The Polish pavilion at the Architecture Biennale in Venice received an honorable mention from the jury in the category of national pavilions. Curator Michał Libera, pavilion's author Katarzyne Krakowiak,  sound designer Ralf Meinz and acoustic engineer Andrzej Kłosak created an architeture of sound. The seemingly empty space of the pavilion is actually filled with sounds, which also affected the architecture of the pavilion itself.

Michał Libera explains: "Architecture is built of sound. It is what makes the diffusion of sound possible—absorbing, filtering, and transferring it, amplifying some of its components at the expense of others. Enclosed spaces are room tones, while niches are specific echoes. The ventilation and heating systems are a quiet yet constant noise, whereas windows and walls are the filtered sounds of street bustle, the buzzing of cicadas, or neighbor’s living rooms. We live, work and play in gigantic complexes of sounds—their distribution is what we call architecture."

Katarzyna Krakowiak’s sound sculpture Making the walls quake as if they were dilating with the secret knowledge of great powers is the amplification of the Polish Pavilion as a listening-system. Rather than creating a new space, the artist’s proposal for the Architecture Biennale takes an empirical turn, taking the existing interior as its point of departure, with all its deficiencies and imperfections guiding the work. The art is in the “naked building”—presented through sculpture as a complex sonic process that generates, transforms, and transmits sound.

Studies in the natural acoustics of the Polish Pavilion offer several ways to perform the amplification process. Architectural micro-deformations of the building’s walls and floor, the renovation of the ventilation system, and reinforcement of the resonant frequencies serve to bring this latent acoustic experience to the fore.

None of the sounds in the Pavilion are alien to the building. They are all always already there. Yet, once amplified, the familiar ambient sounds become alien themselves. Beyond the visual and the material, they compel us to hear what was always there—the others just outside the walls. Hence, the real subject of the work is essentially the entire architectural complex that is home to four other pavilions: Egypt, Romania, Serbia, and Venice.

Photo: Miloš Mirosavić, Diana Pereira, © Zacheta

Drawing: © Katarzyna Krakowiak

October Art Salon, owing to its tradition of more than four decades, has become a point of reference of Serbian culture.  It is a representative event featuring creators in the broad sphere of visual arts and a great exhibition of authors whose selectors are prominent experts in this area. In the course of its history, the Salon has changed its concept and organizational forms, but it has remained a strong challenge to creative consciousness. The Salon represents an important segment in the study of the modern Serbian art of the second half of the 20th century. Few years ago Salon became an international event which enabled the start  of a dialogue with the international art scene. This year’s October Salon, named GOOD LIFE / ГУД ЛАЈФ, under support from City of Belgrade, takes place in one of the most beautiful but also one of the most neglected monumental edifices in Belgrade – building of Belgrade Shareholders’ Association (former building of the Geodetic Institute). The history of this building, in a way, presents the history of 20th century Serbia. This inspiring location will be used as a space of ad hoc transformation where the works will be “implanted” in its present condition and in its existing historical narrative and architectural design. Every exhibition, in terms of both its physical and discursive realities, is first and foremost a specific form of exchange within a specific framework and under specific social conditions. Curators of this year's October Salon, Branislav Dimitrijević and Mika Hannula, assembled forty participants from Finland, Germany, Sweden, Slovakia, Turkey, Bulgaria, Croatia, Estonia, Netherland, Great Britan and Serbia. Central interest of curators and artists collaborating in this exhibition, is the relationship between spatial and social imagination, the possibility of transforming a space into a place, and a reflective narration into an active physical presence. The architectural setting of the Geodetic Institute building, and the narratives making up its history, are the starting points for reflections on social visions, promises and delusions, typical primarily of the local “version” of the attempt at, gradual progress in and eventual standstill on the path of the social modernization. The age of modernity was characterized by the capability of forging a vision of the future, which nowadays tends to be dismissed from the relativistic position of skepticism and irony. However, the basic promise of modernity, which essentially boils down to “a good life for everyone”, has remained an irreducible place of bringing together individual desires and social imagination in the process of continual circulation. Exhibition Opening: Saturday, September 22, 1pm - former building of the Geodetic Institute Karađorđeva 48, Belgrade. The Salon will be open until November 4, 2012.

