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IMAGE, IDENTITY AND QUALITY OF PLACE III CONCEPTS, METHODS, EDUCATION

PLACES AND TECHNOLOGIES 2016

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THE CRIMINAL CITY: URBAN RESET AFTER "COLECTIV"

Angelica Stan1 Assoc. Professor, PhD Architect, Msc. Urban Planner, "Ion Mincu" University of Architecture and Urban Planning, The Faculty of Urbanism, 18-20 Academiei St. 010014, Bucharest, Romania, [email protected]

ABSTRACT This In Bucharest, a club has become a criminal place. After the tragedy in which 60 young people died, it was discovered that the whole city is potentially criminal - as schools, colleges, kindergartens, theatres are functioning out of norms and standards, without the necessary safety conditions. The tragedy of "Colectiv" in Bucharest revealed that the City is planned, managed and controlled, in such a manner that murderous places can be many more than we could imagine. In some situations (some exceptional, but some quite -ordinary - as a rock concert), the city and its places (otherwise attractive and good) might become places of death, traps for innocent people.

Beyond the immeasurable sadness, beyond the revolt against the system and supportive politicians, it raises a question for the urban professionals: how to better plan the city, so that such events might not ever happen again? What principle, concept, method, law and rule is the best suited to prevent and cure the city potential criminal capacity?

Next, following this disaster - a danger might occur: the speculation of extremes. Just because the defect system is based on compromise and corruption, the immediate reaction is to condemn the principle of negotiation itself. But with this, the city is in a real danger to radicalize its fundamental planning concepts: anarchy vs. order, spontaneity (private initiative) vs. regulation, liberalism vs. authoritarianism, death vs. life.

The following article will try to argue that as consequence of these sad events, certain features of the post-industrial city should be changed, but others should be continued, even if the urban life will be severely penalized by new regulations regarding health and safety in public spaces. The urban life needs to continue and urban professionals should find new methods to encourage it. The danger of authoritarian planning and blindness to individual specific needs is as great as big is the lack of control and system corruption.

Keywords: place, rule, order, principle, potential

INTRODUCTION It seems obvious that every citizen has its own city. For a simple inhabitant, this statement can be funny, for an artist is a truism For an urban planner this concept becomes extremely complex if we want to know exactly how we can meet the expectations of these cities that are, in each of us - and not just in our minds, but also in souls, in hard-to-express feelings that we have related to some places, or to entire city.

1 Corresponding author

3rd INTERNATIONAL ACADEMIC CONFERENCE

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The city is an multiple entity - but do not confuse it with the amount of mental maps that we might obtain (at a limit), putting all people to represent their city, make the hiking map of frequented or favourite places for spending leisure. City can be read like a book, says Bertrand Westphal, following post-modern concepts, admitting, however, with Jean-Francois Lyotard, the necessary dose of confusion in the multiplying subjectivity, which never helped to reconcile the conflicting interpretations of the city (Dear & Flusty, 2001). The city is a great tri-dimensional book, says Cărtărescu, with a dual reality - the written text with its internal logic, and the "perpendicular" on page logic, which is also the intersection with the physical space. Even more, the city is a meaningful text, written in a language that you can understand only if you live in it, only if you experience it day by day, with all its subtleties. Even doing this, each of us reading this text, we remain with something else, and the city - book can send to us different messages each time we read it, through every different age of us.

The multiplicity of the city is more than a spatial one and strictly mental one, plotted on a map - as every map is, after all, a metaphor (Moretti, 2009). This fragmented and seemingly chaotic embodiment, plurality of layers that overlap and merge, living palimpsest, continuously budding, is also a temporal multiplicity: space and time that unfolds the city are our space and time, our scales and moods. When a city shocks us through a particular event (accident, terrorist attack, natural hazard, revolution, etc.), it actually overturns in ourselves a reference system that we usually imagine inexpugnably. Then, not just places become frightening, uncertain, vague, but the time of the city (which is our own time) becomes suddenly brittle, uncontrollable, multiplied in thousands of stories that tell us "what were they doing during that time". That time of the city becomes a multi-dimensional object, ambiguous and fierce, aggressing and scaring.

The City. Which one? The perception on safety in a city is depending on more or less obvious factors, mentioning the already famous theory of broken windows, created by James Q. Wilson and George L. Kelling in 1982. The message sent through qualities of spaces and places cleanliness, physical care, quality of furniture, etc., come to be taken in the subconscious as a guarantee of security to those places. Although proven a direct relationship between spatial neglect and aggressive or violent behaviour of users of those spaces, yet we pointed out that there is a reverse situation: when too little of the physical appearance of a place tells us a negative message about its safety condition, and when this in fact even cheats the user, making it vulnerable and non-vigilant to a potentially critical situation (the "Colective" case). Fran Tonkiss in Space, the City and Social Theory: Social Relations and Urban Forms (2013) explain on the footsteps of Georg Simmel and Walter Benjamin that the post-industrial city is no longer possible to be conceived as an outer frame of the unfolding social processes, but as a form which is shaped in real time by social and qualities values, options and moods of individuals and groups, becoming multiple. "Spatial relations are only conditions and symbols of social relations" (Simmel, 2004: 73). Places qualities and their meanings are arising from a multitude of issues that the social interaction can get in a city- from solitude, segregation, struggle, despair, anomie, freedom, gentrification, etc. Or, reprising a truism Lefebvre - spaces are social products, results of practices, experiences, routines and social behaviours.

But, at this point, we ask ourselves one question: is this equal for the "criminal places" - those of collective accidents or attacks, which involved many violent and innocent deaths? Can we check the above theories in the case of a-typical situations, with certain special conditions in which all the negative driving forces seem to concentrate in one place, making it, from a common one, a fatal one? Very often the routine of use of urban spaces helps to better orientation in a co-existence with the social practice and beyond the qualities and defects. At the same time, however, we see that routine could make us tired and distract us from the vigilance in observing the basic conditions of existence of a place - the safe to the user, which is considered a default condition, but often it is not. Social practices and routines of use help this process of distortion of


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a place message. Exactly contrary to what says Lefebvre, the meaning of a place is not quite the same as the place is: impregnating the places with certainly attractive and valuable symbols/ brands - like messages of alternative culture, of freedom, of critical spirit, of underground art, rock music, so on - (in some cases) does nothing, but to obscure the shortcomings or defects that space has, passing them in the background of the social practice. We can observe that even the space is always a product of a complex system of connection and separation, of presence and absence (de Certeau), and it can still become a criminal / malefic space, even nothing from the social context doesn't announce this. Today, thanks to communication technologies, the attractiveness of a place in a city can be artificially built: just a good promotion on FB or other media, and a place is famous and attractive even before someone ever pass its threshold, or even before someone can observe its minimum safety conditions (which by default are considered normal by any civilized citizen, and as such, are not questioned). Of course, here comes a discussion about the rules and order of the urban spaces, about the objectivity and subjectivity in creating, applying and enforcing them.

SUBJECTIVITY AND URBAN ORDER We might say that the City is a matrix of a multitude of individual visions, "interior geography" (Julien Gracq), which can only partially overlaps with the objective order. Just on this "partially" I'd like to linger, because there is a danger to say that total subjectivity is useless for urbanism which, on the contrary, plans ahead based on an absolute objectivity, generating widely recognized spatial identities, then submitted to certain objectives and impersonal rules. But here it's again a point of tension: the rule in urbanism proves to be ineffective when it is far from the privacy of those who have to respect and to live with it. Moreover, the same rule applied in different places could became again ineffective or may even proves wrong, even it was considered good for other urban situations. The fact is that the rules in urban planning, when they are too rigid, too standardized, too distant face to spatial and cultural diversity, applied to realities whose dynamics cannot be predicted, become (case of Bucharest), disavowed and currently violated by illegal practices. These rules became tools not for creating an order, but for masking a disorder.

