Department for Communities and Local Government of England published The National Planning Policy Framework in 2012.

At the time when space management policies of our cities lack vision, solid and clear structure for future development, we strongly recommend the English example. The sustainable development paradigm acts as a matrix for the Framework to address the most important issues of urban planning, such as: urban economy, sustainable transport systems, quality infrastructure, wide range of high quality homes, good design etc. The issues of (urban) environment protection have also been taken into account. Conserving and enhancing natural and historic environments and meeting the challenges of climate changes are equally important parts of the document.

The National Planning Policy Framework is downloadable here.

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

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.

Superkilen urban park by Danish architecture studio BIG, Berlin-based landscape architecture studio TOPOTEK1 and artists group SUPERFLEX from Copenhagen, conceived as a giant exhibition of urban best practice by incorporating everyday objects from more than 60 different cultures, constitutes a rare fusion of architecture, landscape and art.

The kilometer long urban park wedges through the Norrebro area just north of the Copenhagen city center, creating a different yet unifying space in one of the most ethnically diverse and socially challenged neighborhoods in Denmark. The aim of the invited competition initiated by the City of Copenhagen and Realdania Foundation back in 2005 was to create a truly unique urban space with a strong identity on a local and global scale. The 13.4 million euro development started construction in 2009 and opened to the public in June 2012.

Superkilen is divided into three color-coded areas, each with a distinct atmospheric and functional condition: the large and expansive red square which serves as an extension of the adjacent sports hall offering a range of recreational and cultural activities; the black square as the heart of the Superkilen where locals can meet by the Moroccan fountain or a game of chess; and a linear green stretch as a natural meeting place for large-scale sports activities providing vantage points over the surroundings. The three areas form the backdrop to the surrealist collection of global urban diversity of more than 100 objects from 60 cultures which reflect the true nature of the local neighborhood. The objects were selected through an intensive curatorial process in close collaboration with the local population.

“Rather than a public outreach process towards the lowest common denominator or a politically correct post rationalization of preconceived ideas navigated around any potential public resistance – we proposed public participation as the driving force of the design leading towards the maximum freedom of expression. By transforming public procedure into proactive proposition we curated a park for the people by the people – peer to peer design – literally implemented”, says Bjarke Ingels, Founding Partner of  BIG.

The objects ranging from exercise gear, including muscle beach LA to sewage drains from Israel, palm trees from China and neon signs from Qatar and Russia are all accompanied by a small stainless plate inlaid in the ground describing each of the objects and their origin.

Nanna Gyldholm Moller, project leader from BIG, says: “When our team was invited to propose a project in this neighborhood we realized that we had to do more than just urban design. Rather than plastering the urban area with Danish designs we decided to gather the local intelligence and global experience to create a display of global urban best practice comprising the best that each of the 60 different cultures and countries have to offer when it comes to urban furniture.”

The Copenhagen-based art group Superflex took the public participation further into the extreme by handpicking five groups of people and travelling to the country of their origin to document the process of selection. “Our mission was to find the big picture in the extreme detail of a personal memory or story, which on the surface might appear insignificant, but once hunted down and enlarged became super big. A glass of palestinian soil in a living room in Norrebro serving as a memory of a lost land, enlarged to a small mountain of palestinian soil in the park. A distant Mediterranean flirt in the seventies symbolised by a great iron bull, hunted down and raised on a hill in the park.“, explains the group SUPERFLEX

Throughout the Superkilen red maple, Japanese cherry trees, larix, palm trees from China and Lebanese cedar trees are planted to offer more shade and vegetative interest, augmenting the existing trees. The diversity in tree and plant species complements the diversity of the site furniture. “While the Romantic Gardens of the 19^th Century attempted to give the visitors an exotic experience of the world that was still big and hard to travel around – allowing people to witness a Chinese pagoda or a Greek temple – the Super Park in Copenhagen does the opposite. Rather than perpetuating a perception of Denmark as a mono-ethnic people, the Super Park portrays a true sample of the cultural diversity of contemporary Copenhagen”, explains Martin-Rein Cano from Topotek1.