The exhibition Three pillars: Zoran Bojović opened on Tuesday, September 18th, 2012, in the Gallery-legacy of Milica Zorić and Rodoljub Čolaković, organized by the Museum of Contemporary Art in Belgrade.  Through the work of architect Zoran Bojović who worked with the Belgrade-based company Energoprojekt on projects in Africa and Asia, curators of the exhibition, Andrej Dolinka, Katarina Krstić and Dubravka Sekulić, examine the influence Yugoslav architecture and construction industry had in the countries of the Non-Alignment Movement, and  how this environment affected Yugoslav architects. The exhibition will be open until October 22nd, 2012. How these projects related to the local population and culture? What is the significance of building water dams, factories and hotels in countries that had recently gained their independence? What is the relation between these buildings and the Non-alignment movement? A passage of time was needed for contextualization of the projects that were designed and realized for what is today referred to as the Global South, and to understand the position of architecture and architects in that process. Most of these question remained unanswered. One of the construction companies that was particularly active in the development of the Global South - Africa, Asia and the Middle East, was the Belgrade-based Energoprojekt. Among many of Energoprojekt's architects a special place belongs to Zoran Bojović. Additional to the quality and complexity of the projects he managed, his approach to architecture was of great importance in establishing architecture as a vital and integral part of the work process. To quote Bojović: "You can not separate architecture from other disciplines. Everything is Architecture. It's about shaping space. Large engineering projects, especially dams and hydroelectric power plants, effect the change of environment and climate. All this is shaping space, and shaping space is Architecture." (taken from the interview "All is Architecture", made for the exhibition). The goal of the exhibition Three pillars is to position the practice of Zoran Bojović in a larger context of post-colonial development in Africa and the rest of the Global South. The main idea is to showcase the internal and external dynamics of the Non-Alignment Movement, established as a third pillar in the bipolar world of the Cold War era. Further more, the exhibition intends to present the competitive world of the global construction industry, where Energoprojekt played a vital role until the end of the 80-ies, as well as to examine the influence of the global powers on its architectural practice and architects coming from the non-aligned Yugoslavia. Behind these extensive discourses is the story of Zoran Bojović, the architect who found, in what he calls "my Africa", the qualities and logic that showed him the way through the design process. Photo: © Collection of Zoran Bojović

Álvaro Siza Vieira has been chosen to be the recipient of the Golden Lion for Lifetime Achievement of the 13th International Architecture Exhibition – Common Ground. The decision is made by the Board of la Biennale di Venezia, chaired by Paolo Baratta, under Director David Chipperfield’s proposal, with the following motivation: "It is difficult to think of a contemporary architect who has maintained such a consistent presence within the profession as Álvaro Siza. That this presence is maintained by an architect that lives and works at the extreme Atlantic margin of Europe only serves to emphasise his authority and his status." "Since the early appreciation of the Boa Nova restaurant and the swimming pools at Leca de Palmeira and a reputation confirmed by the early houses, Siza has maintained a unique position in the architectural galaxy. This position is full of paradox. Siza has upheld a consistent production of works at the highest level, yet without the slightest hint of the overt professionalism and promotion that has become part of the contemporary architect’s machinery. Apparently running in the opposite direction to the rest of the profession he always seems to be out in front, seemingly untainted and undaunted by the practical and intellectual challenges he sets himself." "Secured by his isolated location, he exudes worldly wisdom. Experimenting with forms of extreme geometry he manages to produce buildings of great rigor. Developing an architectural language that is uniquely his, he seems to speak to all of us. While his work exudes the security of judgment, it is clearly intensified through cautious reflection. While we are dazzled by the lightness of his buildings, we feel the seriousness of their substance." Alvaro Siza designed his structure  in the gardens of the Arsenale, right next to the pavilion by Eduardo Soto de Moura. This follows the longtime collaboration of the two Portuguese masters. Siza’s pavilion establishes a relationship with a different aspect of Venice – that of the dense urban environment. It consists of a series of bright red walls amongst the trees and plants of the garden designed for the 12th Biennale in 2012 by Piet Oudolf. Three faceted walls create  two intimate spaces in the middle of the garden,  a tribute to the compact urban tissue of Venice, which frames particular views of the exteriors of the Arsenale. Siza’s piece also features a cantilevered canopy that shades visitors as they leave. Siza’s pavilion evokes the human scale of the streets of Venice, and frames and makes new settings for the trees and planting of the Giardino delle Vergini. Photo: Miloš Mirosavić, Ivana Popović