In cultural, social and spatial heterogeneous cities as Bucharest, with a history that didn't keep, at one stage to another, the patterns of pervious urban form, but have (re)imposed, each time, a different model according to time and influences, the common mental image about the urban life is one of a chaos, rather than a legitimate and comprehensible rule. But the spatial order should not be generalized, because, as we all know, collective tragedies unfortunately occurred even in well ordered cities. Many sad experiences have proved that even in well-ordered and managed systems could occur some negative conditions (of a space, human, or nature), as a minimal brake-down which cracks the apparent order. The disaster is every time described as the embodiment of the most un-realistic scenario. The violence of such collapse links, in a strange way, the reality with the fiction, while the city map is superimposed on the map of the darkest visions that one might imagine. For planners, this could be a point: how to predict these outbursts, these intense black points of rupture in any order created by man, how to identify the malignant places in a city: those that proved to be malignant not only through the objective/official history, but through the subjective one, visible only in art and literary works? Literary forms are dependent on the space of their own actions (Moretti). In other words, the forms of subjectivity are dependent on the spatial forms of the objectivity. In the interwar period, in the Bucharest of writers and painters, there were known certain places of violence, of abjection, abuse, terror and lawlessness. They were not registered as such on the objective city map, but they appear so frequently in written works - as of Mircea Eliade, Gellu Naum, Blecher, Panait Istrati, etc (Rasuceanu, 2013), as they define a certain spatial configuration, parallel to the official information on crime and violence in the city. The criminal city is not equal with the official city of violence, often it escapes statistics, it's not obvious - because it's very intelligent criminal - but it must be discovered through a meticulous and discrete investigation, using inclusively the


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literature. In current Bucharest, events such as the "Colective" club - an ordinary place until the tragedy - make visible an infrastructure of non-linear legacies, of an unpredictable fateful. By the similarities of factors that triggered the tragedy, this place rises to the surface an entire map of places with a certain collective crime potential - one different from the current criminality, of theft, robbery and rape, partially known by the police. This will create a map in between the objective reality and literary imagination, a map of places in Bucharest where people are not safe: not only that the space doesn't met the fire safety requirements, evacuation in the case of fire or earthquake, but where, at a subjective level, there is a material uncertainty, a state of an internal rupture. In such places, furthermore highly attractive for certain events, due to advertising, anytime could happens the same. So, it would be necessary a map (or an application, why not?) of all the places in city where the urban rule is infringed, rejected of denied, and where the places itself become tools for a fault propagation, for circumvention of law, for social and functional promiscuity. Because they are in fact the premises of "Colectiv" tragedy at the city scale: the disorder as usual state of things, considered normal, the uncertainty as systematic refuse of norms, this be added to poorly controlled regulation, almost inviting to infringement. But beyond these, at their roots, is the primary cause of the mismatch between the regulation/ law/rule and individual interests/state/expectations. If the rule is lens to inhuman, and it's complicated as it became hermetic to aberrant, therefore the individual plan, always looking for undergrounds, always creating different ways of subjectivity in consensus with its aspirations and tastes, could became a criminal plan, killing the innocents who usually consider the rule as normal.

THE CONVALESCENT CITY In "The Activist Manifesto of Youth" from 1924, Ion Vinea affirms a constructivist vision and a vitals spirit specific to time. Bucharest is seen as an optimist city: "... it's a movement, there are bright streets, above all it's a love of life, which receives the visitor on the North Station platform, and accompanies him perhaps even beyond the peripheries (..) somehow a visit to Bucharest is a lesson of optimism."

Today Bucharest is sad, a depressed and depressing city, even some clubs try to maintain their activity, even if the urban life, few months after the tragedy, seems to have re-entered to normal. But the depressed state of the city is not so visible, and it comes from the general distrust in order, structure, regularities and vitality of the urban form, from fear, insecurity and exposure to a degree of ambiguity (formal, functional, aesthetic and social) that is near to hermetic, and through this it's potentially criminal. The system - most cited culprits of the "Colectiv" tragedy - is an abstraction of a set of rules that most of us consider foreign, imbeciles, worthy of being violated, or simply do not care about its existence. So the roots of evil and crime are in us, not in the abstraction called system. The urban attitude is in fact a measure of admitting and respecting the city rules, and the criminal potential is measured in the permissiveness and tolerance for those who violate them. By this I'm not saying that any artistic, non-conformist places or events, aiming to engage the novelty and creativity are undesired in a city. Without this, the life of a city is dead, and the gravity of daily routine, of boring things, of oldness and ugliness became certainly a sign of decline. But, in urban civilized societies, the underground artistic movements rely - in order to promote precisely the disavowal of the official order - on a general good balance of rule/law acceptance. Not to be confused with what is the underground movement in Bucharest - a depressive undermining of any rule, as whether invoking it, it's immediately arouses suspicions.

And Bucharest, unfortunately, is not the only city of this kind, but it exhibits an entire typology. If the city is a Theatrum Mundi, then what is played today on the great post-industrial urban scene is a tragedy, the same kind of odious scenario as that of the "Colectiv", reflected on social and spatial macro scale. Living in a city that pretends to comply with a rule, that fool you using your contributions, that cheat your trust from second you walk out of the door and cross the street, such a city is, in a metaphorical draft, like club "Colectiv": a death trap (just a slower death, day after day, almost imperceptible). That's way the tragedy from "Colectiv" should mean resetting of


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the system from the inside: to rethink the rule, the meaning and the purpose of urban regulation, to restore the structure of the functional principles of urban order (from which to be removed once for ever all corrupted processes), and to re-build up in the consensus of a self-generated, but not imposed, discipline. And here it needs a nuance: it's very dangerous to equate corruption and negotiation, believing that radicalism and polarization of extremes born ever a viable solution. That's way the reference to literature is beneficial, as environment which admits different opinions and possible alternatives, even opposite ways of reading the same text, inside of a convention, which is the language. A solution of urban regeneration as re-starting of the system from the inside should be a resumption of a dialogue, a negotiation at the social level, which first means a common language between different social classes and groups. The regeneration of the city is similar and simultaneous with the regeneration across the city language, assimilating all technologies that emerge and create a language that fits these transformations.

Unfortunately, in Romania, the necessary conviction of corruption creates a gap in the communication between all those who, in a greater or a lesser extent, have been part of the system. And once convicted the corrupts, it's not sure that the system will perform better, proving that once installed, the corruption is a disease that is extremely difficult to treat, leaving deep sequels across several generations. Society in general, and the city in particular, will regain their healthy instincts after a long convalescence, like any living system does after a serious illness.

DURBAN SELF-ORGANIZATION AND CREATIVE INSTINCT One of the possible mechanisms of recovery is that of social self-organization in the city, thereby surpassing the decline and its associated state, among which vulnerability in terms of safety, bureaucratic corruption, weaknesses adaptation, etc. If we accept that the social (urban) system, compared with the living systems in general, possess the ability to be consciously self-creative (Fuchs, 2002), this implies that individuals have the freedom to create new structures, changing rules, values and behaviours. Social self-organization may also entail intention or purpose, where a group of individuals deliberately engage in self-help, self-empowerment or self-determination in order to change their own social condition (Kemp et al, 2007). Urban regeneration of a city presupposes regaining the essential instincts at the psycho-social level, among which are the self-government and cooperation (Fuchs, 2002). These would include, inter alia, the self-management and autonomy, as an expression of collective action which are not necessarily hierarchically made, but with a certain clarity in establishing the necessary relationships between groups. Somewhat similar to NGOs, urban society that organizes itself considering that the official organization fails, can be refilled through creativity and through individual involvement in solving real problems. And in this way, rules and regulations are not anymore contradictory to city's order, but are the result of another process: one that signals a problem, invite to find solutions and creates the example that can be followed for final resolution. It is known from socio-psychology that “evidence of caring inspired further caring” and “evidence of neglect invites further neglect” (Fuchs, 2002). Only the norm that is not imposed through a hedge and authoritarian /corrupt system, but emanates from the people behaviour, it is one that can be adopted and for that planners need to support and care, in a creative way. The creativity has here a double function: one of the renewal (of values, norms, etc.), and one of the maintaining of those have proved resilient in time, as it is in any living system, where the development is carried out both through storage / maintenance, and by removal / loss.

