The project Urban pockets of Belgrade deals with abandoned urban spaces with the aim of including the local community in their improvement and activation based on the principles of sustainable design. With an appropriate intervention these spaces can become part of daily life of local residents and present an important contribution to the overall quality of life in the neighborhood.

Urban pocket  Room with a view in Baba Višnjina street in Belgrade, had its opening in 2011 and covers approximately 1000 m2.   The project's Investor was the municipality of Vračar, and the project won the Grand Prix of the Third Salon of  Landscape Architecture in 2009. This year it has been nominated for the the European Union Prize for Contemporary Architecture – Mies van der Rohe Award 2013.

The design includes a zone of active recreation with fitness equipment, a zone of calm relaxation with seating and a central zone of gathering where the seating sculpture is located. Symbolically, the authors of the Room with a View urban pocket, Vesna Gvozdenov i Jovana Kovačević, both lanscape architects, wanted their intervention to provide a different experience of urban space - to create a room with a different view.

The projects main idea was to encourage residents to acknowledge green areas as extensions to their own living rooms and to transmit the model of behavior from the inside of their home to a public open space, which is just as much part of their everyday life.

The main focal point is the sculpture Room with a View. The structure is inspired by the urban tissue of the Vračar municipality.  The birds are part of the structure, but are emphasized through color and form and simbolize the freedom of movement in a public space. The sculpture provides visual identity and becomes a new meeting place and a landmark. Additionally,  the space is visualy dominated by a graffiti, work of  street artist  Branko Tešević.

The authors of this urban intervention successfully created a space tailored to the users needs, increased the awareness of the public about public space and contemporary art, and above all to promote landscape architecture  as a multidisciplinary field that deals with open public spaces.

Open spaces are the hubs of social and urban life, and should therefore be maintained and improved, housing various activities and different events and processes, rather then be perceived as leftover spaces between the surrounding architecture.

Text and photos: Vesna Gvozdenov

Extraordinary art installation by Studio Random International closes this week at the Barbican Museum in London. This spatial experience has been the talk of the town.

Famous for their characteristic approach to art, using experiments and a close collaboration with science,  Studio Random International creates art installations that come to life in interaction with the audience.

Based on the primordial tendency of men to control nature, situated in the London context where rain doesn’t create positive reactions – the installation managed to change the point of view of the visitors regarding rain, from trivial – a weather occurrence to a complex phenomena followed by artistic, psychological and social analysis.

This is the largest and most ambitious art installation Random International has done so far. Rain Room takes up a 100m2 field where a simulation of a rainstorm is performed, through which the visitors can walk and feel the experience of being able to control the rain.

The space that houses the installation is in shape of a curved tunnel, so the visitors at the very entrance here the sound of the rain and feel the humidity in the air, before they walk into a downpour that reacts to their presence and movement.

The first impression goes beyond all expectations and, like any superior work of art, immediately captures the visitor completely. The perfect rain with a strong background lighting shows and makes visible each and every drop of water while the people’s silhouettes and the boundaries of the space remain in the dark. The contrast between the light water drops and the dark space makes the whole experience more intense and spectacular.

After the visitor steps on the platform, an invisible magnetic field is formed around him and in this area the rain stops. Each silhouettes creates a perfect void around which the rain continues its downpour.

It took two years to develop a system with technical capabilities to simulate a real rainstorm in an interior space. The authors wanted the rain to seem absolutely authentic, so research was done about what a rain drop looks like, how it acts, at what speed does it fall and in which way can you create these exact drops inside an interior space only 4m high.

Once the rain is created, a system of 3D cameras and sensors was developed to capture the shape of bodies and three dimensional objects from the moment that walk into the installation, and follow their movement, stopping the water jets above the visitor and allowing him to remain dry while walking through very heavy rain.

The installation authors consider most interesting to watch people’s behavior inside the art installation field, that is the way in which they approach and enter the artificial rainstorm and move through it. In this way the installation investigates the behavior of the exhibition visitors – which are at the same time observers and objects of observation, pushing them out of their comfort zone and suggesting them to try something opposite to their instinctive reactions and intuition.

Each person experiences Rain room in their own way and leaves it with different impressions. After the initial shock, and depending of each visitor’s character, the sentiments of ecstasy, nostalgia, admiration, fear and freedom are mixed. However, the common impression of all visitors remains – that it was an astonishing unreal experience, beyond all expectations.

The Centre for architecture Belgrade submitted two entries for this years Ranko Radović Awards - in cathegory of realized architecture works the project for Juvenile Detention Facility at Kruševac, and in cathegory of TV, exhibitions and multimedia the CAB integrated information system. The exhibition of works was held at Kolarac Foundation in Belgrade, and the exibition at the Department for architecture of the Faculty of Technical Sciences of the University of Novi Sad will follow.