A bike path runs through the entire park improving the infrastructure locally in the area while integrating it into the broader, citywide context.

Photos and drawings: © Bjarke Ingels Group

This week we visited and enjoyed Mixer Festival which held place in the Belgrade quarter of Savamala for the first time this year. During the Festival many otherwise unknown or not’visited locations in Savamala were refreshed and open for the public. The most important among them is certainly the building of the Belgrade Cooperative in Karađorđeva street. You can still visit the Festival and all its events for free today and tomorrow, since it closes June 2nd.  You can also take a look at our photographs and impressions from Mixer on our Facebook album.

Prikazujemo završni rad za prvi ciklus studija kolege Dalibora Ilića, odbranjen na Arhitektonsko-građevinskom fakultetu Univerziteta u Banjaluci.

Rad na temu Istraživanje karakterističnog područja naselja rudnika Ljubija i vizije budućnosti – prijedlog rješenja jezera Ljubijapredstavlja primer primene publikacije Priručnik za urbani dizajn na rešavanje konkretnog projektantsko-urbanističkog zadatka. Struktura rada zasnovana je na metodologiji Priručnika, a kolega Ilić je obnovu predmetnog prostora planirao u skladu sa vrednostima koje Priručnik promoviše.

Ovde prikazani projekat primer je obnove grayfield područja, kojim se prostor oko prevaziđenog šoping mola (tzv. velike kutije), uglavnom velika asfaltirana površina, postepeno transformiše u komercijalnu zonu ispunjenu različitim sadržajima.

U spomen na nedavno preminulog Bogdana Tirnanića, najpoznatijeg hroničara života u Beogradu, navodimo odlomke iz njegovog teksta o Karađorđevoj ulici. Radi se, zapravo, o svojevrsnom programu urbane obnove, kome se ni danas nema šta zameriti. [1]