THE RELATIONAL ART-URBANISM A relationship approach of the city through the arts, symmetrical somewhat to the geographical approach of literature, promoted by the researchers affiliated to Archipel Group and to the "literary geography" movement, should help architects and planners just to exit from the great dilemma that shakes at the moment our field, through unhealthy worsening of the dichotomy between bottom-up planning and top-down planning. The relational art-urbanism would mean a new


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approach to interpret and bring to light the nature and conditions of new rules that can be applied in a city, in order to be naturally accepted and not disavowed and systematically violated. Moreover, the relational art-urbanism would have a curative role: cumulating and synthesizing the tragic places from written literature or spatially referenced art, identifying therefore the imaginary places possible to correlate with objective data, make visible the real safety structure of the city, warning of the spaces that creators minds have felt negative. Thus, the intuition, an essential function in art, but neglected in urban planning as considered purely subjective, could be recovered and put to work. Starting from the idea that the artist lives the space in two simultaneously and equally important worlds - the concrete, palpable and the mental world- is it possible to identify, through a rigorous inventorying of the literature associated to a particular context, the new map of the artists most intensely lived spaces, most often evoked in various visions and images. A true development vision of a city should get out of the standard inventory of abstract schema of strengths/weaknesses/opportunities/potential in reference to a single/ unique reality, considered objective through a brutal simplification. The multiplicity of the city realities can be recovered by this relational vision - an integrated one - connecting both the objective vision (which derives from the analytical study of the city) and the subject vision (which come from the study of art works that have been referred or re-invented places and urban spaces).

CONCLUSIONS The paper argues on the necessity of reconsidering the city's multiple reality, including the one that can give rise to criminal or tragic events. The discussion starts from manner in which the relationship between subjective and objective perception and current city study creates a gap in its knowledge, which affects people's behaviour in relation to ordinary places. In the perception of the city, the feeling of safety is conditioned by knowledge of the actual quality of places, beyond their apparent attractiveness. As the city's order is an essential component of its safety structure, it's important to discern between the bad order, and as such unacceptable, and often violated, and the right order, mirroring the expectations that people have, both at the individual level, and the social level. On the other hand, the process of generating a good order is sometimes difficult, as long as the city is still recovering, trying to recuperate its creative instinct, after a scourge as it's the corruption. The case of Bucharest and "Colectiv" tragedy are used here as starting point and example for these assertions, arguing on a new approach to urban planning which should include a re-discussion about order and rule. This paper demonstrates the need for an integrated urban development vision by restoring the links between the objective and the subjective world, thus bringing to light the real safety structure of the city, and the intuition as mechanism of guidance and creativity.

REFERENCES Dear J., Michael, and Flusty, Steven, 2002. The Spaces of Postmodernity: Readings in Human Geography. London: Wiley-Blackwell. de Certeau, Michel, 1984. The Practice of Everyday Life. Berkeley: University of California Press Fuchs, C. 2002. "Concepts of social self-organization". INTAS Project Human Strategies in Complexity-Report. HSIC Paper (4). Research, 16(2): 133–167. Gracq, Julien. 2010. La forme d'une ville. Paris: José Corti. Ilie, Rodica, 2009. "Utopia citadina in manifestele avangardiste romanesti". in Chioaru, D. (ed.) Orasul si Literatura. Bucuresti: Editura Art Kemp, R., Loorbach, D., & Rotmans, J. 2007. "Transition management as a model for managing processes of co-evolution towards sustainable development". The International Journal of Sustainable Development & World Ecology, 14(1): 78–91.


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Kühnlein, Iris, Diep, Loan, and Ganesh, Maya, 2015. "Self-Organization and the Potential of a Commons Place". Journal of Bio-Urbanism, no.1&2/14: 7-20. Lefebvre, Henri.1991. The Production of Space, London: Blackwell. Moretti, Franco. 2009. Atlas of European Novel, 1800-1900. London -New York: Verso. Rasuceanu, Andreea.2013. Bucurestiul lui Mircea Eliade. Elemente de geografie literara. Bucuresti: Humanitas. Simmel, Georg, 1988. La tragédie de la culture. Paris: Rivages Stan, Angelica. 2012. Devenirea Peisajului. Bucuresti: Ion Mincu Univ. Vinea, Ion. 1983. "Manifestul activist catre tinerime". in Avangarda literara romaneasca (antologie). Bucuresti: Minerva Westphal, Bertrand. 2011. Le Monde Plausible. Espace, lieu, carte. Paris: Minuit.


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TOWARD THE ULTIMATE SHAPE-SHIFTER: TESTING THE OMNIPOTENCE OF DIGITAL CITY

Dr Aleksandra Stupar1 Associate Professor, University of Belgrade - Faculty of Architecture, Bulevar kralja Aleksandra 73/II, [email protected]

Dr Tatjana Mrđenović Assistant, University of Belgrade - Faculty of Architecture, Bulevar kralja Aleksandra 73/II, [email protected]

ABSTRACT Supported by the latest flows of creativity and innovation, contemporary cities have gradually become multileveled interfaces between material and digital realms of urban reality. The process of technological upgrading continuously reinforces an assemblage of generated spatial segments, providing a connecting web for redefined urban landscapes. Composed of tangible and intangible urban segments, they are exposed to numerous environmental and social challenges of the 21st century - from global warming to social injustice and inequality. Searching for the best solutions, the concept of digital city and the framework of creative city have been highlighted and analyzed by different authors, but their efficiency and success have to be tested and verified by generations to come. Considering the current condition, this paper will inter-relate the digital and creative/innovative urban platforms in order to define possible areas of multidisciplinary crossover. The merging of ideas and tools, perceived as a new opportunity for increasing the resilience and adjustability of urban environment in the age of climate change, will be discussed on a level of information networks and their influence on urban space and community.

Keywords: City, digital space, global networks, local practices, urban environment

INTRODUCTION The increasing speed of contemporary life has instigated numerous processes in our cities which tend to redefine a very core of urban existence, as well as a traditional perception of space and time relations. The interaction between society and technology has become extremely intensive, fostering the development of augmented reality, overlapping realms and interlinking elements of material and virtual settings. Therefore, it is not surprising that the evolving simultaneity of our digitalized epoch has been a focus of attention of many authors, especially during the last two decades (Aurigi and De Cindio, 2008; Bucher and Finka, 2011; Drewe, 2000; Fusero, 2009; Graham and Marvin, 1996; Mitchell, 2000, de Waal, 2014 etc.).Due to multiplying technological and environmental changes, which influence our behaviour, needs and mutual interaction, the inherited urban patterns and typologies have been modified. Nowadays, they follow demands of



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connectivity, accessibility, flexibility, mobility, efficiency and environmental correctness, imposed and transmitted by global networks. In this context, the concept of digital city has been suggested and promoted in many urban nodes, either as an overall development model, or as a support for current urban processes and problems. For example, the comprehensive definition by Laguerre describes the digital city as 'a set of virtual practices or repertoires that are undertaken in a sustainable manner by individual residents and groups of a particular city for the purpose of interacting, simulating, explaining, reinforcing, monitoring, neutralizing, criminalizing, expanding (locally or globally), processing, transacting, or undermining any political, social, economic, religious or communicational aspect of the daily activities of the urban community'(Laguerre, 2005:1).Obviously, the digitalization creates an expanding sphere of information exchange through which cities and their society observe, control, evaluate and manage their vital systems. At the same time, the emerging software/applications/gadgets/tools represent another driver of progress, providing means for improving general urban performances and environmental quality.