A lecture on the application of the Urban Design Compendium was held at the Faculty for construction manqagement of the Union University in Belgrade on 22.2.2013. On behalf of the Centre for Architecture Belgrade this publication was presented to architecture students by editors Goran Petrović and Darko Polić.

Maroje Mrduljaš and Vladimir Kulić, eds., Unfinished Modernisations: Between Utopia and Pragmatism (Zagreb: UHA, 2012) As the Western masters have been studied thoroughly in the past (information on architects and their work was easily accessible, for various reasons, such as the longevity and marketing skills of the most prominent figures and the large number of their students and followers), contemporary researchers of the Modern turn to the less-known field of former socialist Europe, USSR and the so-called third world countries. In the last few years, younger generation of researches worked quite a lot on the subject of architectural heritage of former Yugoslavia. In different ways, with different approaches. The largest research was definitely the Unfinished Modernisations, a project that gathered participants from all countries of the former Yugoslavia, and presented in public on several occasions, through conferences and exhibitions in a number of cities in the region. Project results have been compiled and published in a book of the same title. This publication includes an impressive number of papers by respected authors, dealing with the modern architecture and urban planning of the former state in the context of social relations, technology, architectural expression, local particularities, influences, languages, interactions, ideologies, communication... The editors, Maroje Mrduljaš and Vladimir Kulić, very wisely distanced themselves from possible objections: “…in no way [do we] pretend to write a coherent history of modern architecture in the region… we are not aiming at scholarly precision and comprehensiveness, but a broad description of the circumstances that produced certain pieces of architecture and of the modernising effects of these buildings and their significance today.“ If we accept such an approach to research, what follows after this introduction is an unbelievable amount of data, illustrations, speculation, comments and analyses, presenting an extraordinary result. And a lot of nostalgia. Many designs, buildings and authors, shown here, were previously unknown to broader audiences. Indisputable values, discovered and presented by this project, thus escape the danger of oblivion. On the other hand, the project gives us a new discourse on some well-known houses, spaces and people, who deserve to be discussed and who still have something to tell us. I personally am very glad that yet another research of this topic has been successfully realized. From the moment when Jelica and Jelena made their first timid inquiries, over the broad smile on their faces as they investigated the dust of our archives, to the well-designed papers, it certainly took a lot of persistence and work – and they should be congratulated for that. This text is illustrated with some of the pictures from our archive, published in this book. Finally, we believe that this outstanding project will initiate some new researches, leading to an impartial catalogization and valorization of building heritage of the Modern, as a necessary prerequisite for its (urgently needed) protection. Modernizations may be unfinished, but we must not let them stay elusive. Text: Goran Petrović Illustrations from CAB archives: Fragment of the facade of the so-called TV-building (Blok 23, New Belgrade) and Pilot-building of the IMS Building Technology in Havana, Cuba.

In the first part of the text we introduced you to two of  Bjarke Ingels projects, done with studio PLOT, both located in the central zone of the new south suburb of Copenhagen. In this second part of the text we present a mixed use development -  the 8 House, the newest built work of studio BIG in this series. The 8 House is situated at the very edge of South Ørestada, behind which there is a vast flat grass landscape of Denmark and the sea.

Firstly, this project impresses with its size and the complexity of its form. In plan, the building is shaped like the number 8 with two large, publicly accessible, inner courtyards. These courtyards differ in their landscaping, with specific attractive features, and in their atmosphere and light quality, which is due to the geometry of the building itself.

What sets this complex apart from similar atrium forms are the changes in height and number of levels of the building. Additional to providing better sunlight and views, these height changes also allow the creation of public and semi-public pedestrian pathways on the edges of the 8-House. These pathways allow you to explore the complex form of the building not just visually but also physically - by walking through it. Paths start from the ground level, i.e. the courtyard level, and lead to the top, i.e. the roof of the building, along its outer edge from where the surrounding can be seen, or along the inner edge from where the geometry of the building and the courtyards create interesting views.

A walk through the building reveals its complex physical structure and form, as well as the structure and profile of its inhabitants. The inner street, lined with small terraces, allows unobstructed views into apartment interiors, thanks to the lack of curtains or shades on Danish windows. Baby carriages, toys and other equipment can be seen on most terraces and around the building, leading to the conclusion that the majority of this development's inhabitants are young couples with kids.

The network of pedestrian paths, stairs and passages allows the dwellers to have a different perspective on their living unit. In a conventional building they live in an apartment on the n-th floor with no direct contact with the ground or the community around them, while in the 8-House they can step out to a public surface almost directly from their living room. The architect's intention was to create a sense of community and belonging characteristic for small towns with family houses, while still maintaining a high density and urban living conditions. Thanks to this the whole complex seams self-reliant: it allows for apartment diversity, and also includes offices, a cafe, restaurant, grocery store, child care and all other auxiliary  programs inherent to a housing complex.

