Urban Incubator Savamala

8/10/2019 Urban Incubator Savamala

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Urban Incubator: Belgrade

Report of Programme Year 2013Goethe - Institut BelgradDr. Matthias Mller-Wieferig / Elena Herzen (eds.)


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Urban Incubator: Belgrade -a Goethe-Institut Project ofExcellence 2013

Conclusion of Programme Year 2013Presentation, Evaluation, and ConferenceNovember 15th-17th 2013

Dr. Matthias Mller-Wieferig/ Elena Herzen (eds.)

With project reports from project authors and teams,

Blogs selected from website w ww.goethe.de/urbanincubator

And Media Report/Financial report

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2 Crnogorska5

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Brankos

bridge

5 Gavrila Principa2

GavrilaPrin

cipa

Brankova

Jug

Bogdanova

Mostarska

Spanish House, Photo:Neboja Vasi Goethe-Institut


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ContentUrban Incubator: Belgrade

Heliocentric Counterblast,Photo: Matthias Mller-Wieferig Goethe-Institut

Map of Savamala. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2Editorial . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Project Documentations

A Model for Savamala . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Bureau Savamala . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15Camenzind goes Belgrade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24Goethe-Guerilla . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33Micro Factories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40NextSavamala . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43Savamala Design Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50School of Urban Practices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60Sluaj Savamala! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67Spanish House. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74Urban Incubator featuring... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77We also love the Art of Others . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Project Communication Report . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Financial Report . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . 94

Calendar of Events. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Conference Programme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103

Credits. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108


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Urban Incubator: Belgrade Urban Incubator: Belgrade

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Belgrade, November 2013

When, in 2010, the Goethe-Institut Belgrade was lookingfor a temporary relocation, possibly a pavilion or acontainer village on a derelict space in Savamala, theproject Eurocode 8was born: according to Germanearthquake safety regulations, a two to three yearsevacuation of the Goethe-Institut at Knez Mihailovawould offer a unique opportunity to focus the activitiesof a prestigious and very much appreciated culturalinstitution in the Belgrade downtown area of Savamala.

But when, in May 2011, yet another Eurocode 8-reportpermitted the Goethe-Institut to stay, the idea of aGoethe-Institut on the move, the option to definea long-term cultural project for the re-generation ofSavamala persisted. This is the right time and placewasthe bottom line of discussions about how to conceivea new bottom-up, cultural approach to contribute tothe re-generation of a Belgrade city quarter - a jewelof a city quarterat the banks of River Sava very muchneglected and cut-off - by railway tracks, congestedtraffic arteries or more mental borderlines - from publicawareness as much as from much hope for potentialimprovement by investment, development or any otherinitiative any time soon.

This opened the path to invite local and internationalprojects to come to Belgrade and to be part of along-term process which would introduce local andinternational initiatives and approaches how, togetherwith residents and citizens of Belgrade and Savamala,to create a new awareness about the potential ofSavamala, to discover the pride of the place, its storiesand hidden history, and - at the same time - to developnew ideas and visions: about who will and how to shape

Savamala, how to create the city of the future.

By the end of 2011, a re-shaped and -focussed projectconcept, the Urban Incubator: Belgrade, was conceivedin collaboration with curator Tim Rieniets.

It took another year to invite project proposals, selectthe most appropriate ideas by international as well aslocal project authors.

By the end of 2012, the eventually approved and invited

projects were prepared and almost ready to star t:The Goethe-Institut had signed contracts with theMunicipality of Savski Venac and Dom Omladine,representing the City of Belgrade, for five hithertounused spaces in Savamala now available to theinvited projects and - including the Spanish Housewith a site-specific design for a temporary pavilion -covering the spatial demand of a network of individualprojects which, under the umbrella of Urban Incubator:Belgrade, would spread out over the urban area ofSavamala. Project partners had been found, mediapartnerships initiated, budgets allocated, and afundraising campaign rolled out until the actual startinto the programme year 2013 on March 22nd.

Now, eight months later, it is time to look back. Thisreport collects project reports, blogs, and mediacoverage, documenting the many activities andintensive communication in and about Savamala andthe Urban Incubator: Belgrade. Over the weekend ofNovember 15-17, 2013, a Conclusion of the ProgrammeYear 2013 conference will internally as well asexternally present, evaluate, and publicly discuss thevarious activities of the Urban Incubator: Belgradeprojects.

EditorialMatthias Mller-Wieferig A MODEL FOR

SAVAMALAMaja Popovi und Boba Stani


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FOREWORD:

In the course of the year 2012 A Model For Savamalateam had a chance to work twice on the neighbourhoodof Savamala in Belgrade. Once by organising aworkshop, which inquired into the history of thearea, and another time organising another workshop,concerned with the courtyards in Savamala. Bothtimes we were confronted with the complexity of theneighbourhood.

It seemed to us as if Savamala was difficult tounderstand, to describe. Soon we discovered that this

was an impression shared also by the inhabitants, localand national institutions, the merchants in the areaand even the activists involved in reviving Savamala.We came across issues such as unclear urban structure,uncoordinated databases, diverse ambitions and a soonto change again property structure of the whole area.Everyone knew bits and pieces of this puzzle, but itwas difficult to describe, and especially to visualize, anyspecific spot in Savamala in all its complexity. Savamalaseemed to us a place loaded with information, but alsoa place where very few people, if any, were aware of thecomplete picture. Savamala seemed not graspable.

In a context of an approaching substantialtransformation of Savamala we thought it is crucial tomake the area understandable. We believed it will be of

a great advantage for the areas development if we havean as clear as possible idea on what Savamala is madeof, its activities, what are the interests involved andwhat ambitions do the different stakeholders in the areaaspire to.

For this reason we decided to make the area of Savamalatransparent through the means of architecturalrepresentation, a 3D physical model of Savamala,relating to the sociological, economical and politicalfacts.

In its basic architectural form, the model is reflecting

the history and current state of affairs in the area as wellas its potential upcoming developments. It representsthe exiting urban morphology and typology, it goesinto issues of the property structure, it indicates theintensity of commercial activities and shows where dothe inhabitants of Savamala live. These data, mostlyavailable, have never been visualised and put in relationto each other.

In this sense projects ambition was to make a modelthat represents the current condition of Savamala: tovisualise and make comprehensible what we are dealingwith when talking about this area. To target the publicawareness of it and (together with citizens, visitors,developers, politicians and investors) illustrate andindicate the potential this area has.

A MODEL FOR SAVAMALAProject leaders: Maja Popovi and Boba Stani

Associates: Ana Ugrini, Daa Spasojevi, Predrag Mili and Milo Kasul Nikoli

PROCESS:

The project start off was in March 2013 and it wasdivided into phases.

Phase 1 was based on the research, which consistedof accumulating all relevant information on thearea and storing it in our database. We collectedthese information by doing fieldwork and deskresearch, gathering them both on the location andin collaboration with different higher educationalinstitutions.

We formed a steady team by involving around 20participants, students and young professionals in boththe collection of the data, as well as in the testing of themodel. Research also included the local community,their opinions, stories and reflections.

During the process, collected data were directly tested

trough the range of trial models, which prepared anexcellent base for the final Model for Savamala.

The goal of the phase 1 was on finding a way to translateand communicate collected information trough themeans of architectural modelling.

We worked closely with different higher educationinstitutions in Belgrade including Municipality of Savskivenac, The Cadastre Serbia, The City Archive, BelgradeUrban planning office, Architecture University inBelgrade.

After finalizing extensive research, and building rangeof experimental models, we conducted a model makingmaster-class at our workplace. For that purpose we haveset up a visit of internationally renowned model-makingstudio from Amsterdam, Studio KU+. Head of this office,Kaita Shinagawa (Japan), came to Belgrade and gaveus a series of short lectures on model making, followedby practical work and engagement in our Savamalacontext. This event was open for the public and wasfinalized by a public lecture. During the Master Class we

created The Formula and on its basis we conceptualisedthe Model.


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In July 2013 the project started with the phase 2 andmoved into the Spanish House pavilion. At this stage,our team got reinforcement of four assistants: AnaUgrini, Dasha Spasojevi, Predrag Mili and Milo KaulNikoli. The focus was on the finalising the research(resulting in the definitive shaping of the model) andstart off with the model production. We were measuringfacades openings and logging of the heights, sidewalkswidth, we were drawing internal courtyards, mappingthe entrances, stairways, public spaces, functions andprograms. We were collecting stories and interviewswith people who live and work in Savamala. Wehave counted trucks, cyclists, cars and other forms oftransportation


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During this period we have joined forces with severalpartners:

ModelArt Arhitekti(http://www.modelart.rs/)

Due to the great amount of information and highlycomplex area we invited model-making specialistsModelArt Arhitekti from Novi Sad to be our productionpartner.

Studio KU+(http://www.studiokuplus.com/).KaitaShinagawa from Studio KU+ is producing parts andspecial buildings for the model.

Netherlands Embassy in Belgrade(http://serbia.nlembassy.org/)

In August 2013 our project got financial support fromthe Dutch Embassy in Belgrade.