ICITY - UNDER THE SPELL OF DATA The contemporary cities, pervaded by ICT networks, generate a new experience of physical locations. The importance of data has been recognized in different aspects of urban life, adding a new dimension of spatial perception in which a concentration of information is more important than a number of inhabitants (Vidler, 1992), while visibility of urban elements depends on the amount of data describing them. The ICT networks, as the latest infrastructure of so-called urban media, are used in order to detect changes, analyze them and, consequently, improve efficiency, safety and sustainability of urban spaces and processes. Urban media, as defined by de Waal (2014), could be used as so-called 'experience markers' and/or 'territory devices', recording events in the space and/or influencing the experience of a place.

Coward and Salingaros (2004) focused their attention to the relation between cities and information networks, interpreting cites as information systems and comparing them to other complex information systems - from computers, to biological organisms and the human brain. According to them, a dynamic city form should evolve and change heuristically (as a response to experiences) and a possible method for this process could be fractal loading, in which every high-level exchange of information simultaneously conducts exchanges on many smaller levels. The role of information networks would be to improve urban functionality by increasing the efficiency and complexity of information exchange, without necessity to adjust to existing spatial modules. Mitchell (2000) also proposes a digital - 'smart' upgrading of existing spatial structures, within an overall intelligent adaptation and automated personalization introduced by the concept of e-topia.

Nowadays, ICT networks support digital augmentation of spaces, opening new perspectives of perceiving and understanding urban environment, mediating experiences and practices and creating new and flexible spatiality (Liao, Humphreys, 2014). Simultaneously, the current level of the interaction between ICT, city and society has a significant impact on the further development and design of technologies, stimulating the ambiguity of the contemporary reality.

DIGITAL(IZED) ECOLOGY One of the biggest challenges for the cities of the 21st century represents the process of climate changes and a whole set of environmental issues triggered by our carbon-intensive behaviour. The digital flows have an important role in climate mitigation and adaptation, especially on the level of public communication of climate change and on the level of urban systems, their efficiency, accessibility and low-carbon outcomes. The ICT networks, consequently, serve as channels of knowledge and exchange, directly or indirectly influencing behavioural patterns and changing the level of our climate/environmental awareness.

The digital level of cities incorporates a number of roles related to environmental problems and is capable of detecting actual condition (via sensors) and making it instantly visible and available


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(via networks). In general, these data are transmitted and displayed via two types of interfaces - personal (smart phones, notebooks, tablets etc.) and public (wi-fi nodes, urban touch-screens, info-beamers). Representing a specific kind of membrane between tangible and intangible reality (Okabe, Ito, 2006), they convey information on urban resources, processes and activities, which might influence our decisions, perception and attitude in physical space. Nowadays, there is a number of software, web-services and applications dealing with environmental conditions, transportation, urban services or resources. All of them testify about the potentials of the digital city concept - especially in activities focused on efficiency, minimisation of the carbon footprint, communication and cooperation between all levels of governance and stakeholders, identification of potential risks, management of complex ecosystems and interaction within formal and informal social networks.

DIGITAL BOOSTERS FOR THE CREATIVE CITY The competitiveness of contemporary cities, which defines their position and power in numerous global hierarchies and networks, is closely related to the level of creativity and innovativeness of all aspects of urban life. Therefore, the overlapping and merging of the concepts of creative and digital city certainly represents one of preferred development paths toward the future city. According to Landry (2005), the foundation of the creative city is influenced by several factors: personal qualities, will and leadership, human diversity and access to varied talent, organizational culture, local identity, urban spaces and facilities, networking dynamics. However, the most important among them are political will and appropriate organizational culture which means that both governmental and other stakeholders should recognize the need for creative city - as a model which stimulates and generates new ideas and approaches. Simultaneously, the existence of a digital platform, as an interface between stakeholders, has already become a necessity in developing and exchanging knowledge, especially in the area of climate/environmental awareness. In general, the first precondition for a creative city could be found in human diversity and access to varied talents which foster understanding and learning. Therefore, Landry emphasizes the role of the history of tolerance, sense of security and high accessibility in shaping and boosting the creative potential. According to him, the creative city also depends on the pattern of social capital practiced within wider community and it has become obvious that the digitalization of media represents an important factor in this process.

In general sense, the theory of social capital discusses types of social networks in a community, distinguishing ego-centric and socio-centric position. The first approach describes social networks which are used to achieve personal interests. The second one, socio-centric approach, is oriented towards achieving common interests. Because creative city depends on network dynamics, the benefits should be used towards common sense. For example, communicative action, practiced in collaborative urban design and planning theory, assumes divergent networks of communication leading toward common sense(Habermas,1989). According to Healey (1997), collaborative planning integrates soft and hard infrastructure through procedures and protocols of communication that enable wider participation and representation in decision-making process.

In the area of socio-centric theory of social capital there are various thoughts about the purpose of the network and groundings they are built on. Closed theories are based on social norms that are practiced in community, while social practice is constant and traditional. On the other hand, developmental theories are open and include both traditional and new values. Both kinds of theories can have positive or negative externalities towards environment, regarding the values they promote. The relation between social capital and networks is also very important. Considering this, Woolcock and Narayan (2003) define three levels of social capital - bonding, linking and building partnerships, while Grootaert and van Bastelaer (2002) relate these levels with the levels of governance and the development of cognitive and structural elements (Figure 1).


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Figure 1: Forms and scopes of social capital (Grootaert, van Bastelaer, 2002).

The contemporary cities and their communities need to develop all three levels of social capital in order to ensure consensual solutions and digital infrastructure facilitates this process - increasing the accessibility of data and efficiency of their processing, speeding up interchange between actors and creating a stimulating setting for innovativeness in different spheres. At the same time, the process of education has a crucial importance for identity issues in a creative city - especially in preserving traditional values and generating new ones (Đukić, Mrđenović,2015). Therefore, digitalization of different communication networks can support constructive and transparent dialogue which might lead to creative solutions of emerging problems. This kind of virtual interaction connects digital communities in a digital(ized) urban environment, which potentially could contribute to developmental social capital and greater creativity.

Considering the features of the creative city and its digital support, the relationship between them was analysed via a survey conducted among a group of students, which attended the course 'The future of city' at the University of Belgrade - Faculty of Architecture during 2014/2015. During the survey, digital networks were also used to foster creativity in accordance with theoretical guidelines, testing the omnipotence of the digital city and using its potential/elements/flows to booster the creative city. The questionnaire was posted on Facebook and answers and comments reflect the students' understanding and perception of this specific crossover between imagination (i.e. creativity and innovativeness) and electronic flows which should occur in the city of the future:

• Digital city can create a new persona because it is totally open to new ideas and ventures; • A new city should use the latest technology and be fully adjusted to the modern era; • Digital and creative city represent a kind of freedom, where everyone is doing what they love

and what is best; • Digital city is accurate, efficient, without obstacles and limitations, the virtual world that we

create in our sole discretion, in a parallel realm; • Digital city is a new innovative way of functioning of the modern environment (Questionnaire,

2015)

According to the survey, several links between the digital and creative city can be distinguished:

A. The digital city is a kind of social network where each person can re-crate identity; B. The creative city uses possibilities of digital technologies (collecting and processing of data,

solving problems for contemporary life, transparency); C. The digital city enables functioning of a creative one by including all available resources,

young people as well, in creation of sustainable systems;


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D. The digital city, unlike the creative one, is inhuman; E. The creative city has specific contemporary identity shaped by artists - using the technology

and multimedia content of the digital city; F. The creative city is oriented towards technology - invented and launched by creative people; G. The digital and the creative city represent a free space, in which everyone practices

individually preferred activities; H. The creative city is more human, although it uses all available technologies for faster and

more efficient development.