Besides all obvious advantages and the architects' good intentions, this innovative form also has a few flaws. The complex geometry caused a complex bearing structure, and the height changes that allow pedestrians to climb up to the roof, create complicated solutions in the interior space and prevent the establishment of a clear simple floor level.

A very specific problem, unpredictable during the design phase, is created by the multitude of visitors who come to tour this extraordinary example of housing architecture. Moving freely on public paths, the building's inner streets, they often invade the residents' privacy by entering their private, although only partially fenced, terraces. This made it necessary to post warning notices about the rules of conduct of visitors on the most frequented parts of the building, as well as on its website. Additionally, some of the residents protected their property physicaly, blocking the entrance to the terraces, which actually denies one the main motives of the 8-House living concept.

Text and photos: Milena Zindović

Visionary housing architecture by Bjarke Ingels in Copenhagen. If you are planning  a visit to Copenhagen and exploring it's many tourist features, all official guides will first direct you to tourist spots such as the main pedestrian street Strøget, the Royal Palace, the old theme park Tivoli or the Little Mermaid statue. However, what makes Copenhagen different then other European capitals is that it's also famous for contemporary architecture. In its tourist offer, this city emphasizes some of the extraordinary examples of today's architecture, by both Danish and foreign architects. It's also unique in the fact that these high achievements of Danish architecture are not limited to public programs such as operas, libraries or museums,  but are also visible in innovative housing complexes, which represents some of the most interesting examples of global contemporary housing architecture. And the most commonly met name among Danish architecture offices distinguished by their housing projects, is certainly that of Bjarke Ingels. CAB has visited and photographed three famous and impressive housing complexes in Ørestadu, a southern suburb of Copenhagen that is the home of some of these inventive and contemporary public and housing architecture. BIG's contribution to this new town is visible in three housing structures:  VM Houses, Mountain and 8 House. The first part of this report will present you with the first two projects, since they are both physically close, and thus in the same suburban context, and are also the early work of this, today globally known, architect. VM Houses are one of the first built projects by Bjarke Ingels (2004-2005), done as part of the architecture studio PLOT in which Ingels partnered with Julien De Smedt. This housing complex consists of two separate buildings, whose plans are reminiscent of the shapes of letters V and M, hence the name of the project.  This, thanks to its architecture, easily recognized building complex is located on the main axes of development of  Ørestad – right next to the main elevated metro line. The buildings are free-standing, positioned perpendicular to the street, which emphasizes the in-between spaces created between them. They are not oriented towards the street, therefore there is no defined street front, but towards well designed and groomed inner parks. A clear definition of the complex's block doesn't exist, instead the two buildings become part of a series of free-standing contemporary public and housing project lining the street. Completely accessible green areas next to the buildings, a public ground-floor that doesn't block pedestrian flow and large glass facade surfaces that allow a glimpse into modern interiors, all create an impression of openness and democracy. The architecture of this houses represents the Danish society and its values. Right adjunct to the VM Houses is another housing complex called the Mountain. This 2008. project is maybe the most famous work of Bjarke Ingels and the PLOT architecture studio. It's characterized by a completely different approach to the concept of living. Althought this builing is also right next to the main street and metro line, it's street facade is dominated by the garage. First few levels of the street facade are actually the building's parking facility, and it's only publicly accessible part. The entrance and access to innovative elevators that move both vertically and horizontally are strictly controlled, and create an impression of an exclusive building. The occupant's privacy is completely secured from all sides: the wooden decks orriented towards the park and the canal are rising from the ground to the top of the Mountain without the possibility of curious looks into the inner world of this impressive structure. Thanks to this architectural solution each apartment has its own piece of greenery, nature and open sky, while entirely maintaining its privacy. VM Houses and the Mountain are builidngs in a series of interesting and innovative responses of Danish architects to the challenges of a new city development. Located along the main traffic axes that connects Ørestad to downtown Copenhagen, these builings, together with Ørestad High School and Library, a big commercial mall and other public buildings, create the center of the new city. To be continued... Text: Milena Zindović