World’s leading interior design magazine FRAME, together with the firm Moooi, known as creators of some of most inspiring designed furniture, are organizing again  this year the competition for FRAME Moooi Design Award 2013 – calling professional architects and designers to enter with their products realized between 1st January, 2011, and 1st September, 2012. Competition is dealing with design of interiors, furniture and lamps - designed for public or commercial spaces, like hotels, restaurants, bars, schools, etc. The competition brief emphasizes that entry products must be custom-designed for a specific interior. Considering the cutting edge approach to design both Dutch brands are known for, it is easy to predict that beauty and uniqueness will be highly appreciated. Last year’s completion was very successful with a total of 890 entries from 79 countries that were submitted and famous Philippe Starck as a juror. The winner received cash prize of 25.000 EURO, that have been claimed this year too. Frame Moooi Award is accepting applications until 1 December, 2012. For all details visit their official website http://www.framemoooi.com/home

Water purification plant Novoselija 2 in Banjaluka, Bosnia and Herzegovina, designed by the members of Centre for architecture team, is finally completed.

Official opening of the second phase is scheduled for 27th of September 2012.

Russian Pavilion at the 13th edition of Venice Biennale is awarded with a Special Mention, in the category of national pavilions. Exhibition was curated and designed by Sergei Tchoban and Sergey Kuznetsov, team responsible for exhibition Russia’s Factory – which took place two years ago, also in this pavilion. Awarded pavilion is divided into two parts, 'i-city' and 'i-land'  contrasting Russia's past and future, in a highly interactive and subtle way. Exhibition called secret country ‘i-land’, that’s presented on the ground floor, addresses Russia’s past - curators took as their subject the secret settlements formed during the cold-war period from 1945 until 1989.  More than 60 gated towns and cities were created in the Soviet Union for scientific and technological research. The existence of these cities was kept secret. They were everywhere in the country, and yet it was as if they did not exist. The people who worked within were isolated from society and were sometimes, for the sake of secrecy, given new identities. These cities and their inhabitants were invisible except to the watchful eyes of the secret service. Addressing the future is the exhibition 'i-city,' on the upstairs level, that consists of three rooms with a grid of QR codes wrapping the walls, floors and ceilings - all decoding as information about the Skolkovo project, a new city near Moscow, which promotes architectural and technological innovations in Russian urbanism. The new city – the Skolkovo innovation centre – is an instrument for transforming science after the end of the Cold war. This is an open city which is being created by some of the world’s most acknowledged architects  including David Chipperfield, Mohsen Mostafavi, OMA, SANAA, Herzog & de Meuron, etc. This project already involves some of the most important scientific centres in the world and will include a new university and homes for more than 500 firms working in distinct fields of science – IT, biomedical research, nuclear research, energy, and space technology. Offering probably the best infrastructure for development of science, creators of Skolkovo are hoping to attract some of the world’s advanced scientists. Photo: Miloš Mirosavić, Ivana Popović, Diana Pereira