Belgrade/Savamala Sound Map(http://www.zvucnamapabeograda.rs/).

The work of Sound map is based on collecting differentlocal narratives by using exclusively audio techniqueand locating them on the 2D online map of the area. As

we planned to integrate interviews and sound into themodel, the cooperation came naturally. The Savamalasound mapis using our model as a 3D platform wherethey will integrate local stories.

Belgrade University, Faculty of Architecture (http://www.arh.bg.ac.rs/)

In September 2013 our project got financial supportfrom the Faculty of Architecture in Belgrade.

Based on our previous experience in Savamala webelieve that our proposal is important for the successfultransformation of the area. Mainly because it is aproposal of a manageable scale and a clear form; we

think that a model for Savamala provides a very goodbasis and appropriate means for the debate and theconception of the complex reality of Savamala.

Additional is the fact that such an action is in itsnature open to further exploration and suitable foradding an increasing number of layers of informationto it. A model for Savamala offers the beginning of anew management model for the realisation of urbantransformations in complex urban situations, such as

Savamala.

A MODEL FOR SAVAMALA 2013,Maja Popovi and Boba Stani

Partners: ModelArt Arhitekti, Netherlands Embassy inBelgrade-Serbia, Studio KU+, Belgrade/Savamala SoundMap, Faculty of Architecture Belgrade.

Special thanks to: Camenzind Magazine, ETH Zurich,Nova Iskra, KC Grad, Zavod za zatitu spomenika kulturegrada Beograda, Istorijski arhiv Beograda, Urbanistikizavod Beograda, Optina Savski venac, Turistikaorganizacija Beograda.

ABOUT MAJA POPOVIAND BOBA STANI

Maja Popovi(1981, Belgrade, Yugoslavia)

is an interior designer and architect. She studiedFurniture and Interior Design at the Academy of AppliedArts in Utrecht, and Architecture at the Academyof Architecture in Amsterdam. Her professionaldevelopment took place in diverse Dutch architecturalstudios and on research teams that focused onintervention in monumental architecture and thehistorical context. She obtained her masters degreein Architecture with her thesis on The Old BelgradeFairground, a complex that, due to its difficult past,

stayed suppressed in the subconscious of the city andits citizens. She gave lectures on the subject of Memoryand Remembrance in Architecture and exhibited herwork, both locally and internationally. Since 2011 sheis a member of the research team Failed Architecture,based in Amsterdam that deals with architectureand urban environments that have been neglected,vandalized or demolished, due to specific, economic,social or political circumstances. She published variousarticles and participated as a lecturer at conferencesheld in numerous European cities including Madrid,Brighton, Nottingham, Belgrade, and Amsterdam.

Boba Stani(1975, Novi Sad, Yugoslavia)

is an architect based in Amsterdam. After finishinghis studies for Interior Architecture at the Universityof Belgrade, he moved to the Netherlands where hegained his Architectural master degree at the Academievan Bouwkunst in Arnhem. His diploma work The LotusProjectwas selected as one of the 10 best Europeansustainable projects by Cit de lArchitecture et duPatrimoine in Paris and in 2009 was nominated forArchiprix International held in Montevideo. He workedat Claus en Kaan Architecten and Concrete ArchitecturalAssociates, both in Amsterdam.

Since 2010 he runs his own office for Architecture Boba Stanic Architectis based in Amsterdam and itperforms in field of architecture and interior design inboth national and international projects.

His work was exhibited at Venice Architecture Biennalein 2008, CITE Paris, Conseil Economique et SocialEuropen in Brussels, Virserum Art Museum in Sweden.Next to his work engagement in Architecture, BobaStani frequently participates as speaker on differentdesign seminars and workshops in the Netherlands andabroad.


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First impressions of A Model for Savamala Workshop 1: Fact-finding

In a context of an approaching substantialtransformation of Savamala we believe it is crucialto make the area understandable. It will be of agreat advantage for the areas development if wehave an as clear as possible idea on what Savamalais made of, its activities, what are the interestsinvolved and what ambitions do the differentstakeholders in the area aspire to. For this reasonwe would like to make the area of Savamalatransparent through the means of architecturalrepresentation, relating to the sociological,economic and political facts. For the UrbanIncubatoropen call we are proposing a 3D physicalmodel of Savamala.

BUREAUSAVAMALAJrgen Krusche, Philipp Klaus,Dobrica Veselinovi

Urban Incubator: Belgrade BlogApril 28, 2013

Photo:Neboja Vasi Goethe Institut

Photo: Neboja Vasi Goethe Institut Photo: Neboja Vasi Goethe Institut


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Team:

Philipp Klaus, Dr., Economic and Social Geographer,

INURA Zrich Institut (from May 2013)

Jrgen Krusche,Cultural scientist, Zrcher Hochschule

der Knste ZHdK, University of Arts Zurich

Dobrica Veselinovi, Political Scientist, Biro Savamala,

Belgrade.

(Richard Wolff, Dr. Geographer, retreated from the

project in May 2013 due to his election as vice mayor of

the city of Zurich, Switzerland)

Contents

A) Introduction ..........................................2

B) Overview of Works executed byBureau Savamala .......................................3

C) Savamala Profile...................................4

D) Like / Dislike Savamala ......................5

E) Photo Documentation ......................7

F) Media Coverage.......................................................8

G) Nightwatch-Analysis of night and partylife in Savamala .........................................................9

H) Observation of changesin shops and usage of spaces in Savamala........10

A) INTRODUCTION

The Bureau Savamala had the task to observe, monitor

and research the UIB activities and their impacts on

the neighbourhood. One of the main topics was to

keep track of changes in the Savamala neighbourhood

during the project period. There is not yet a clear

picture to what extent the UIB activities influenced the

development in the neighbourhood. The team Bureau

Savamala executed a series of investigations to get hold

of changes, of perceptions of inhabitants, workers and

visitors.

Bureau Savamala / BiroSavamalaREPORT November 2013

B) OVERVIEW OF WORKS EXECUTED BY BUREAU

SAVAMALA Savamala and UIB transformation observation by theteam Bureau Savamala / Biro Savamala:

- Survey May 13 (interviews with inhabitants, visitors,workers; n=29)

- Savamala Profile (extraction of bipolar profileattributes by the interviewed persons of the surveyMay 13)

- Interviews with UIB project leaders, experts,stakeholders about the UIB

- Media coverage report and evaluation of the mostimportant topics of Savamala

- Observation of real estate market, house prices and

rent development

- Observation of changes in shops and usage ofspaces in Savamala

- Photo documentation (May / Sep / (Nov) Registerof all houses in the observation area.

- Like - Dislike Savamala: inhabitants takingphotos of positive and negative aspects of theneighbourhood

- Like - Dislike Savamala- Exhibition with vernissageat Biro Savamala, Svetozara Radia 3, 14.7.2013.

- Publication of Like - Dislike Savamalain the 2ndCamenzind Belgrade Journal, pp. 51 68

- Nightwatch: Analysis of night and party life in

Savamala

- Written survey UIB project leaders Oct/Nov 13

- Survey Oct/Nov 13 (interviews with inhabitantsand workers; n=20). Main focus: Perception of UIB.

- Mapping of changes in the use of shops and othervenues.

On the following pages you find some of our work andresults.

C) SAVAMALA PROFILE

Savamala Profile was part of the first series ofspontaneous street interviews in May 2013. Inhabitants,working people and visitors were asked: If you think ofSavamala, please put in each row one mark in the boxyou think suits best to Savamala

Legend: 1 = very much / 2 = a bit / 3 = neutral, neither /

4= a bit / 5 = very much. Neg ative Labels are on the left

side, positive labels on the right.

Picture 1: Bureau Savamala (left) in the Svetozara Radia 3, BelgradeFigure1 :Savamala Profileoverall result (n=29)


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The general picture of the Savamala profile is slightly

positive with an average value of 3.40. Inhabitants,

Working people and Visitors judge quite similar with

values of 3.35, 3.55 and 3.30.

Out of the eleven polar labels there are two negative

values: rundown, shabby/chic (2.83) and stressful/

relaxed (2.87). But both of them are close to neutral

(3.00). Out of the three categories the inhabitants judge

Savamala the most ugly or nasty.

The highest value of all labels is 4.03 for the bright

future. The inhabitants valuate this label with 4.44, the

working people are slightly more skeptical about the

future (3.90).

D) LIKE / DISLIKE SAVAMALA

A special method to capture the voices of inhabitants

on their environments was applied by the Substitute

Photo Inquiry. It is called substitute because not the

researchers take photos but randomly selected people,

inhabitants of Savamala in our case. They were given

a one-way camera with a film inside. The task for them

was to take pictures of the places or things they like and

those they do not like five pictures each. After that

they brought the cameras back to Bureau Savamala

in order to have the films processed in a laboratory.

Dobrica Veselinovi then organised an exhibition with

the photos which was accompanied with discussions.

An extended report with some of the photos and

comments can be read in the Camenzind journal pp.51 68.

