
development of social housing in Serbia
Participatory Web-GIS platform to support Community-Led Local Development of Cultural Tourism in Serbia
Get PDFCommunity-Led Local Development (CLLD) is recognised as fundamental for achieving social,
economic and environmental goals of Horizon 2020 Strategy. Recognising the importance of
its place-based dimension of development, it promotes process of “territorialisation” perceived
as co-production of society and environment, in which both have agency. Therefore, it implies
implementation of an integrated community collaborative research and action in the process
of discovering and innovation of the sustainable economic trajectories. The CLLD concept is
implemented within the EU territory throughout LEADER Programme and the implemented
local initiatives were evaluated as very successful. However, operationalisation of the concept of
territorialisation and CLLD present a methodological challenge. In the context of the Republic of
Serbia, due to the initialised EU pre-accession process, Leader Plus program was initiated. However,
in spite of the several very successful pilot initiatives, this program did not reach the expected
success. One of the main reasons identified was insufficient capacities to perform and implement
collaborative research process at a local level, as in the case of Smederevo. As a consequence, the
cultural tourism territorial resources are not used in its full capacity. This research focuses on the
exploration of possibilities to build up local capacities with a view to improving cultural tourism offer
trough a participatory Web-GIS platform
Green infrastructure evaluation model : case study of Belgrade
Get PDFIn this article, we consider possibilities to apply green infrastructure as an urban planning approach that provides polyvalent space for ecosystem services and human well-being and evaluates their impact on the city (re)generative space of biophilia. Two residential areas in Belgrade (block 45 in New Belgrade and Savamala neighborhood in the old city center) will be used as the focus of the research presented in this article. Even though they are characterized by different ecological, urban, morphological and social characteristics, they share direct contact with Sava River. Therefore, the adaptive potential of these spatial segments will be the subject of the analysis presented in this article, and the emphasis will be on applying and evaluating design within the integrated network of green infrastructure, and the study will determine what impact it has to planning and implementation of elements of green infrastructure
Отворени пројектни, једностепени, анонимни урбанистичко-архитектонски конкурс за меморијални комплекс на планини Цер, Србија [откуп]
Get PDFУ графичким прилозима приложена је репродукција Иконе св. Георгија из манастира Зограф на св. Гори (Атос, северна Грчка). На овој икони св. Георгије је приказан са израженим ореолом (што је и иначе симболички и метафизички начин за иконописање светаца). Св. Георгије (Ђорђе) у Српском народу заузима посебно место међу слављеним светитељима, и посвећене су му чак две славе, Ђурђевдан и Ђурђиц. По предању св. Георгије је „убио Аждаху“ и на тај начин спасио свој народ у древној Палестини, који је после тог витешког геста примио хришћанство. Код Срба је св. Ђорђе симбол страдања и победе, изузетно поштован светац коме су посвећене многе цркве и храмови.
Концепт је базиран на идеји да се место велике борбе, победе али и страдања српске војске и народа обележи спомеником који је лако сагледати са велике удаљености и који би на јасан, недвосмислен симболички начин указао на своју сврху и мотиве због којих је подигнут. Обзиром да се тема крста прилично често понавља у локалној али и у светској пракси меморијалне архитектуре, преложено је, по мишљењу аутора, једно суптилније и савременије решење које има исту или чак и јачу симболичку ноту а при том је аутентично и отвара нови поглед на посматрану типологију. Уместо крста предлаже се ореол. Кружни светлећи прстен који је постављен изнад стабала на слемену Цера има вишеструку улогу. Као репер и оријентир указује на Цер као на „свето место“, поприште и „камен међаш“ у српској историји. Такође, на симболичком нивоу разумевања, овакав споменик означава место војне али и духовне и моралне катарзе, народа који брани своје вредности и у тој борби односи победу. Ореол је посвећен свим душама погинулих и пострадалих војника али и читавом народу, а можда пре свега планини Цер као „митском“ месту постојања и узнесења