Obviously, the information provided by questionnaire reveal that there is a prevailing opinion that the creative city plays a crucial role in the process of bonding i.e. the building of trust among people in order to re-create their identity (А, E). Furthermore, all other phases of developmental social capital are linked to both creative and digital city. For example, we cannot have transparent institutions, as a condition for good governance, if we do not provide accurate, adequate, reliable information using the benefits of the digital city (C). Simultaneously, linking people through networks is more efficient and easier via application of digital technology (H). (Figure 2)

Figure 2. Creative and digital city in relation to forms and scopes of social capital (based on Grootaert, Bastelaer, 2002).

The insight into the perception of the crossover between the digital and creative city, although very rudimentary and conditioned by the age and a level of knowledge of the participating students, clearly shows that the merging of human creativity with digital 'carriers' and 'processors' of information should be stimulated. Raising the awareness about the potentials of both realms (material and electronic) we directly and indirectly increase our understanding of environment and its (im)balance, paving the way for eco-friendly innovations which would improve current condition caused by global warming.

CONCLUSIONS Even though our lives are saturated by technology and digital media, it is evident that their role in further urban development has become inevitable. The ICT flows, perceived as valuable supporters of new environmental trends and facilitators of all urban activities, integrate data and high technology with urban systems and society. Consequently, they create a dynamic setting for innovation and creativity which should provide solutions for accumulated urban problems and respond to detected anomalies of contemporary cities. Meanwhile, the urban shape is definitely shifting - both in material and digital realm - following new imperatives already included in various documents, strategies and visions which underline the importance of smart and creative


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solutions in a low carbon economy. In that context, information and communications technologies are carriers of change, providing new experience and behavioural transition via continuous interaction between all urban entities and their personalized or summarized experiences.

Acknowledgement The paper was realized as a part of the research project “Spatial, Environmental, Energy and Social Aspects of Developing Settlements and Climate Change – Mutual Impacts” (project number TP36035), PP1: "Climate change as a factor of spatial development of settlements, natural areas and landscapes", financed within the program Technological Development by the Ministry of Education and Science of the Republic of Serbia (from 2011 to 2016).

REFERENCES Aurigi, Alessandro, and Fiorela De Cindio (Eds.). 2008. Augmented Urban Spaces. London: Ashgate. Bucher, Ulrike, and Maroš Finka (Eds.). 2011.The Electronic City. Berlin: BWV, Berliner Wissenschafts-Verlag. Coward, Andrew L., andNikos Salingaros.2004. ''The information architecture of cites.'' Journal of Information Sciences 30, no. 2: 107-118. de Waal, Martijn. 2014. The City as Interface. Rotterdam: nai010 publishers Drewe, Paul. 2000.ICT and urban form. Urban planning and design – Off the beaten track, Design Studio “The Network City”. Delft: Faculty of Architecture, Delft University of Technology. Đukic, Aleksandra, and TatjanaMrđenovic. 2015.''E-learning for E-academia, Pros and Cons of using AMRES''.YU Info Proceedings, 61-67,Belgrade: Society for Information Technologies and Computers Networks. Fusero, Paolo. 2009. E-City: Digital Networks and Cities of the Future. Barcelona: LIST Laboratorio. Graham, Stephen, and Marvin Simon. 2006.Telecommunication and the City: Electronic Spaces, Urban Places. London: Routledge. GrootaertChristiaan,and Thierry van Bastelaer. 2002.Understanding and Measuring Social Capital: A Multidisciplinary Tool for Practitioners. Washington: The World Bank. Habermas, Јurgen. 1984. The Theory of Communicative Action - Volume One: Reason and the Rationalization of Society. Boston: Beacon Press. Healey, Patsy. 1997. Collaborative Planning: Shaping Places in Fragmented Societies. London: Macmillian Press. Laguerre, Michel S. 2005.The Digital City – The American Metropolis and Information Technology. Berkeley, LA: University of California Press. Landry, Charles. 2005. The Creative City: A Toolkit for Urban Innovators. London: Earthscan. Liao, Tony, and Lee Humphreys. 2014.''Layer-ed places: Using mobile augmented reality to tactically reengage, reproduce and reappropriate public space''. New Media and Society: 1-18 Mitchel, William J. 2000.E-topia: “Urban life, Jim - But not as we know it”, London, Cambridge, MA: MIT Press. Okabe, Daisuke, and Mizuko Ito. 2006. ''Technosocial Situations: Emergent Structuring of Mobile E-mail Use.'' In Personal, Portable, pedestrian: Mobile Phones in Japanese Life, edited by Mizuko Ito, Daisuke Okabe, and Misa Matsuda, 257-273. Cambridge, MA: MIT Press. Questionnaire: Qualities of using Facebook in generating solutions. 2015. Creation of the future city using the digital city (virtual social network – Facebook), http://www.tvojstav.com/results/c3j8RivmouiRF3SfSl8W Vidler, Anthony. 1992. The architectural uncanny: Essays in the modern unhomely, Cambridge, MA: MIT Press. Woolcock, Michael, and Deepa Narayan. 2000. "Social capital: Implications for development theory, research, and policy," World Bank Research Observer, 15 (2): 225-249.


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MANAGEMENT OF URBAN IMAGE AS A TOOL FOR PLANNING. THE CASE OF THESSALONIKI

Kleoniki Gkioufi1 University Architect A.U.Th., Μsc Urban Planning U.Th. Phd candidate, Department of Balkan, Slavic and Oriental Studies, University of Macedonia, Thessaloniki, Greece, [email protected] Eleni G. Gavra Associate Professor [Ekistics and Cultural Heritage], Department of Balkan, Slavic and Oriental Studies, University of Macedonia, Thessaloniki, Greece, [email protected], [email protected]

ABSTRACT The concept of identity plays an important role in shaping the space and the image of the city. Identity is a complex phenomenon, gained through action, appearance and above all, participation. Urban identity is a multifaceted concept that should be approached from different views. In the era of globalization and information society, the protection and promotion of the urban image needs to be integrated into individual policies for economic, social and cultural development and in conjunction with the objectives of spatial planning for quality of space. On theoretical level are analyzed the economic, social and environmental aspects of a region that affect the promotion of the urban identity and are related to the enhancement of the image of a place. Socio-economic conditions, quality of life, historical tradition and aesthetic values directly affect the cultural environment as an extension of the global environmental system. Modern urban policies include practices for the protection and promotion of urban assets through innovative applications, fulfilling technological requirements. The area of the SE Europe and especially the Balkans, despite the differences in historical, social and architectural level, display the image of a unified cultural space, without special identity differences. This paper attempts an exploration of contemporary urban policies that are related to the image of the city as a tool in shaping its urban identity and urban planning. Specific reference area is the center of Thessaloniki, a city of Greek territory with a metropolitan character in the area of the Balkans, a city with overall dynamic growth, characterized by its historical and cultural heritage, its environmental quality and social and urban infrastructure, while retaining its particular identity. The objective is the evaluation / assessment of their application in planning as an anticipated public benefit contributing to the promotion of the urban area in SE Europe.

Keywords: urban image, contemporary urban policies, urban quality

INTRODUCTION The concept of identity plays an important role in shaping the space and the image of the city. Identity is a complex phenomenon, gained through action, appearance and above all, participation. From an architectural point of view, it is important that buildings can promote identity: this is the individuality of each citizen. They should also promote social participation, the



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opportunity to communicate at all levels, and thus contribute towards the effective functioning of the city, and social citizenship education. As humans, and cities should have character and personality, and like humans, the personality is composed of various features or identifiable information (Crosby 1965).

According to Chombart de Lauwe (1960), urban social space demonstrates a space hierarchy within which population groups live, move and interact with each other. Jacobs conducted are search in 1962 about urban space, studying the use and the meaning of districts in the cities, part of which (districts) could take place in social integration.

The city is the natural frame with which comes into contact a great amount of population in all countries.

ECONOMIC, SOCIAL AND ENVIRONMENTAL ASPECTS The area of the Balkans, displays the image of a unified cultural space, without special identity differences. This homogenous element now offers a series of transnational cooperation opportunities in research-analysis, protection and management of urban image.