E) PHOTO DOCUMENTATION

The photo documentation is a big help to capturechanges in the physical environment of theneighbourhood. All houses were registered and manydetails which were assumed to undergo a change in thenear future.

Picture2&3: Photos and comments doneby inhabitants ofSavamala

in theLike/Dislike project ofBureau Savamala (published in Camenzind journal)


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A first documentation of Savamala was executed in May2013. A picture of every house in the neighbourhoodwas taken.A second round of pictures of all houses was taken inSeptember 2013.

F) MEDIA COVERAGE

We applied a software to online media that extracted

the keywords given in Serbian such as grad for city,

getefor Goethe. On e result was a Tag Cloud which

shows the keywords in order to the frequency of

appearing in the online media.

The media discourse is primarily about Savamala as a

forgotten, abandoned and neglected part of Belgrade,

but also as the part of Belgrade which has a great

potential. Many of the texts point to the glorious past

and speak about the rise of Sava mala. Frequently

mentioned in this light is Luka elovi, and also an

initiative to erect his monument.

Revival and rediscovery of Savamala are associated with

artistic and creative activities related to the Mixer festival

and the urban incubator project of Goethe-Institute.

In a number of articles Savamala is discussed as a

place where night lifeis good and where the high

frequencies of freight traffic affect the quality of life

severely. Highlighted, and most recognizable buildings

are Geozavod, Spanish House, Mixer House and KC Grad.

In most of the articles prevails the belief in the bright

future and progress of the whole area.

Keywords: Savamala, Urbani inkubator // Period:

January 2012 November 2013.

Number of articles: 24 sata: 9 / Blic: 8 /Politika: 7 / Danas:

5 / Pravda:2 / B92, CPE, Arte, E kapija, Glas javnosti,

Mondo, Elle, Studio B, Super prostor, Online vesti,

Dnevni akter, Story, Spoted by locals: 1

G) NIGHTWATCH- ANALYSIS OF NIGHT AND PARTYLIFE IN SAVAMALA

Savamala accommodates about 20 clubs, 2 cultural

centers with a rich night program, and more than 10

bars. The types of entertainment in these places cover

a large range of target groups, from cheap cellular(Kafana) with synthesizers and folk singers to the more

expensive places in which you can enter only through

the guest lists. In recent years an elitizationhas taken

place in Savamala. The prices for drinks in the different

locations vary considerably. In some of the venues

originally orientated to clients with less purchasing

power this process is happening both through increases

of prices for drinks and entrance.

One of the game changers in this field is the seven-day

Mixer festival, held since 2012 in Savamala.

As the interviews conducted by Bureau Savamala in

May and October 2013 show the local population often

complains about the noise caused by the large number

of nightclubs (on both sides of the river Sava!). It seems

that it does not interfere with the work of the clubs and

their loud music after permitted 4am.

From this summer (July 6th2013) the first club Lastaon

the rafts has been opened on Sava riverfront. Also there

are at least two new halls that are used for large events

as needed.

For next fall/winter season couple of new bars, and

two new clubs announced opening in Savamala

(Peronin Brae Krsmanovi 12, and InboxBelgradein

Karaoreva 9).

Picture4&5: Beforeand after Wall painting/advertisingas transformation indicators

Figure2: Tagcloud


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H) OBSERVATION OF CHANGES IN SHOPS AND USE OFSPACES IN SAVAMALA

An excellent work on the uses of houses in Savamala

was executed by students of ETH Zurich in autumn/

winter 2012. Bureau Savamala updated this work as for

October 2013.

Figure4: New situation in Savamala,October 2013(Bureau Savamala)

Picture6: Party in Savamala,August 2013

Figure3: Situation on thegroundconducted by ETH students in autumn/winter 2012


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Camenzindgoes Belgrade

1. PROJECT SUMMARYThe serbian discourse on architecture and urbanplanning is internationally as well as nationallysurprisingly isolated. Camenzinds intention isto improve this setting by strengthening theinterdisciplinary transfer of knowledge betweenSwitzerland and Serbia, by supporting existing as wellas introducing new platforms for public discussion andby fostering networks within and outside of Serbia.Therefore Camenzind hosted several Salons, workshopsand engaged in the production of four issues of

for the whole of 2013 in the editorial workspaces in Savamala, Belgrade.

2. INITIAL POSITION ANDOBJECTIVECamenzind is a swiss magazine that discussesarchitecture and urbanism with the help of architectsas well as musicians, artists, physicists, civil engineers,art historians, economists and any other kind ofinhabitant or user of architecture. Thus the magazinepositions itself between shiny interior magazines andprofessional architectural journals. Since 2005 tenissues have been published. In addition to the generaleditorial work Camenzind also seeks an internationalexchange through its Camenzind goesprojectswhich intend to change the common perception of thebuilt environment through an external impulse and toexpand ones horizon of knowledge and experienceby an exchange at eye level. Hence the editors ofCamenzind were invited by Tim Rieniets, curator of thefestival Urban Incubator: Belgrade and the Goethe-Institute Belgrade to conduct a Camenzind goesproject in Belgrade. Besides Camenzinds own agendathe assignment is also to critically reflect on the Urban

Incubator.

During the preparation of Camenzind goes Belgradeit turned out that the biggest potential would lay inthe reinvigoration of the local debate on the builtenvironment among architects, decision makers andthe general public while at the same time tying thisdebate to an international discourse. Due to the longinternational embargo and the paralysed serbianbuilding industry both of these aspects are highlyunderdeveloped or even non existent. Thus thereis hardly anything that counters the wildpostwardevelopments.

This deadlock is the result of an uneasy shift fromsocialism to democracy, political apathy, social

disparities, the brain-drain and last but not least thesocial and economic isolation of the whole country.It is Camenzinds ambition that a financially and withregards to content independent interferencefrom theoutside would reestablish a flow of information thatwould nourish a public debate.

3. PROJECT DESCRIPTIONThe project consists of three different formats: the salon,the workshops and the magazine itself. With the salon

coming alive, a great tradition of almost four centuriesstimulates and frames a public discussion while themagazine synthesizes their results and embeds them inthe national as well as international debate.

A salon is a gathering of people under the roof of aninspiring host. Camenzind therefore turned its editorialoffice in Savamala - where lectures, public debates,workshops and the magazine production were heldthroughout the whole year - into a salon. Those salonsformed the core of four weeks in March, Mai, Septemberand November. Each of those weeks were dedicatedto the built environment of Belgrade and the work ofspecialists from abroad. The work process and all resultswere and will be precisely documented, filtered andpublished in the four issues of . All fourissues will result in one final publication which will bereleased at the beginning of 2014.

First contact of the local Camenzind team is AnaDjordjevi-Petrovi who graduated from the Universityof Belgrade in 2001. Ana works in the fields of digitalvideo, visual arts and public space and helps, next to herwork as a guest editor, to establish a committed localteam that will carry on the project beyond the official

program of 2013.

4. EDITORIAL BOARD OF CAMENZIND GOES BELGRADECamenzind was founded in 2005 by Benedikt Boucsein,Axel Humpert and Tim Seidel. 2007 the team wascompleted by Jeanette Beck. For Camenzind goesBelgrade they reinforced the team with Leila Peacock, aZurich and Glasgow based visual Artist with a mastersin literature, Yaniya Lee, an arts writer and culturaldocumentarian based in Montreal and Ana Djordjevi-Petrovi.

Jeanette Beck is board member of Camenzindand worked as a scientific assistant at the BernUniversity of Applied Science, where she focused on

REPORT 2013 GOES BELGRADE

Axel Humpert, Ben Boucsein, Ana Djordjevi-Petrovi, Jeanette Beck, Tim Seidel,

Leila Peacock, Yaniya Lee


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transdisciplinarity, virtual collaboration and architecturemediation. Recently she started working for the City ofBerne.

Benedikt Boucsein is a board member of Camenzind,partner at BHSF Architects and assistant at the chairof architecture and urban design at the ETH Zurich.He works on the fields of architecture, urbanism,architectural theory and architecture mediation. Afterstudying in Aachen and Zurich, he completed his PhDthesis on Grey Architecturein 2008 and has since thenworked as researcher and designer for Camenzind, BHSFand ETH Zurich.

Axel Humpert studied architecture at TU Graz (AU)and ETH Zurich. He is board member of Camenzindand partner at BHSF architects. From 2004 to 2007, heworked as project architect and project lead er for Meili,

Peter Architects in Zurich. Besides his practical work, heregularly teaches or acts as a guest critic.

Leila Peacocks work spans several mediums anddisciplines. A practicing visual artist with a masterin literature. T date, her work has manifested itself inessays, performance, lectures, drawing, video and bookmaking. All with a satirical edge. Her work has beenshown in Montreal, London, Glasgow, Toulouse andBerlin. She currently is based in Zurich.

Ana Djordjevi-Petrovi is a Belgrade-based graphicdesigner and activist, with Masters in Interior Design.During her 15 years of working as a freelancer shehas worked on a wide-range of design concepts fora diverse spectrum of clients. This work has variouslyincluded book layouts, packaging design, visual identity,promotional material and video art. Recently she hasexpanded her field of activity, initiating several projectsto improve Belgrades public spaces.