Jedna od najvećih lagarija koju ste ikada čuli jeste ona o tome kako će kad na vrbi rodi grožđe Beograd izaći na obale svojih reka. Kao što je poznato, taj je projekat opet odložen za malo sutra i sva je prilika da ni ova generacija neće doživeti ostvarenje utopije „Beograd, rečni grad“. Mišljenja smo da je to sjajno. Jer, istini na volju, koj će moj Beograd na rekama.
(…)
Ali…
Samo krajnje nerazuman odnos prema gradu (čitaj: mržnja) ne vidi da je Karađprđeva ulica, sada samo dno Beograda, njegova rugoba pred licem sveta, podzemlje i deveti krug istovremeno i njegova potencijalno najlepša avenija, jer se u njoj, i oko nje, nalazi bar desetak epohalnih građevina i bar još par tuceta dokaza da je ovaj kraj možda jedini singidunumski kvart kojim se Beograd uključuje u graditeljske tradicije evropskih gradova i njihove arhitekture. Treba li boljeg dokaza za to od zgrade „Zanatske zadruge“. Ipak, pomenimo još i hotel „Bristol“ i čitav blok oko njega, podnožje mosta iz Brankove ulice, te, na drugoj strani, zgrade od broja 41 na savskom pristaništu do onih na uglovima Zagrebačke i Kameničke ulice, gde je, u jednoj od kupola, svojevremeno stanovao slikar Ljuba Popović, i dalje, niz čvrstih, lepih građevina u tim i drugim poprečnim ulicama prema Gavrila Principa. Da i ne govorimo o stepenicama koje Karađorđevu povezuju sa Kalemegdanom i Pariskom ulicom, i preko Kosmajske sa Kosančićevim vencem, glavnim istorijskim jezgrima grada, takođe prepuštenim neumitnom propadanju.
Ovim, naravno, ne otkrivamo arhitektonsku Ameriku, niti naš apel predstavlja nešto apsolutno novo (…). Ali, pošto smo mi protiv (…) svakog radikalnog preuređenja rušenjem i malourbanističkom kozmetikom novodobijenih poljana, smatramo da ništa ne stoji na putu da se već sada, odmah, pristupi revitalizaciji ovog dragocenog gradskog jezgra.
(…)
Projekt pravog preuređivanja ove, kao i svake druge ulice, ne zahteva u prvom trenutku neke radikalnije zahvate u postojeći gradski život i njegove uslovnosti. Nikakva pešačka zona. Nikakve oaze rekreacije. Naprotiv. Treba poći obrnutim redom. Na primer, učiniti hotel „Bristol“ ugostiteljskim uzorom. Ili povećati do nerazumne granice gradske takse na prodajni prostor za kuglagere, štavljene kože, vasionske brodove u neispravnom stanju, staro gvožđe, linoleume, eksplozive i otrove, prljavu vodu i sve što se u ovom trenutku inače prodaje u Karađorđevoj ulici, a smanjiti namete i garantovati potrebnu policijsku zaštitu za sve delatnosti iz tzv. male privrede. Terati prostitutke na stalne lekarske preglede i posete frizeru.
Zatim, omogućiti realizaciju projekta grupe mladih pozorišnih radnika (…) koji žele da preurede jedan od magacina na savskoj obali, kako se to inače radi u Njujorku i drugde, gde istrošeni industrijski i privredni objekti služe sve više kulturnim sadržajima. Isto tako, podržati staru inicijativu da se jednom od beogradskih umetničkih fakulteta ustupi zgrada „Zanatske zadruge“. Usloviti finansiranje BITEF-a i sličnih manifestacija njihovom obavezom da se sve priredbe koje zahtevaju posebne ambijente održavaju u prostorijama oko ove ulice. Podržavati preseljenje grafičke industrije, njenih malih i srednjih kapaciteta zapravo, u taj deo grada, otvoriti knjižare u ulici Kraljevića Marka. Vršiti stalnu turističku propagandu tramvajske linije broj „dva“ koja prolazi kroz Karađorđevu ulicu i koja je, poznato je, jedan od najlepših beogradskih malih mitova za svakodnevnu upotrebu i lično sećanje. (…) Obnoviti prostor ispod mosta (…). Naći prostor za bioskop (…). Pomno održavati higijenu svih stepeništa iz Karađorđeve ulice prema Kosančićevom vencu i Pariskoj. (…) Sačekati dovršenje železničkog čvora i tada (…) pristupiti oživljavanju fasada. Staru stanicu ne rušiti (…), već je pretvoriti u tehnički muzej. Iskoristitit koloseke i otvoriti čelezničku prugu do Sajma i Adfe Ciganlije. Zasaditi drvored od Kameničke do Kraljevića Marka. I tako dalje. Rečju, voleti Karađeorđevu ulicu kao način da se dokaže kako nismo od juče i kako ne nameravamo da ovde ostanemo samo do jutra.
A reke? Reke služe da voda teče. Neka ih.

[1] Bogdan Tirnanić. Beograd za početnike (Beograd: Bogdan Tirnanić, Zoran Spasić i Miodrag Dramičanin, 1987), pp. 50-54.

]]> http://www.cab.rs/en/blog/bogdan-tirnanic/feed 1 http://www.cab.rs/en/blog/urbani-dizajn-i-urbana-obnova http://www.cab.rs/en/blog/urbani-dizajn-i-urbana-obnova#comments Thu, 15 Jan 2009 12:57:00 +0000 http://cab.local/uncategorized/urbani-dizajn-i-urbana-obnova Razvoj gradova će, u svetu pa i kod nas, u budućnosti biti zasnovan prevashodno na urbanoj obnovi i regeneraciji. Umesto daljeg širenja na račun obradivog zemljišta, izgradnje novih naselja na obodu gradskog područja i glorifikacije saobraćajne infrastrukture, model razvoja postaje nešto sasvim drugo – obnova već izgrađenih delova grada, povećavanje gustina, unapređivanje postojećeg, obogaćivanje novim sadržajima i formama.