The urban marketing, according to Defner & Metaxas (2006) complements and does not replace urban planning. The main convergence areas of the processes are: a) urban development in areas such as tourism, sport, arts and the media, fashion, architecture, cultural heritage, etc., b) urban management, c) urban governance, d) cultural planning, e) city branding, g) design events, h) urban regeneration and i) urban policy. Plus, the new economic environment framed by the phenomenon of globalization, according to Gospodini and Beriatos (2006), sets in local governments as an increasingly main objective the provision of conditions that are sufficiently attractive to new businesses.

The enhancement of urban image directly depends on the economic development of a region while helping to promote innovation, the efficient management of resources, the development of employment, tourism and the new e-economy. It is also connected to local, regional national and external economies as a result of cultural industries. Social cohesion is reinforced by social participation of individuals and groups, especially vulnerable, through cultural, educational and various programs and events, recommending the improvement of quality of life and social inclusion. Therefore, strategies for place branding are essential to give priorities based on the creation of new partnerships and synergies by integrating the local planning consistently to the specificity of each area.

The general principles and policy objectives for culture in the Balkans are consistent with the existing international and EU policies such as environmental policy aimed at sustainable development and environmental protection and nature conservation, economic and social cohesion of the region by improving competitiveness of tourism, spatial development through balanced cultural development and equal opportunities for access to cultural goods (Gavra 2004).

THE CASE OF THESSALONIKI Thessaloniki, one of the metropolises of SE Europe and city of Europe, consists of a set of activities, opportunities and stimuli inside and outside Greece. Several institutions, such as international festivals, artistic and sports events, among them the institution of the European Capital of Culture, efficiently operate as mechanisms to organize and reproduce urban competition. There are examples that present the European experience in Barcelona, Berlin, Bilbao, Lille, Prague and Thessaloniki.

The overall dynamic growth, but also the requirements for quality of life, has created for Thessaloniki a situation which can be described with reference to two characteristics: improvement of environmental quality and social and urban infrastructure. The urban and


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regional development in the early 21st century is characterized by a shift towards technology, innovation and selective urban development, similar to the trend, immediately after the Second World War, to massive industrialization and intensive urbanization. In the near future, it is expected that Thessaloniki will take many new specialized roles (communication and specialized service center, development center and technology diffusion, etc.) in order to create a decisive factor, through healthcare, information development and communication and transport networks, research and business activities, production activities and technology transfer, and by concentrating activities of intensification of knowledge.

The demolition of the walls and the quay construction are the most important urban interventions carried out in the city at the end of the Ottoman rule that reformed the shape of Thessaloniki, allowing its connection to the port and train stations to the west and extending eastward. The most important change in the historical center comes from the redesign of the central district between Egnatia and the waterfront and around Aghia Sophia and the Diocese. The reconstruction of Thessaloniki is a landmark in the history of Greek urbanism (Yerolymbos 2003).

Figure 1: – A. Yerolympos, Thessaloniki, 1850, 1890, 1930, (Origins and evolution of modern greek city, cities, urban planning and the Greek State until 1940).

The identity and radiation, as well as the competition between cities are the new elements of broader geopolitical transformations in Europe. Within the last fifteen years the metropolises have taken roles with importance greater than the formation of their immediate geographical region and their rural inland.

Research field The historical center of the city and particularly the part enclosed between Leoforos Nikis Avenue, Angelaki street, Egnatia Avenue and Dodecanisou street, which is perhaps the most characteristic areaof history, image and cultural identity, was chosen as a research field2. Regarding the center of Thessaloniki it was carried out a recording, tracking and photographic survey of the following areas:

White Tower - Navarinou’s Square - Aghia Sophia’s Square Tsimiski street – Mitropoleos street and Proxenou Koromila street Leoforos Nikis Avenue - Aristotelous Square – Ladadika area – Eleftheria’s Square Egnatia Avenue – Valaoritou area - Modiano Market - Athonos Square.

2GkioufiKleoniki, 2012. Thessaloniki by night: the image of the city at night, Master’s dissertation project, Urban and RegionalPlanningEngineeringSchool, Volos, Greece: University of Thessaly.


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Figure 2: Areas of research field

Areas of interest: characteristics and perspectives The area around the WhiteTower is a landmark for the city because of its symbolism. It provides access and views of the waterfront with open green spaces. In the region coexist shops, services, houses with cafes, some of which owe their timelessness to the specialty of the area. The use of free-open spaces and the enhancement of lighting in the White Tower Square are required to strengthen the coastal section at this point.

In the area of Navarino Square and Aghia Sophia’s Square are registered various commercial activities and recreation. The protection and promotion of the historical-architectural identity of the areas can be achieved by the reorganization of conflicting uses that alter the character of the region and the strengthening of cultural routes.

Tsimiski street is considered one of the most famous sights of the city by both residents and visitors. It is considered to be the most commercial street of the town center with shops, offices and business premises. In the axis of Tsimiski is proposed the use of empty or unused areas as parking areas and the operation of bus lanes on weekends. Extending time hours in public transport in the evening and on weekends and reducing the fare, also on parking areas, are considered necessary. It is also recommended to organize artistic and music activities in the axis and in lateral streets.

Figures 3, 4, 5: White Tower, Navarinou, Tsimiski areas day and night


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Mitropoleos and Proxenou Koromila streets and the region comprised between these pathways bear more shops and offices than cafes and bars. Mitropoleos and Koromila could emerge with improved lighting and green spots where possible (e.g. corners, openings). The pedestrianization of vertical lanes as well as the organization of various environmental and cultural activities at local points could be utile.

The axis of Leoforos Nikis Avenue connects the waterfront with the city's urban fabric and can be considered as a transition point from structured to unstructured environment. At Leoforos Nikis Avenue is proposed the adoption of flexible opening hours for cafe bars (running all day or at certain times and days). The pedestrianization is acceptable if there is the respective provision and information to avoid congestion.

Aristotelous Square is considered to be one of the most characteristic squares in Europe, with a metropolitan character. It is a reference point for both residents and visitors with views to the sea and mountainous part of the city. The square is a perfect meeting place and space for outdoor events and activities. The special position makes it an attraction for visitors and residents of the city. In Aristotelous Square, due to historical and architectural specificity, it is necessary to limit tables on side galleries and increase green areas. Furthermore, the creation of pedestrian lanes and connection of greenfield sites along the region with focal points of the city center will enhance the cultural character of the area.

Figures 6, 7, 8: Proxenou Koromila, Aristotelous Square, Leoforos Nikis areas day and night

In the area of Ladadika, the old commercial center of the city which was restored in an area with coffee shops, bars, restaurants, hotels and business premises maintains until today its former glory. In Ladadika - Eleftheria’s Square the reuse of old spaces and functional spaces as professional and artistic and / or a parking lots where provided is necessary. The planting, lighting and general rehabilitation of the squares will help to strengthen the historical-architectural character of the regions together with the organization of thematic events of the entrepreneurs in the region.

The part of Egnatia Avenue which includes the area of Valaoritou quarter is showing strong mobility and activity recently with the opening of many coffee shops, bars and restaurants. In Egnatia and Valaoritou area should be provided the lighting of dark spots and policing in order to enhance the feeling of security. The rehabilitation of abandoned sites and their utilization as


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parking lots, keeping the sound in allowable levels, and the organization of theatrical - artistic and musical activities will give a breath in the region as an emerging cultural neighborhood.

The Modiano Market is one of the oldest markets in the city and still maintains its traditional character with the difference that recently there were added nightlife activities and dining areas next to commercial shops. The preservation and promotion of a commercial character is important for the area of Modiano Market and Athonos Square. At this point there should be redefined the working hours and the addition of lighting. Furthermore, the diversity that presents is an attraction for the enhancement of the city's culture and in that way should fit into a broader cultural planning.