Tim Seidel studied architecture at TU Darmstadt (D)and ETH Zurich. He is board member of Camenzindand partner at BHSF Architects. From 2005 to 2009, heworked as project architect and project lead er for Meili,

Peter Architects in Zurich.

Yaniya Lee is an arts writer and cultural d ocumentarianbased in Montreal. In both print and audio, her practiceis focused on using conversation as a productive spaceof exchange and exploration. She hosts the Art TalksMtl podcast, and regularly publishes reviews of ar texhibitions. She is currently compiling an oral history ofMontreal bohemia in the 90s.

5. SPECIALISTSRobin The Fog is a radio producer and sound artistbased in London. His work blurs the boundariesbetween documentary, sound art and radiophoniccomposition and largely concerns themes of location

and memory through the juxtaposition of found soundand texts. In 2012 he released the vinyl LP Ghosts ofBush, for which he received widespread acclaim, as wellas having his work featured on radio networks acrossthe world, including BBC Radio 4, Radio 3 a nd 6 Music,as well as in the pages of The Wire magazine. Havingrecently completed a new project for Resonance fm forbroadcast later on this year, he is currently working ona commission for Radio 3s Late Junctionprogramme;as well as working as a sound engineer for thecorporations radio drama department.

Bettina Khlers work constructs new connectionsbetween theory and practice in different fields ofdesign, in particular, between architecture and fashion.She studied art history, archeology and urban designand holds a Professorship at the FHNW, HGK Baselwhere she teaches cultural history of design as well

as its conceptual framework (Bachelor and Master).Alongside this she acts as a consultant for the conceptdevelopment of practical design work and adj udicateson panels assessing fashion and interior design. Shepublishes her work regularly and is currently preparing abook entitled The Dream of Comfort.

Florian Graf lives and works in Berlin, London and Basel.In his work, he engages with specific architecturaland social situations, creating places of poetic densitywhere imagination and reverie are bleeding intoreality. He creates interdisciplinary media installation ingallery context and public spaces including sculpture,propositional objects, photocollages, drawings andfilms. Often he performs in situ or personally activates asituation.

Axel Langer is a curator for Near-Eastern Islamic Art atthe Rietberg Museum in Zurich, where he has curatedexhibitions on blue-and-white ceramics from Chinato Europe, on Persian textiles in the 19th centuryand where he is now preparing an exhibition on theinterchange of artistic ideas between Persia and Europein the 17th century. Besides his expertise in Persianart, he has worked extensively on French architecture

in the 18th century, as well as publishing his researchon the Swiss font Helvetica. In his work he is particularfascinated by the notion of transculturation.

6. SCHEDULEWeek I, 25th -31st of March 2013Robin Warren centered the first week on exteriorspaces and public spaces in Savamala. He also gave theCamenzind goes Belgrade Team an introduction intoradio production.

LAUNCH ISSUE 1, 29th of March 2013

Week II, 20th - 25th of May 2013Bettina Khler will center the second week on interiorspaces and the aspect of comfort in Savamala. She will

also be the official co-host of the second salon.

LAUNCH ISSUE 2, 9th of September 2013

Week III, 9th - 13th of September 2013Florian Graf centered the third week on the relationbetween interior and exterior spaces in Savamala. Healso was the official co-host of the third salon.

LAUNCH ISSUE 3, expected on the 16th of November2013

Week IV, 18th - 22nd of November 2013Axel Langer will center the third week on transculturaltopics within the context of Savamala and Belgrade. Hewill also be the official co-host of the fourth salon.

LAUNCH ISSUE 4, expected in January 2014

7. WEEK I, ROBIN THE FOGFor the first workshop in March, Camenzind invited UKsound artist Robin the Fog. Robin is best known for hiswidely praised work, The Ghosts Of Bush, which usedanalogue recording technology to create a portrait-in-

sound of Bush House - which housed the BBCs WorldService for nearly a century - in this way focusing theentire experience of that historic space through a singlesense. Robin spent a week teaching our participantshow to record and edit their own radio documentaries,to seek out stories in Savamala in order to create a seriesof radiophonic portraits that combined history, fieldrecordings and interviews with local people.The first SALON SAVAMALA was held on a coolWednesday evening on the 27th of March, 2013 at theCamenzind headquarters. Drinks were served and thespace was filled with chairs to create an atmosphereconducive to open exchange. We filled up our Savamalaspace, people spilled out the back of the room ontothe sidewalk outside. Robin the Fog was joined bylocal sound man Vladimir Milanovi to present theirexperiences documenting the sounds of the city. Robin,who regularly produces radio content for the BBC, gave

a short and thrilling overview of the history of musiqueconcrete with the help of illustrative sound clips. Hethen unveiled a preliminary edit of his sound portraitof Savamala, and finally shared a few extracts of thesound pieces and radio documentaries made by ourparticipants.


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8. No. 1As we see it, our role is to create a research platformfor a knowledge exchange on the built environmentof the Savamala neighbourhood. One of the productsof this exchange is this first issue that contains articlesby both local and foreign participants. Reading thearticles printed it seems that many touch upon wherelocal history meets urban mythology. As Jean Cocteaufamously said, I prefer myth to history because historystarts with a truth that becomes a lie but myth startswith a lie that becomes a truth.

Articles:

BUREAU DE CHANGE: TOWARDS A THEORY OFKNOWLEDGE EXCHANGE, William DavisMANOJLE: THE FIRST SERBIAN ICARUS, NikolGajoviFACE - LIFTING FACADES, Sara Sopi and MarkoGavriloviBELGRADE WITHOUT ARCHITECTURE, Ljubomir Mici(FIRST PUBLISHED IN ZENIT 1925)ASHTRASHING, Katarina irilovi-PopoviREMEMBERING Luka Celovi, Leile PeacockTHE FIRST EDUCATIONAL PARK, Ana Djordjevi-PetroviA MODEL FOR SAVAMALA, Yaniya LeeREVIEW OF THE BELGRADIOPHONIC WORKSHOP, YaniyaLeeTHE TEMPLE OF SAVAMALA, Mirjana Utvi

9. No. 2From home to work, and work to home, this is howmost people experience architecture. In the secondissue the editors seek to add new perspectives topeoples experience and understanding of the builtenvironment, of which they are the most importantusers. What happens when architecture stops workingfor the public, when people no longer feel that theyhave any control over their built environment? A loss offaith in architecture itself occurs. Trust is organic, andlike anything organic it rots. Trust here in Belgrade itseems needs a complete structural overhaul. Several of

the articles in the second issue address the question ofinformation, in a country when unbiased informationis hard to come by and the state archives are resolutelyhard to access, information, especially local history,becomes a scarce resource.

Articles:

HOW TO READ ARCHITECTURE: State Print-Shop Buildingand the Vocabulary of Architectureof the Modern Movement, Marija MartinoviIN SEARCH OF TRANSPARENCY: Furtive Manoeuvring

BEHIND STAR ARCHITECTS PROJECT FOR BELGRADE,Ljubica SlavkoviRETHINKING ARCHITECTURE AND PUBLIC SPACES:Skateboarding lesson, Ljubica SlavkoviSAVAMALA THE MYTH OF THE CIT Y AND ITS SPATIAL-PHYSICAL FRAMEWORK, Srdjan GavriloviINTERNATIONAL ARCHITECTURE, WALTER GROPIUS(originally published in ZENIT magazine, in 1926)ARCHITECT OF THE AVANT GARDE: Josip Seissel JosifJo Klek, Irina SubotiON THE WIDE BLUE SAVA, Nikola MarkoviLIKE DISLIKE Savamala, Jrgen Krusche

10. WEEK III, FLORIAN GRAFFlorian Graf was invited by Camenzind to hold aworkshop with students in Belgrade during thesecond week of September 2013. It should deal witha specific neighborhood called Savamala. From all theapplications, Florian chose students of different age andbackground, ranging from architecture and landscapearchitecture to photography and scenography. On theone hand having a somehow specific and defined taskand on the other hand being unfamiliar with the cityand the above mentioned area, not exactly knowingwhat students to expect, Florian struggled preparing theworkshop. Considering the many unknown factors, hedecided to make use of the tangible but open activityof drawing which is also ceaselessly accompanyinghis own artistic practice. Drawing lies somewhere

between thought and materialization, perception andimagination, between fact and fiction. Thus, drawing canbe a means of revealing our relationship with place andspace. It is an instrument for measuring psychologicaltendencies and helps us to discover structures withinthe human relationship between the body, its contextand both the individual and collective memory. How dowe perceive our built environment? How are we drawnto it and how do we draw it into our internal map? Farfrom a paradigmatic claim, beyond Gestalttheorie(Gestalt theory) and Wahrnehmungspsychologie(psychology of perception), drawing allows to blur theline between formal, visual and conceptual thinking.Analytical and intuitive at the same time, it goes fur therthan expressing a personal mood, always asking for theindividual meaning within a collective.