Centre for Architecture Belgrade invites you to visit this fall one of the most interesting and biggest creative festivals in Southeast Europe - Ljubljana's  Month of Design, organized by Zavod BIG. Although a relatively young event, the Month of Design brings future into the present moment and is intended for all those who wish to experience future - today. Read their  Manifesto! Month of Design is the first development oriented and proactive platform in Southeast Europe, or to put it simply, a visionary "industry and craft fair of good design and creativity", that brings together 18 fields - from enterior design to transportation, from fashion to medicine, as well as 11 creative activities, so-called "creative industries" such as design, architecture, advertising etc., all based on personal creativity, knowledge and talent. Don't miss the forward exhibition event Design Expo, that will captivate you first with the exhibition space, and then with the exhibit itself, provocative cocktail presentations and shows on the Stage 180^o. Attend the annual slovenian design award, and the conferences Embedded design and the Finnish experience and Food and Health: future scenarios now. Visit the exhibitions Timeless Slovenian Design and Little tourist architecture, as well as unique events Eat&Drink Design and Flower&Fashion Design. As part of the whole month of Design in the city you can visit over 50 exhibitions and event in various locations in Ljubljana's center. This year's conference emphasizes the visionary and the interdisciplinary. This year the organizers would like to connect the notions of future and eternity, and motivate the visitors to become part of this intent as well as to start thinking about their own future. After all, future is not someplace we go to, but rather someplace we create for ourselves. It is therefore no accident that this year's conference is being organized in the collaboration with the review Scenario and the experts for the Copenhagen Institute for Future Studies. Month of design in numbers: 200 exhibitors / 150 performers / 10.000 m2 of exhibition space. We invite you to create the future with us! Through the Centre for Architecture Belgrade you can  receive a discount of 50% on the registration fee for this festival. Photo credits: © NASA archive and Milena Zindović

The exhibition POSSIBLE GREENLAND headed by the Danish Architecture Centre and curated by Minik Rosing & Nord Architects aims to give an insight into Greenland as a major political, cultural and business force in a globalized world. The exhibition at the Danish Pavilion provides a spectacular experience of 'Greenlandness' through images, film and artifacts. Representing central perspectives, including Cultivating, Connecting, Inhabiting, and Migrating, POSSIBLE GREENLAND explores the country’s main challenges and opportunities.

BIG in collaboration with TENU present Connecting Greenland: AIR+PORT as a part of the exhibition “POSSIBLE GREENLAND” at the Danish Pavilion, exploring the potentials and challenges that Greenland is facing as the country gains global attention.

Greenland’s political agenda is currently dominated by the global interest in its natural resources suggesting an international accessible airport in Nuuk and the upgrading of the capital’s industrial harbor. The current inefficient domestic aviation system together with the eruption of resources and impacts of climate change place Greenland uniquely in the center of the future maritime world map. Greenland Transport Commission identified the island of Angisunnguaq, south of Nuuk as a potential new epicenter for connecting Greenland.

Rather than seeing these major infrastructural developments as two separate investments, BIG envisions a symbiotic relationship between the two transportation systems air + port. Instead of creating a new mono programmatic piece of public infrastructure the project explores the potential mix of programmatic molecules creating a new DNA for efficient transportation and vibrant public programs benefitting not only Nuuk, but the country as a whole.

“Greenland has the potential to reposition itself from the periphery to the center of the major world economies of Europe, Asia and America. Greenlanders today are purely dependent on air traffic for domestic commutes but almost crippled by empty flights and staggering prices. The new Air+Port will become a transit hub between Europe and America – increasing potential transit tourism and cutting costs for the local commuters. By overlapping the water and airways in the Air+Port we seek to resolve a domestic challenge with a global investment. A piece of global infrastructure with a positive social side effect – Social Infrastructure.” Bjarke Ingels, Founding Partner, BIG.

Donosimo jos jedan isečak iz nedavno pominjanog broja 50 časopisa Komunikacija: Nema sumnje da je iskrivljeno samoopažanje arhitekture posledica njene neopaženosti od strane kratkovidog društva. Arhitekti, prirodom svog zanata, nisu ljudi od pisane reči. Oni se bave crtanjem i ispisivanjem objašnjenja za nacrtano. Od njih se očekuje uslužna inteligencija, tehničko razrešavanje zadatih im problema, traganje za sredstvima ostvarenja unapred postavljenih ciljeva. Od njih se očekuje da gledaju svoja posla, da pripadaju "poštenoj inteligenciji" (onoj koja obožava "status kao vo"), da se ne odaju krivici reči (iliti verbalnom deliktu) i da, posledično, ne podstiču "uznemiravanje javnosti" (čak i pre dokazivanja da ta javnost postoji, ili da neko drži do njenog suda). Živojin Kara-Pešić, "Pisanje je manastir nezadovoljnih sobom",  Komunikacija, Centar za planiranje urbanog razvoja, Beograd, 50 (1986).