In each region, the tourism sector and culture can be enriched and reshaped using smart examples of most cities, such as interactive guides and informative applications of events and actions. Meanwhile, it is necessary the reorganization of the sector of environment, energy and urban planning and that of the recycling and cleaning services. Sports and especially volunteering are the areas that need direct assistance with the organization of sporting events, the provision of infrastructure and incentives for voluntary action. The ease of access to services and facilities is important for the city's residents and its visitors, emphasizing the diversity of vulnerable groups (elderly, disabled, children, families, etc.). About working and studying, it should be connected to the piece of entrepreneurship and innovation, taking into account the international image of the economic and competitive environment.

Figures 9, 10: Area of Ladadika and Modiano Market, day and night

CONCLUSIONS On a wider frame, the city is in need of guidelines, planning actions and activities, both in each sector separately and in combination, in order for the proper functioning of the city first, and then for promotion - visibility of its identity. Besides, history, architecture, cultural heritage and tradition of such a city as Thessaloniki, are the overarching image enhancing factors, consisting also a basis for the rest economic, environmental and social sectors.


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Therefore, measures relating to the natural regeneration of the urban environment are combined with measures for promoting education, economic development, social inclusion and environmental protection. Developing strong partnerships where local citizens are involved, civil society, the local economy and the various levels of government, are a prerequisite. The combination of skills and local knowledge is essential for identifying common solutions and ensuring sustainable and generally acceptable results (Cohesion Policy 2014-2020).Already in the last decades, the transition to a market economy as well as the pre-accession process for most of Balkan countries offers a range of corresponding possibilities to exploit the cultural inventory, especially architectural, through public and private investments and programs mainly from transnational cooperation.

REFERENCES Crosby, Theo, 1965. Architecture: City Sense, Littlehampton Book Services Ltd: New York. Defner Alexios and Metaxas Theodoros, 2006.Is City Marketing Opposed to Urban Planning? The Elaboration of a Pilot City Marketing Plan for the case of Nea Ionia, Magnesia, Greece, on Enlargement, Southern Europe and the Mediterranean, Volos:46th congress of the European regional science association. Gavra, Eleni, G., 2003. Cultural and architectural heritage in the Balkans. Management in the context of European integration, Thessaloniki: Publications Kyriakidis. Gkioufi Kleoniki, 2012. Thessaloniki by night: the image of the city at night, Master’s dissertation project, Urban and Regional Planning Engineering School, Volos, Greece: University of Thessaly. Gospodini, Aspaand Beriatos Elias, (ed.), 2006.The new urban landscapes and the greek city, Athens: Kritiki Publications. Yerolympos, Alexandra, 2003. Origins and evolution of modern greek city, cities, urban planning and the Greek State until 1940, Thessaloniki: Aristotle University of Thessaloniki.


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VISIBLE AND INVISIBLE PROCESSES AND FLOWS OF TIME-SPACE OF ARCHITECTURAL AND URBAN CONTINUITY OF THE CITY

Dr Velimir Stojanovic1 University of Pristina in Kosovska Mitrovica, Faculty of Technical Sciences, Kneza Milosa No. 7, 38220 Kosovska Mitrovica, [email protected]

ABSTRACT The structures and the functions of a city, its morphology, numerous elements of created places have a identity recognizable in the past, present and future. This identity is visible and noticeable. It is remembered and its represents the picture of a city in any chosen time and space. It is present and repeatable both in real time and space and in our imagined world. It represents a sum of chosen pictures of space in a certain time. The subjective experience of the city (place) is thus equaled with the discontinuity of processes and flows of the city development and what a city is and what it should be. Spatially – time continuity of the development of the city is much more complicated and complex picture that, unfortunately, is not visible and memorized enough unless based on deeper analytical procedure and supported by technical – technological systems of contemporary simulation and modelling of space and time. The city is a continuous creation where only the part of its reality and our experience is visible. The other part consists of invisible processes that maintain this continuity and that need not be clearly visible and familiar. They are obtained by mentioned analyses of integrated space and time (space-time) and represent a sort of balance to the visible state of a city structure. The architects and urbanists, but also other participants in the creation and maintenance of city content need that balance in the process of giving thought out procedures and guidelines for planning and design where the knowledge on the relation of causes and consequences is inevitable.

Keywords: processes, visible, invisible, continuity, city

INTRODUCTION City development course is continuous and steady. In a complex process of the change of the structure, function and all other parameters of the construction of urban space in time, visible and invisible processes can be noticed. It is hard to differ between them due to mutual refractions of those influences that in certain time or space we consider visible and important and vice versa. The continuity of city development is based also on the search of those development formulas that either were not discovered fully or were not discovered at all and some of the most complex controversies in the history of architecture and urbanism were led around them. Even the existence of such patterns and formulas was questionable, especially in the periods when architecture and urbanism were experienced primarily as an intuitive, impulsive, aesthetical and incalculable category, distant from complex approaches of thought and analysis. As a city was



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necessarily showed as a multiple combination of different segments and as a product f multidisciplinary activities, so did the approach to architecture and urbanism, especially to urbanism, change.

The spectre of different influences, classified by quantitative and qualitative hierarchy that have shaped the city, starting from theological and philosophical principles over biological-social factors, political economy, legal systems, always existing supporting technology technique to the contemporary occurrences of IT, cybernetics and artificial intelligence, have necessarily brought to the expected result. To the limitation of a dominant influence of subjective understanding and decision based on psychological element of separation and non-consistency of the relation of the world of human mind and the world of outer happenings. This, of course, does not lead to insurmountable division and creation of some new neo-subjective and neo-objective philosophical direction of perceiving the reality, but speaks of necessary questioning of the interrelation of these two, apparently, separated worlds and their merging where the contemporary science considers that special. The city is simply an ideal field for such re-questioning. Since cognitive science uses scientific method, in more modern period simulation and modeling supported by computing technology, the analogy is inevitable. The city is both conscious and unconscious model and simulation, or, as many prefer to call it, the output of human needs and behavior and here is the connection with cognitive psychology. It remains to be determined in which ways and at what levels this connection is achieved and what the nature of this interdependent process is.

THE VISIBILITY OF CITY CONTINUITY City continuity is, in principle, a clear, visible and accepted category. It is experienced in at least three ways. As a sphere of real, existing urban and architectonic structure that exists and lasts past us and identifies itself with space and time of the past the present and to some extent even future. It is further experienced as a sphere related to different forms of planning procedures (planning) where it would be our relation towards the future and future city state. In addition, urban structure exists as a series of unrelated images and impressions (‘cognitive maps’) we create when we (un)intentionally daily meet different shapes of urban reality around us and in it. It could be said that these are three cognitive spheres of urban world around us and in us where the continuity is, unfortunately, the least noticeable, understood and accepted dimension. Through the analysis and scientific research we learn about reality continuity. We are trying to connect the same research with future activities of our planning and we use the inevitable perceptions of urban world (which carry the greatest impression of discontinuity) as an incentive moment on the way of the research of urban structure. Encyclopedic definitions of such a relation are known, so we can find on Google (2016, p.1): “Cognitive science is a large field, and covers a wide array of topics on cognition. However, it should be recognized that cognitive science has not always been equally concerned with every topic that might bear relevance to the nature and operation of minds.”

All three cognitive spheres of the city, if we can call them like that, are related and comply a simple circle of mutual action. The least (but apparently the most important) they can do is to set a matrix of city development on which to determine the possible course of its development.

Regarding this, Benevolo says (2004, pp.274-275): “In world perspective, three patterns of urban planning created in Europe after the Middle Ages – a geometrical networks for new settlements achieved from XVI century onwards and two procedures for the transformation of industrial cities introduced in the second half of XIX century and the first third of XX century – exist in parallel in any part of the world. The first pattern remains predominant where the original intention of the land is still in force, while the other two are more closely related to the transformations of denser areas. The event which we talked about is essentially avoided, for example, in USA; the disputes have a mutual goal of a parallel existence of different degrees of projection and fitting of alternative preferences into a comprehensive, rational draft, entrusted to public administration. The most wondrous world urban landscape of industrial ambience is mitigated by the multiplicity


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of open possibilities in a vast space and existence of the areas intended to the most heterogeneous public intention. From a general point of view, the pattern on Manhattan arises from the competition of numerous different creations that, starting from a uniform planimetrical network conceived in 1811, differ in the third dimension; this is the ultimate most sensational product of imperfect search, which is the very essence of European urban tradition, and apparently, expressed in this way, inseparable from democratic cohabitation. In order for Aristotle idea of a city to have its continuation, a man can only take the path of open, gradual, uncompleted, prone to polishing mediation.”