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He started drawing and discussing with the students,wondering through Savamala, harnessing the spiritof The Image of the Cityby Kevin Lynch and testingmethods of the situationists. Confronting our sensualprejudices as a means of reassessing the reality of thearea of Savamala.

The workshop proved to be a very fruitful week withenriching cultural exchange, creating new meaning andgaining new knowledge about Savamala.

11. IMPRINT

The editors and guest editors of Camenzind goesBelgrade are Jeanette Beck, Benedikt Boucsein, AxelHumpert,Tim Seidel, Leila Peacock and Ana Djordjevi-Petrovi.

CamenzindHardstrasse 698004 Zrich, Switzerland

Camenzind goes BelgradeKraljevia Marka 811000 Beograd, [email protected]

The editors have made every effort to secure thepermissions necessary to reproduce the visual materialand articles in this publication. Any omissions will becorrected in subsequent editions.

Copyright of all images belongs to CamenzindCopyright 2013 by theauthors and Camenzind

The first issue of Kamenzind Belgrade

The first copy of the first issue - Kamenzind`s firstmagazine is out in Savamala. The first personto receive a copy was Vesna, the hatmaker. Heratelier is first neighbour to Kamenzinds studioin Kraljevica Marka 8, and she lives just down theroad. It is interesting to see all the new activitiesday by day in front of my shop window. Thankyou very much!

The FIRST ISSUE OF KAMENZIND BELGRADE...includes articles on the first Serbian Icarus;savior of SavamalaLuka Celovic; preservingthe citys facades; public ash-trays; the proposalfor a new kind of park for children; an articleon architecture republished from a 1925 issueof Zenit, interviews with the Urban Incubatorproject A Model For Savamalaand a portrait ofThe Spanish House.

Robin the Fog about Secret Songs ofSavamala

It was a trio of Goethe Guerillas that firstintroduced me to the Spanish House. I had beeninvited to Belgrade by Camenzind Magazineto create a sonic portrait of the Savamalaarea, and they immediately suggested I makesome recordings in the ruins of their temple.And thats how this album started, balancingprecariously in a flooded basement listeningto the echoes swirling round our heads as theysang, shouted and banged on the r usting steelpipes poking out of the foundations. Above ourheads the dripping of melting snow and tinybeams of daylight refracted by the floodwaterare reminiscent of a scene from some unfinishedTarkovsky epic. One of the most striking locationsof my sound recording career.

Five months later on a warm September nightand were standing in a transformed Spanish

House, now an arts pavilion and the setting forthe launch of the recently completed albumSecret Songs Of Savamala. For me it was an

extremely special moment and marked thefirst time that I had been able to create a sonicportraitof a building and then to play it backinto the very space that inspired it. All of thesounds on the album are purely of The SpanishHouse itself and no additional effects or artificialreverb have been used.

As the sounds echoed through the space, eerilylit and accompanied by Milica Nikolic Micikitissphotos projected onto the wall, it really felt likewe were bringing the ghosts home!

Special thanks to Nikola Markovi and BobaStanic for allowing us to use the space an d MilicaNikolic Micikitis, Mirjana Utvi, Anita Knei, Leila,Ana and the staff of Camenzind Belgrade.

Secret Songs Of Savamalaby Howlround isreleased 16th September on limited editionvinyl (300 only). Produced in association withCamenzind Belgrade.

London-based Sound Artist and BBC producer

Robin the Foghttp://robinthefog.com

Urban Incubator: Belgrade BlogMay 25 / September 11, 2013


Photo:Neboja Vasi GoetheInstitut


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Goethe-GuerillaZorica Milisavljevi

Ghost Light at the Spanish House

The artist Florian Graf gave a lecture on his workas a start for 3rd Camenzind Belgrade Workshop(9th-13th of September 2013, 8 KraljeviaMarka, Belgrade).

Florian Graf lives and works in Ber lin, Londonand Basel. In his work, he engages with specificarchitectural and social situations, creatingplaces of poetic density where imaginationand reverie are bleeding into reality. He createsinterdisciplinary media installation in gallerycontext and public spaces including sculpture,propositional objects, photocollages, drawingsand films. Often he performs in situation orpersonally activates a situation.

Among other works Florian talked about hisproject Ghost Light Light House. He lived in hislight house which was aimlessly moving on LakeConstance. Like a ghost light, it was drifting onthe water, visiting the different nations aroundthe lake. The mobile ivory sculpture becamean image merging with the landscape andemancipating from it at the same time.

For more of his work visit the website:http://floriangraf.ch/

Photo by Camenzind


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Introduction

Building on the one-year research of the previous group,the fourth generation of the Goethe-Guerilla with itscontinued presence and fundamental research during2013 examines the special features of this neglectedurban neighbourhood, dealing with Savamala, itspeculiarities, problems and often hidden qualities.

What is the Goethe-Guerilla?

At first glance, the name Goethe-Guerilla might soundstrange and perhaps a bit clumsy. How is the mostfamous German writer connected to a war technique?The explanation is quite simple and logical. When onesays guerilla, people most often think about smallarmed groups using unconventional means for fightingagainst a bigger enemy. Even though this definition iscorrect, nowadays it has been broadened getting newmeanings. The essence of the term remains the same,but the meaning has changed: contemporary guerillas,most often found in urban environments, act in creativeand untypical ways. They are independent small groups,differing from the original guerillas in their peaceful wayof acting. Guerilla gardening, guerilla marketing, guerillafilmmaking are just some of these phenomena. TheGG is a new member of this family. With their actionsand ideas this group of young people, supported bythe Goethe-Institut, tries to turn attention of the publicto some problems troubling inhabitants of the city.Besides, the members of this group advocate culturaldevelopment in their and other cities, spread German

culture, and build cultural bonds between Germany andSerbia.

Goethe in the name of this group comes from thename of the Goethe-Institut. This word stands for aninstitution, whereas, guerilla stands for action. Thename is self-explanatory: it is a group which is free to

carry out independent guerilla actions while being apart of an institution.

The members of GG are selected once a year. The groupconsists of about ten young people of different profilesand interests who are not acquainted with each other.New members are chosen by the ex-Guerilla memberswho, at the same time, organize team-building activitiesfor the new members. After a short team-buildingphase, a research phase follows, as well as the field(street) exploration. Through the interaction betweenthe former and the current members, as well as artistsand those who see themselves as less creative, a newkind of creativity emerges creating the basis for initialproject ideas. During the year the group goes throughthe entire process from the development of an idea,planning (division of responsibilities, allocation of funds,procurement of materials), to the project realisation andits presentation in the public.

The specific quality of GG is reflected in the existenceof two levels - the visible and the invisible. The invisiblelevel is a process that takes place during the year withinthe group itself, whereas the visible represents results in

Report: Goethe-Guerilla activities within the project UrbanIncubator: Belgrade 2013

terms of completed projects arising from the dynamicsof an internal process. It is therefore natural that theresults (the projects and the activities) differ ever y yearin accordance with the nature of the current group.

The members of GG often collaborate with groupsfrom other countries. Such collaborations yieldvery interesting projects, showing at the same time

peculiarities and similarities between different citiesand their respective Guerilla groups. Furthermore, theGuerillas collaborate with German artists on differentprojects.

Short history (GG Belgrade)

The idea for creating the GG was conceived in Belgradein 2010 the year the Goethe-Institut Belgradcelebrated its 40th anniversary in this city. The 22GG pioneers realized numerous projects leaving atrace in Belgrades cultural life. The virtual Museumof Yugoslavian Ships, speed-dating in German andpuppets in forgotten places in the city are just someexamples of those actions.

2011 was rich in actions. The members of the secondGG in Belgrade rea lised, among others, Anotherperspective of the city, Trashophonic orchestra, andfounded the first Open Library in Belgrade.

The members of the Third Generation Belgrade Guerrilladecided to focus their actions on Savamala, a Belgradeneighbourhood, which was completely neglectedat that time. During 2012, they realised a number ofprojects in the Savamala area, including a Savamala Off-Guide, a Cleaning Flash Mob, the exhibition Savamala- Encounters, a city walk called Savamala Flnerie, and,in collaboration with a group of artists from Berlin underthe direction of Wolfgang Kraus and Sylvia Lorenz, theycontributed to the programme of the October Salon,the largest exhibition of contemporary art which wasthat year held in Savamala.

Photo:Goethe-Guerilla Goethe Institut




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GG contribution to the Urban Incubator: Belgradeprogramme year 2013

In 2013, the fourth generation of Belgrade Guerilla hasbeen operating within the Urban Incubator: Belgrade, aproject dedicated to the re-vitalisation of the Belgradeneighbourhood Savamala.

Workshops and exhibitions

From May 6th to 10th, a spring GG workshop wasconducted giving this years generation the opportunityto experience and claimSavamala. A series of projects(Street-Art Savamala, Interviews, The Face of Savamala,The Goldfish of Savamala, Savamala: The Secondperspective, The Symphony Project) to be presentedat the summer GG exhibition was initiated. After that,further research led to variations of previous and also

ideas for new projects. Another very intensive Savamalaworkshop was held in autumn, from October 30thto November 3rd, yet another chapter of socialisingand artistic work and to be presented at the GGs finalexhibition in December 2013.