Preliminary and final design of new housing units at the Juvenile Detention Facility in Kruševac, Serbia, whose authors are members of the Centre for Architecture Belgrade, is nominated for the European Union Prize for Contemporary Architecture – Mies van der Rohe Award 2013. The project is part of the Programme for the improvement of conditions at the Juvenile detention facility in Kruševac, financed by the European Commision. The Juvenile Detention Facility in Kruševac is a famous institution, depicted in several movies and TV-series produced in the period of former Yugoslavia. It gained the nickname "Gray Home (Sivi dom)" from an iconic TV-series from the 1980's, dealing with hard times of imprisoned juvenile delinquents. The life of problematic kids growing up in this reform school did not change much over time. One of the principal reasons is that the whole detention facility was very old and in poor condition, with inadequate security capacities. Deteriorated and overcrowded spaces for lectures, work and sleeping, poor hygiene and mixing of different age groups all proved to be inadequate for the XXI century. The European Commission provided funding for new buildings, that would essentially improve the overall conditions at the facility. Eight new housing units, an infirmary and an isolation building were designed and built, with accompanying infrastructure. New housing units have rooms with two and three beds and a bathroom for every room. At the ground floor level of each unit, there is a large space for dining and other activities. The conditions in these units do not differ much from standard student homes. Two smaller buildings (infirmary and isolation) are specific, with higher security measures and appropriate finishing, installations and equipment. The biggest architectural challenge  was to reconcile the impression of austerity that architecture should leave on its users and the need for them to identify with the space where they spend most of their time. This was accomplished by using a simple architectural language based on archetype forms. Visual concept of the facade is the repetition of a small number of strictly defined elements. The way these elements are distributed on the facades reflects the dynamic character of young people who spend their time in this facility. The whole complex achieves a harmonic relationship with its surrounding, primarily because brick is the dominant material. This relationship with the natural surrounding is additionally emphasized in the way the disposition of buildings makes the most of the natural potentials on site. Buildings were completed in September 2012. The design and supervision of works was carried out by SAFEGE. Authors of the architectural design are Goran Petrović and Vanja Petrović (Centre for Architecture Belgrade). Project manager was Jaša Preger. Photo: Miroslava Andrić

Renovation of administrative building in Hamburg is completed according to design of Berlin based practice J. Mayer H. With a clear concept and architectural elements which became their trademark, architects gave a completely new identity to the whole building, and succeeded to create a new landmark. "Schlump ONE" project is located directly at the underground station Schlump in Eimsbüttel district in Hamburg, representing one of the most exciting reconstructions finished this year. The original administration building from the 1950s and 90s was gutted, renovated and expanded, and has now been converted into a small university and an office building with four possible rental units per floor. The existing data processing center in the courtyard has been transformed into a private university and expanded to include a new building. The building’s facade has been completely renovated and redesigned to form a single unit that freely interprets the original building’s 1950s linear design. The organic formal language of the facade is continued in the design of interiors. The project is embedded in a sophisticated, open space planning design with oversized tree sculptures. Photographers: Jan Bitter and Ludger Paffrath.

The architecture world was saddened yesterday by the news of the death of Lebbeus Woods, esteemed architect, professor and theorist of architecture. He died in his sleep in his apartment in New York at the age of 72.

Lebbeus Woods was born in Lansing, Michigan, USA in 1940. He studied engineering at the Perdue University and architecture at University of Illinois. He worked at several offices, such as Eero Saarinen and Associates and Kevin Roche John Dinkeloo Associates, and then started his own practice. From 1976 he committed himself to theoretical and experimental work. He founded the Research Institute for Experimental Architecture (RIEA). He lectured at many architecture schools, including SCI-ARC, Bartlett in London, Harvard, Columbia and Cornell University, and Cooper Union in New York. In the architectural academic community he had a cult status, and his drawings significantly influenced generations of students.

He is the author of a large number of projects, books and installations, including: „Anarchitecture: Architecture is a Political Act“ (1992.); „Radical reconstruction“ (1997.); „Earthquake!“ (2001.); „The storm and the fall“ (2004.); „Lebbeus Woods: Experimental architecture“ (2004.) i „System Wien“ (2005.). Famous, first of all, for his paper architecture, Woods had no build projects but the influence of his work and theories on the architectural practice was extraordinary. Through expressive and characteristic drawings he explored and analyzed the relationship between architecture and crisis, be it a war, an earthquake or extreme weather. He is best known for his futuristic renderings of reconstruction of crisis-stricken cities such as Sarajevo or Berlin. Analysis and writings about his work were published in many magazines, books and publications. His first and only realized project is the "Light Pavilion" in China, commissioned by Steven Holl, which opened this year.

He was the recipient of an American Institute of Architects Honors Award,  Chrysler Award for Innovation in Design and the Architecture Award of American Academy of Art and Literature. His works are part of public and private collections, including MoMA in New York, Whitney Museum of American Art in New York, Cooper-Hewitt Museum of National Design, MOMA in San Francisco, Carnegie Museum of Art (Pittsburgh), MAK in Vienna, Cartier Foundation for Contemporary Art in Paris and the Getty Institute in Los Angeles.

He is the author of numerous publications and a blog http://lebbeuswoods.wordpress.com/. In his last blog post entitled "Goodbye (sort of)" he announced his retirement due to his age and health condition, but also planned to published a new book with original writings and theories. We can presume the book is not finished, which is another big loss for the architecture thought.