Ovaj proces se u literaturi i praksi pominje pod različitim, sličnim imenima, sličnih, ali ne i sasvim istih značenja. Na engleskom jeziku to je, najčešće, urban renewall ili urban rehabilitation.

Regeneration and Development se prevodi kao obnova i razvoj. Najčešće se odnosi na proces urbane obnove i razvoja, ali može biti i, recimo, ekonomska ili (šira) društvena obnova.

U domaćoj literaturi se kao prevod termina regeneration javlja unapređenje ili čak regeneracija. Ovaj pojam može da se odnosi kako na najuže prostore, tako i na širu teritoriju grada. Podrazumeva učešće različitih aspekata rekonstrukcije u tom postupku.

Kod nas češći termin urbana rekonstrukcija nije dovoljno precizan kao zamena, pošto podrazumeva nešto uže polje aktivnosti od obnove (fokusirano na obnovu fizičkih struktura manjeg obuhvata).

Urbana obnova je najširi oblik rekonstrukcije. Najčešće se upotrebljava kada je predmet pažnje čitav grad.

Izrazi rehabilitacija, regeneracija i obnova najčešće se upotrebljavaju u anglosaksonskim zemljama i SAD. U Britaniji se često koristi i termin urbana renesansa. U Francuskoj, Španiji i Italiji češći naziv je remodelacija, a uz navedene manje razlike globalno se misli na isto: oživljavanje grada. [1]

Pod pojmom urbani dizajn kod nas se obično podrazumeva rad u „arhitektonskoj“ razmeri, odnosno oblast između planskih akata višeg reda i arhitektonskih projekata.

U smislu u kome se, međutim, u navedenoj literaturi pominje termin urban design, on obuhvata i planersku i projektantsku aktivnost, tako da se može shvatiti kao planiranje i projektovanje. U tom smislu, urbani dizajn kao ideja, metodološki koncept i proces, sadrži sve aktivnosti koje je neophodno sprovoditi u procesu urbane obnove.

Razumevanje pojma urbanog dizajna, kao oblikovanja gradskih prostora, u različitim periodima, odnosno fazama urbanističkih promišljanja, variralo je od autora do autora. Tako se prepoznaje nekoliko koncepata, od kojih ćemo navesti urbani dizajn kao dominaciju fizičkog proizvoda, odnosno oblikovanje grada bez projektovanja objekata (makro skala arhitekture), zatim integraciju fizičkog i društvenog domena u krajnjem produktu (formiranje fizičkog okvira društvene sfere), integraciju fizičkog proizvoda i procesa i, na kraju, dominaciju procesa, kod koje savremeni urbani dizajner najčešće ne oblikuje izgrađeni artefakt, već definiše sferu odlučivanja, u kojoj drugi dalje formiraju fizičke strukture. [2]

Urbani dizajn spaja brojne elemente stvaranja mesta – odgovornost prema životnoj sredini, društvenu jednakost i ekonomsku izvodljivost, na primer – kako bi se dobila mesta koja se odlikuju lepotom i posebnim identitetom.

Urbani dizajn prevazilazi svoje korene kao što su planiranje saobraćaja, arhitektonsko projektovanje, ekonomija razvoja, pejzažno uređenje i inženjering. On obuhvata sve te elemente. Ukratko, urbani dizajn je proces stvaranja nove vizije nekog prostora, a zatim angažovanja eksperata na realizaciji te vizije.

[1] Eva Vaništa Lazarević, Obnova gradova u novom milenijumu (Beograd: Classic map studio, 2003), pp. 50-60.
[2] Dragana Bazik, Relacijski prostor grada: projekat, tekst, realizacija (Beograd: Arhitektonski fakultet Univerziteta u Beogradu, 2008), pp. 12-15.