Summer exhibition (July - August 2013)

At its first exhibition held from July 7th to August 15th2013 in the pavilion of the Spanish house, the fourthgeneration of GG in Belgrade presented the results oftheir six-months field work and five-days workshopin Savamala. Through a series of photographs, audioand video installations, the GG transferred their ownexperience of the Savamala neighbourhood theexperience of guestswho, during their stay and workthere, became locals.

The Symphony Project

GG began to deal with sound and sound-art in 2011 -forming Guerillas Trashophonic Orchestra with the ideaof using garbage material in order to produce varioustunes. This idea eventually underwent a completetransformation. From the beginning of this year, GGspent most of their time researching the sound in

Savamala because this city neighbourhood, being thecrossroads of all major transport lines, has for a longtime become synonymous only with a source of heavynoise pollution. In addition, there are numerous placesand spaces, abandoned buildings and corners that havea very distinct sound which the GG tried to discover,explore, and identify on a special sound map.

Symphony of the Spanish house (February March2013)

Currently, one of the most endangered buildings inSavamala can be found at Brae Krsmanovia 2. Knownas the Spanish House, it was formerly used as a

customs house, being part of a warehouse complexin this area built in the late 19th century. Duringthe 20th century, it was used for various purposes,usually as the headquarters of numerous companies,

associations and societies, which have changed manytimes over the years, as evidenced by residual labels andadvertisements on the faade.

During 2004, it fell victim to a failed investment venture.In fact, trying to reconstruct the building and re-designing it as a hotel. Without changes of its faade,the roof and windows were removed and reinforcementof the internal structure began, by building columnsand beams made of reinforced concrete. Unfortunately(or perhaps fortunately), this project was cancelled forunknown reasons.

Since March of this year, after fixing the faademembranes, pavilions were built at the initiative of theGoethe-Institut as part of the UIB project, which havebecome the meeting place for the local community andplace where cultural events are held.

The GG members found special inspiration in thisplace for their sound-art project before and during itsreconstruction, spontaneously turning the Spanishhouse into an instrument producing very distinctivesounds. By examining the acoustics of the building, fromwhich only a shellremained, especially the acousticsof the flooded basement, and by using their own voicesand some left over objects found on site (metal rods,

bottles, stones), they created a variety of melodies andsounds with very specific echoes.

The then recorded material now is a unique audiomemory of sounds no longer accessible or collectible,due to the subsequent pavilion construction - thebasement was closed, and the water removed from it.However, at the summer exhibition in the pavilion of theSpanish house, the visitors had the opportunity to hearhow this place used to sound.

The Symphony of the Shellconsists of raw materialwithout additional effects. Although they are notprofessional musicians, the GG were able to call up thecharacter of this instrumentby joint improvisation.

Integrated Railway Transport Symphony(October 2013)

The main railway and bus station and parking lots inthe city centre and bordering Savamala deeply markand greatly affect the present situation and character ofthe district. In addition to the bus and railway stationsbased here, there is also a largely undefined, vacantplot of land serving as an open-air storage lot withinthe gated site of IT (Integrated Railway Transport)where access is strictly prohibited. Nevertheless, theGG explored and examined this segment of Savamalaas well, finding instruments in abandoned containers,metal structures and old wagons.

Symphony of the Steamboat upa : Una(October-November 2013)

The first Goethe-Guerilla generation in 2010 alreadyfocused on abandoned ships next to the Sava quay.This graveyard of ships, as it is often called, looks likea plain museum exhibition of some incredibly valuable

pieces shipwrecks with rich history, which, afterdecades of sailing and water battles, had to dock inSavamala and have stayed there ever since. That waswhen the GG members founded the Virtual Museum ofYugoslav Ships, which represents the initiative to attractpublic attention towards these forgotten witnesses oftumultuous history.

One of these ship wrecks is the steam tugboat Una,as it was originally named, was constructed in 1913 inBudapest in the former Austro-Hungarian empire fornavy purposes. In the First World War, having been inthe enemy hands, she served as a warship in attacks onBelgrade. Belgrades defence forces managed to sinkher and after several years, she was recovered and sentto her birthplace for repair. The steamboat was inactiveuntil the Second World War when she was captured bySoviet troops who turned this elite ship into a mine-

sweeper. Her fate was sealed several years later whenshe hit a mine at Stari Slankamen on the Danube. TheYugoslav River Shipping YRS took her out of the water in1945 and proudly refused an offer by Hungarians whowanted to restore and convert her to a museum exhibit.Since then, the ship bears the name of upa. This proudold ladyand a par ticipant of two major wars in the20th century testifies, in a special way, the history of thepeople and the former owners. The upa was declareda cultural monument and is under the protection ofthe Republic of Serbia, which is trying to preserve her,similarly to the plans of the Yugoslav River Shipping, ina specific condition which vividly depicts her changingfate and conditions, and their consequences during and

after the war. Today, visitors can walk on her (at theirown risk), discovering the authentic look of this shipwhich was sunk to the bottom of the river twice in herlife and which will celebrate her 100th birthday this year.

Symphony on the Steamboat upa:Una

A number of activities were held for the centennial ofthe steamboat upa. Goethe-Guerilla was integral partof the workshops, and its members got access to theboat in order to explore the ships acoustics, as part ofthe Symphony project. The upa turned out to be anamazing instrument, whose space below deck and thedeck itself offer many acoustic possibilities.

On their symphonic journey through Savamala, the GGmet with professional musicians, who, due to GGs rawand sincere approach to sound, shared their enthusiasmand inspiration there and decided to work together.That was how they started cooperating with localmusicians and composers as well as with London-basedsound artist and BBC producer Robin the Fog. They alsoteamed up with the UIB Toolkit Project, who organiseda number of workshops and performances on upa,gathering and connecting different groups of ar tists.

Photo:Goethe-Guerilla Goethe Institut



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EU programme Youth in Action, Cultural IncubatorSavamala (September 21-27, 2013)

Within the framework of the EU programme Youthin Action, students and members of the Goethe-Guerilla from Bosnia and Herzegovina, Germany,Hungary, Lithuania and Serbia focused on the creativeactions and interventions. Aiming at the revitalisingof this rather neglected Belgrade neighbourhood, 25young and motivated workshop participants from fivedifferent cities - Belgrade, Vilnius, Sarajevo, Chemnitzand Budapest came together to discuss problems,developments and future opportunities.

The participants took Savamala and the project UrbanIncubator: Belgradeas a model for discussing questionsand issues that are relevant and specific to the futureof the cities from which they came, and, through theexchange of ideas, they identified similarities anddifferences and improved their own perspectives forjoint creative interaction.

Self-made music instruments and first aid kits againsttraffic noise, an open-air living roomat the River bankfor a warm ambience at exceptional places - withinsix days, the Youth in Action-group developed theirown creative ideas resulting in various, multi-facetedprojects.

All of these ideas highlighted the hidden potential ofSavamala and even engaged some of the residentsand raised the awareness of the many different facetsa city quar ter has. A Museum of Sounds, signpostingfor small Exhibitions, or creating an outdoor home small actions only brought home very impressivelythe idea that a sense of homecan be developedeverywhere, and that seems to be especially importantin a neglected city district such as Savamala.

Exchange of knowledge among local connoisseursand young people, who in this city quarter meet forthe first time, became an important starting point,both for future joint activities in Savamala, and for newperspectives of Belgrade GGs future activities.

(Text: Goethe-Guerilla)

Related Links:

Goethe-Guerilla / Urban Incubator: Belgrade

http://blog.goethe.de/urbanincubator/categories/11-Goethe-Guerilla-2013

Goethe-Guerilla / Goethe-Institut

http://www.goethe.de/ins/cs/bel/kul/sup/013/srindex.htm

Goethe-Guerilla blog

http://blog.goethe.de/goethe-guerilla/

FB: Goethe Guerilla Belgrad

Sinfonie des Spanisches Hauses / Symphony of theSpanish house:

http://www.goethe.de/ins/cs/bel/kul/sup/013/uib/de11295860.htm

http://www.youtube.com/watch?v=igWuAAFDmvMhttp://www.youtube.com/watch?v=umRPM8ski7Mhttp://www.youtube.com/watch?v=oryxpN_pWlUhttp://www.youtube.com/watch?v=JQl1h1VYojc

How does the Spanish House sound? Goethe-Guerilla compose their own Savamala Symphony

The Shell, as the Goethe-Guerillas prefer to call it, hasrecently become known as The Spanish House. But theorigin of this name is not quite clear. What was oncea building, a warehouse and a customs office in BraceKrsmanovic street, just below Brankos bridge, today isjust a faade The Shell.

A sad reminder of a failed attempt to reconstructthe heritage protected building in to a hotel, theSpanish house is now exposed to all weathers, its walls

decaying, the basement water leel constantly rising.All which is left seems to be surreal: the walls, somemodern concrete pillars, a slab of stone with armaturessticking out.

But there was this amazing echo spreading aroundthe abandoned basement which caught the Guerillasattention first. Metal rods, rocks, plastic bottles andtheir own voices this sound material found onsite inspired them to collect and produce all kindsof sounds and melodies and to further explorethe acoustics of the place. Not even silence is anordinary silence there; the surrounding noise andbustle are transformed into a very unusual murmur.For a moment you might even forget that you arein Savamala, where the sounds of different types oftransportation overlap and where it is almost nevercompletely quiet. The Guerillas decided to listencarefully to what this extraordinary basement of anextraordinary house has to say.

The Goethe-Guerillas have built most of their actionsaround Savamala for the last two years in a row. Theirprimary aim is to understand this city quarter as aconcept. Apart from that, the Guerillas strive to presenteverything beautiful and unique they managed tofind, learn and experience in Savamala, along with theproblems with which its residents deal on a d aily basis.

EU programme Youth in Action

Belgrade, Vilnius, Sarajevo, Chemnitz and Budapest 25 young and motivated workshop participants fromfive different cities came together to discuss problems,developments and future opportunities for Belgradesmuch neglected city q uarter Savamala. What is specialabout this district and how can Savamala be a modelfor other cities like the ones they are coming from?

Self-made music instruments and first aid kits againsttraffic noise, a living roomoutside at the River bankfor a warm ambience at exceptional places - within

six days, the Youth in Action-group developed owncreative ideas. Their exchange of views, perspectivesand ideas resulted in various, multi-faceted projects.

All of these ideas highlighted the hidden potential ofSavamala and even engaged some of the residentsand raised the awareness of the many different facetsa city quarte r has. A Museum of Sounds, signpostingfor small Exhibitions, or creating an outdoor home small actions only brought home very impressivelythe idea that a sense of homecan be developedeverywhere, and that seems to be especially importantin such a neglected cit y part as Savamala.

Urban Incubator: Belgrade BlogMay 5 / October 4, 2013


Goethe-Guerilla WorkshopSymphony Spanish House,Photo: Neboja Vasi GoetheInstitut

Youth in Action,Photo:Neboja Vasi Goethe Institut


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MicroFactories

Micro-FactoriesRaumlaborBerlin

RaumlaborBerlins ambitious Micro-Factoriesprojectproposal was selected for their Urban Incubator:Belgrade participation in June 2012. Initial ideasincluded a bicycle repair unit, possibly in a railwaywagon, or some local artisan and handicraft workshopsand product lines to be developed and madeeconomically sustainable in bigger spaces, for examplein a trafo-station underneath Brankov bridge.

As applications to use these potential new spaces andcreative industries incubator hubs of micro-factories

failed, and due to other reasons such as budgetaryrestrictions and problems finding other, adequate,rather exposed and publicly accessible spaces for publicworkshops and interventions, RaumlaborBerlin tookvarious other rather routes how to, with some small-scale activities, directly and indirectly contribute to theproject.

First of all, they re-designed and renovated the thenunused shop-window space of Crnagorska 5 which wasto become the shared project space and workshop basisfor the community project of School of Urban Practicesand Design Support Studio Savamalafor their socialdesign of a community space of the residential buildingC5. There, they designed a nd produced specimenfurniture for other newly attained UIB project spacesand especially a series of community furniture whichthey designed, produced, and publicly displayed duringa workshop including public presentations at the SavaRiver banks and in the Spanish House.

In the meantime and parallel to the UIB projectyear 2013, Savamala has seen a variety of localmicro-factoriescoming to the once derelict andunderdeveloped city quarter including a vintage

bicycle repair and show-room, the proBike-shop, somesmall businesses like Wurstplatzor the Perronculturecenter and club. Various temporary initiatives, forexample the Remake-initiative during MIKSER festival and also several legal or informal club and discovenues indicate the direction Savamala, for the better orthe worse, might take culturally and economically as afuture alternative tourism, entertainment, and creativedistrict.

A future Urban Incubator: Belgrade project perspectivearose when, together with the School of UrbanPractice, RaumlaborBerlin shaped the idea of anindependent, collaborative architects studio inBelgrade, possibly based at C5.

Dr. Matthias Mller-Wieferig/Tim Rieniets

RaumLaborBerlin


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Savamala Generator workshop starts tomorrow!

The Savamala Generator workshop is an experimental building workshop in publicspace. For this workshop we designed a set of modules that can be assembled topieces of furniture as well as microarchitectures. The material used is collectedmaterial from abandoned apartments and second hand material from building sites.For the production of the different types of building elements the store front inCrnogorska 5 is further refurbished and converted in a little carpenters shop.From Wednesday 26th of June from 10a.m. - 10p.m. in Crnogorska 5 people areinvited to build, bring in ideas for variations on the principle and uses. Possible usesrange from private uses to the reconfiguration of the courtyard space in Crnogorska

5, Belgrade as well as placemaking in public spaces.On Thursday 27th of June from 10a.m. - 10p.m. the prefabricated modules are takento the river banks of Sava close to the Spanish House, Brae Krsmanovi 2 and themodules are tested as building material to create microarchitectures for the publicspace. A manual sketchbook with a variety of configurations is handed out toparticipants and further possibilities are developed and discussed.

Raumlabor in Action Open Furniture Workshop

NEXT-

SAVAMALA

Urban Incubator: Belgrade BlogJune 25, 2013

Cynthia Wagner, Julian Petrin

Photos:Matthias Mller-WieferigPhoto:Neboja Vasi Goethe-Institut


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is an independent crowdsourcing platform for urban

development in Savamala, Belgrade.

Its goal is to create a vision for Savamala together with

the Savamala community, giving them a platform, a

voice, space to reflect and discuss their ideas for future

development of their neighbourhood. Nextsavamala

is a project by Nexthamburg, a German citizen-based

think tank for urban development in Hamburg, and part

of the URBAN INCUBATOR: BELGRADE - a project of the

Goethe-Institut.

Nexthamburg has developed an own concept with

instruments and workshop strategies at various work-

shops, events and par ticipation processes. This concept

has been adapted and compacted to fit a more focussed

vision-building process for Savamala, Belgrade but also

to experiment with those instruments and concepts in a

new context.

The first phase of Nextsavamala started in March 2013

with the open platform nextsavamala.net to gather

visions for Savamala in 2050, discuss and d evelop

them with a broad online community. During three

workshops and several urban activities throughout the

year, the local community was involved into the vision

process in addition to the platform. Children, students

and adults from Savamala developed several visionsand ideas and set the framework for the future vision of

Savamala. Other urban activities were the Nextsavamala

space, vision mailbox, vision telephone, the ping pong

action for crowdsourcing visions all over Savamala and

in the Belgrade city center.

During the second phase of Nextsavamala in November

2013, all visions and ideas collected and discussed on-

line, during workshops and urban activities are re-orga-

nized within project ideas. Questions and obstacles for

realizing those project ideas are identified. During the

Nextsavamala Week in November 2013, citizens and ex-

perts are invited to find answers to the open questions -

in order to make those project ideas concrete. All project

ideas are bind together in the Nextsavamala Vision - a

comprehensive future image for Savamala based on the

citizens project ideas.

The next step after publishing the Nextsavamala

Citizens Vision would be the realization of its projects:

Debating the Vision and working on making the projects

real.

NEXTSAVAMALA(BUDUASAVAMALA)

S

,

.

.

Step 1: collecting

Mar to Sep 2013: Citizens from Savamala and from all over Belgrade

are invited to bring in their wishes, concerns, ideas or even complete future

scenarios regarding Savamala.

.

, .

,

.

.

, .

, .

step 2: aggregating project ideas

Oct 2013: From the collected contents the Nextsavamala Team aggregates

concrete project ideas for Savamala and promotes them in the

Savamala Change Map.

crowdsourcing a citizens vision

the way to the vision

,

.

.

, .

, .

step 4: binding projects together

All project ideas are bind together in the Nextsavamala Vision - a

comprehensive future image for Savamala based on the citizensproject ideas.

, .

, .

step 5: making the vision real

The published Vision is the starting point for the next phase of Nextsavamala:

Debating and working on the realization of the projects.

This is your moment! Join in and take action.

Help us to make the Nextsavamala Vision real!

SAVAMALA

CITIZENS

vision

NEXTSTEP

S

TOWARDS

REALIZATIO

N

are identified.

Nov 2013: For every idea a set of open questions and obstacles are

During the Nextsavamala Week in November 2013 citizens and

, .

, .

step 3: going deeper into the projects

.

, .

experts are invited to find answers to the open questions -

in order to put the project ideas in more concrete terms. now!

Nxtsavamala workshopat Days ofSavamala,Photo:Neboja Vasi Goethe Institut


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DIALOG PHASE 1:POST YOUR VISION

The online crowdsourcing platform nextsavamala.netand its social media channels offer a stage to an inter-national community to discuss and develop ideas forSavamala together.

We are conviced by all means that ideas and visions ofall citizens can have influence on political debates anddecision making processes when they are provided witha public platform, a secure space, where any ideas are ta-ken seriously, discussed, cross-connected and deepenedwithin the community and with experts.

NEXTSAVAMALAIN NUMBER

65 visions253 likes

113 dislikes9 comments807 Facebook fans

DIALOG PHASE 1:WORKSHOPS AND URBAN ACTIVITIES

Vision Postcard spread all over Savamala during the firstweeks of Nextsavamala to get in contact with the localcommunity. The Vision Mailbox is attached the the Next-savamala office wall where people can also get informedabout the project and leave their visions.

Vision Ping Pong at Belgrade City Action. Ideas, visionsand comments were collected at several events - funplaying ping pong while thinking about the future ofSavamala served the creative process.


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SAVAMALADESIGN STUDIO

The Toolkit Project

www.designforthelivingworld.com

The Hochschule fr bildende Knste Hamburg (HFBK) /University of Fine Arts in Hamburg

www.hfbk-hamburg.de

Prof. Marjetica Potr

Savamala - A Place for Making Dates: March 23 till November 16 2013Locations: Studio at Kraljevia Marka 8 (Studio KM8);upa boat in Savamala

Participants:Students: Finn Brggemann, MariaChristou, Basak Gl, Johanna Padge, Johan Romme,Amalia Ruiz-Larrea, Julia Suwalski, Nuriye Tohermes,with guests of the class Ron van den Akker (artist,lives in Berlin), Emilija Josipovi (free-lanced architect,Belgrade), Maja Mijatovi (HCU HafenCity UniversityHamburg), Olivera Petrovi (free-lanced architect,Belgrade), Nele Urbanowicz (Buchkunst / BurgGiebichenstein Halle), Rado Vujaklija (Time-relatedMedia, HfBK Hamburg), Tessa Zettel (artist, lives inSydney), Mai Shirato (designer, Hamburg)

Partners: Residents of Savamala and groups active inSavamala, such as Iva Milovanovi and Jovan uri(Applied Arts Academy, Belgrade), Drutvo Savamalaand Goethe-Guerilla.

Supported by:Goethe-Institut Belgrade, the City ofBelgrade and the Municipality of Savski Venac andHochschule fr bildende Knste (HFBK) Hamburg

Acknowledgments:Kamen Srbije (Stone of Serbiaassociation), www.kamensrbije.org.rs

Special thanks to: Ivan Kucina, Duan Milanovi,Neboja Miliki, Miko uvakovi, Vanja Terzin and manyothers.

For further information see: www.designforthelivingworld.com

http://designforthelivingworld.com/2013/04/09/belgrade-the-toolkit-project/facebook page: Belgrade The Toolkit Project

Relational objects: The upa boat and the SavamalaDesign Studio (Savamalski dizajn studio)

The upa boat and the Savamala Design Studio areavailable spaces that are being reclaimed for theSavamala community and transformed into places forsharing skills and knowledge. Relational objects are

tools that communities use to change their culture ofliving.

Performative actions: upa Activations (ceremonialwashing, cleaning, and rechristening of the boat;Zimnica I, Zimnica II, upa Sounds, textile workshop,domino tournament, open-air cinema, among otherthings), and workshops at the Savamalski Dizajn Studio.On the upa boat, collective performative actions createnew images of public activities. The Savamala DesignStudio is a platform for rebuilding the idea of a sharedspace. Here, groups that share the workshop space forman association that can serve as an agent and practicefor developing the commons.

Performative actions are an important part of redirectivepractice: they demonstrate the process of culturalremaking.

Urban Incubator - Belgrade, 2013Design for the Living World

HfbK-Hamburg


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SHORT PROJECT DESCRIPTION

The Toolkit Project / Savamala - A Place for Making

By transforming the upa boat and the Savamala Design

Studio (Savamalski dizajn studio) into places wherecommunities in Savamala hold workshops we makevisible the process of place-making. The performativeactions on the upa boat create new images of publicactivities. The Savamalski Dizajn Studio is a platformfor rebuilding the idea of a shared space. Here, theassociation of groups that share the workshop space

serves as an agent and practice for developing thecommons. Through the partnerships we have created,the upa boat and Savamalski Dizajn Studio willcontinue to serve as workshop spaces even after weleave Savamala.

photo by Tessa Zettel

photo by Tessa Zettel photo by Tessa Zettel

photo by Mai Shirato

photo by Mai Shirato photo by Marjetica Potr

photo by Mai Shirato


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SAVAMALA MAKERS

upa boat: An Available Space is turned into a Place forSharing

An abandoned boat rethought as available spaceis turned into a place where communities active inSavamala have space for workshops and communalgatherings. By sharing skills and knowledge theybecome users and caretakers of a no-mans space in atime of perpetually delayed privatization processes. Inthe absence of regulations and an owner, the currentsituation gives us an opportunity to rethink theconcept of upa as an available space: officially a publicmonument, the boat is used temporarily by fishermenwho do not maintain it, while the appointed caretakersParobrod cultural center neither use nor manage it.

Performative Actions and Place-Making

upa Activations, a series of collective performativeactions carried out by Design for the Living World andpeople from the neighbourhood from October 1 -November 15, 2013, have become one of the agentsin the process of place-making in Savamala. Place-making is a process of recognition of a group of peoplein society: any group that wants to be recognized inthe processes of change in a neighborhood needs aphysical space. Space matters when it becomes a place.We understand place-making as a necessary processif people of Savamala want to have a voice in theupcoming development of their neighbourhood.

De-Territorialization and Gentrification

Place-making counter-balances de-territorialization,which is an agent of the aggressive for-profitdevelopment that is expected to take over Savamalasoon. Although de-territorialization is popularlyunderstood as a consequence of the process ofgentrification, in the case of Savamala, populatedprimarily by owners, the notion of gentrification doesnot necessarily apply. During the process of imminentdevelopment, the owners of the apartments inSavamala are expected to gain a higher quality of lifealong with the rising financial value of their properties.Though they may not become victims of gentrificationtaking away their private living spaces, unfortunatelyde-territorialization will nonetheless take place withintheir public living spaces.

Disregard of Public Space and the Power of Place-Making

When you walk in Savamala, the streets look like no onecares. Its not only about noise pollution from heavytraffic and the loss of human proportion when youwalk beside large trucks passing through small streets.Disregard of public space is a continuation of the steadydecline of public space since times of socialist Belgrade.Paradoxically, while the pre-1990s social political systemcelebrated the workersparticipation in matters of thestate - who can possibly forget the concept and practiceof self-management and cooperatives in Ex-Yugoslavia- in peoples minds public space represented the state

and was expected to be maintained by the state. Thepublic space that belonged to everyone then, slowlyturned into a no-mans land. In fact, todays disregard ofpublic space in Savamala - the current absence of thestates power does not help - continues the pre-1990ssocialist mentality: people do not care about it, becausepublic space is not theirs. But it should be theirs if theywant to counter de-territorialization. How is it possibleto rebuild the notion of public space? By the process ofplace-making, piece by piece.

upa Boat and Savamalski dizajn studio Begin theProcess of Building-up the Common Space and theCommon Sphere

The transformation of upa boat and Savamalski dizajnstudio into places where communities in Savamalamake workshops is a visualization of the process ofplace-making. Through performative actions, the upaboat stages images of public gatherings. The Savamalski

dizajn studio is a platform for rebuilding the idea of ashared space. Here, an association of groups who sharethe workshop space is an agent and practice of thecommons. Through the partnerships we have createdupa boat and Savamalski dizajn studio will continue tobe places for workshops after we leave Savamala.We believe that in Savamala, the public space andthe public sphere can be reconstructed only fromcommunities and the shared spaces they inhabit.Here, there is no public space perceived as such. Theneoliberal business model has not delivered andthe state is collapsing, leaving only the people toself-organise. Creation of community spaces is theirchance to reclaim their neighbourhood. upa boat andSavamalski dizajn studio visualize a common spacewhere community-building happens.

Savamalski dizajn studio and the Power of Workshops

Savamalski dizajn studio is one of three previousworkshop spaces on street level at Kraljevia Marka 8.Space is publicly owned and has been given to DomOmladine cultural center for caretaking. A year ago theyextended caretaking of the three spaces to the UrbanIncubator project. One space is currently used by Designfor the Living World and we plan to in turn extendcaretaking of the space to a new association of localcommunities who desire to work there. Communitieswho form the association will create an agreementabout the shared space. This is a space for workshopswhere people share skills and knowledge. If you want tochange the culture of living, it is not enough to talk. It isworking together that matters. Workshops matter.

Its people who make the city!

Savamala has plenty of makers, but most of them arenot makers in the usual sense, i.e. makers of goods forsale. There are just a few producers left in Savamala,such as a baker, a candy-maker and an illegal but fullyproductive carpenter, all located around the cornerfrom the studio at Kraljevia Marka street. Traditionally,Savamala has been known for its craftsmen. If they ceaseto exist

Documents

Urban Incubator Savamala