A rational relation towards the first sphere of urban, the sphere of reality, must compensate for the emptiness created by the size of that world lost both in the past and present and that inexorably imposes the impression of incoherence. This rationality creates differences in points of view but also awareness on the fact that urban world is not a subjective projection. Nadja Kurtovic – Folic (2011, p.2) says: “The basic assumption is that behind human architecture there are universal and eternal laws, mutual for all of us as humans and as if there is no absolute truth about what beauty and living comfort is. It is therefore necessary to conceive an approach as well as a specific process that starts from the fact that in a surrounding there are already determined creations that generate and buildings and projects this general spiritual experience through which people passed, pass, no matter where and which culture they come from… Holistic-organic approach, which in other sciences has for many years been the leading one, is implemented in architectonic researches especially regarding the social and physical surrounding as well as systems or dynamic wholes, whose existence depends on constant, variable relations between the parts and the system. All that is made of parts or dependent on the conditions and causes is not permanent and is temporary. These are the things that do not last forever, but continually disintegrate”.

INVISIBLE PROCESSES AND INFLUENCES OF CONTINUAL CITY DEVELOPMENT Invisible processes and influences of continual city development are not just what we do not see or do not want to see in a continuous evolutionary course of causes and effect of urban transformations, but also the processes that we forget or minimize when we think, make decisions, visions and deal with the second sphere – the sphere of planning and managing future development. On this still open question and principles to which it is set on, Stojanovic (2015, pp.68-69) says: “That paradox is based on the fact that the law creates a structure and the structure created the law. The city is still perceived as a disrupted system where there is no order of events and where future advancement cannot find a sustainable relationship with the past”.

MUTUAL RELATEDNESS OF COGNITIVE SPHERES AND CONTINUITY OF A CITY Mutual relatedness of cognitive spheres and city continuity is inevitable without the mentioned third sphere of periodical, intentional or accidental viewing of city wholes and sub-wholes we all do every day in time and space. This, apparently insignificant creation of ‘personal cognitive maps that have o purpose’ is a valuable source of data which is, soon or later, incorporated in our activities. Many authors emphasized the significance of such behaviour. Firstly, Lynch says (1960, p.6): “Since the emphasis here will be on the physical environment as the independent variable, this study will look for physical qualities which relate to the attributes of identity and structure in the mental image. This leads to the definition of what might be called image ability: that quality in a physical object which gives it a high probability of evoking a strong image in any given observer. It is that shape, color, or arrangement which facilitates the making vividly identified powerfully structured, highly useful mental images of the environment. It might also be called legibility, or perhaps visibility in heightened sense, where objects are not only able to be seen, but are presented sharply and intensely to the senses.”


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Social-psychological conditions of the construction and the experience (or vice versa) of social ambience is treated by Swedish explorer Karimnia (2014, p.287) in the following manner:

“Life on public spaces in micro scale is facing threats of shrinking due to transformation of social values. Our future public spaces are shaped by trends such as privatization and communication revolution. The integration of urban form and social values are concerns for contemporary urban design in creating livable and safe places that promote further interactions. Meanwhile, for most of modern public spaces, the concern is environmental perception and sense of lost amenities as well as fear.”

In our condition, time change of relations that, maybe not directly to the city and urban reality, but through economic-technical factors influence the integration of cognitive parts of urban world which is less perceived and partially built and left to isolated interventions is noticeable. In his article, Prodanovic (2012, pp. 2-3) writes: “It is a basic characteristic of new pulsations related to processes present already in Fordism from the phase of the heyday of this production and they can be seen today as early anticipations of later decisive turn to new economics, with very intensive requirements regarding the cognitive ad cultural work. While classic Fordism is established on electro-mechanical technologies of a large scale capitalism is today minted on the bases of digital technologies (methods of calculation, communication, reproduction and memorization), with diffuse and sophisticated impacts on the organization of production and work but also on the culture and models of living of both communities and individuals. These technologies replace, supplement and encourage many forms of non-routine tasks; the encourage a vast expansion of tasks that require also new different cognitive and cultural capabilities or both workers and consumers.”

Figure 1: Possible consequences of the relation of three basic cognitive spheres of city continuity (source: author)

In a cognitive relation towards the city, different influences intertwine, considering the city itself is a heterogeneous structure made of a series of values classified by a hierarchy of quantity and quality of meaning. The topical concern for energy conservation in many sectors where it must be taken care of, apparently not so simple technological things such as analyses of vertical communication, leads to the fact that n Google we can read (2010, p.1): “Elevators are one of the many technologies that had to be developed before buildings could get taller than a few stories, but until now, there was no information available on how much electricity you by taking a ride in one...”


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On the other hand there are eternal and inevitable questions of relation of past (historical) and contemporary (modern), and a justified worry about their confrontation is expressed. That is why, for example, Krstic (2010, p.21) says: “Architectonic heritage is the future of the past. Architectonic heritage is never only the architecture of the past. It has always been a role model and an incentive in construction in present and obtaining legally permanent protection it was provided with incentive and criterion in the future… Architectonic heritage, as a recognized value of the past, should be a corrective factor of construction in the present and an anticipating factor in construction in the future.”

Precisely this range of thinking and discussion is the proof that cognitive relation towards a city is a continuous process as the city itself is a continuous phenomenon. Visible and invisible processes in city continuity, together with our daily experience of a city constantly give an algorithm of the confrontation of three cognitive spheres of urban and the result arising from them.

CONCLUSIONS The continuity of a city and a cognitive relation towards it is a dynamic puzzle in urban time-space, to which we belong. Taking into consideration the achievement of cognitive psychology, its relation to both traditional psychological approaches, which is important for noticing the place of a man as a factor of city construction, and contemporary movements – a relation towards the city itself is established, defining in it wide areas of research, perception and creative action. The city is not and cannot be an incoherent image of accident happenings and this is the reason why terms ‘visible, ‘invisible’ and ‘experiential’ are only the elements of one both working and cultural pattern by which we want to create and shape city space and environment.

REFERENCES Benevolo, Leonardo. 2004. Grad u istoriji Evrope. Beograd: Agora – Klio. Google. 2016. „Cognitive Science.“ Last modifided January 14. Accessed January 23, 2016. https://en.wikipedia.org/wiki/Cognitive_science Google. 2010. “Elevator Energy Use.” Last modifided January 08. Accessed January 23, 2016. http://www.homeenergy.org/show/article/nav/multifamily/id/683 Karimnia, Elahe. 2014. „Public spaces and behavioral pattern: thesaces of Liljehdmstorget in Stockholm.“ Proceedings of the 21th international Seminar on Urban Form, held in Porto, from 3 to 6 July 2014. http://isuf2014.fe.up.pt/ISUF2014_%20Book%20of%20Abstracts.Pdf. Acceessed June 15, 2015. Krstić, Branislav. 2010. Spomenička baština svjedočanstvo i budućnost prošlosti. Sarajevo: Synopsis. Zagreb: Synopsis. Beograd: JP Službeni Glasnik. Kurtović – Folić, Nađa. 2011. “Strategija održivog znanja: Budućnost arhitekture.” XVII Skup Trendovi razvoja: Društvo zasnovano na znanju. Kopaonik, 07. – 10. 03. 2011. Acceessed January 22, 2016. www.trend.uns.ac.rs/stskup/trend_2011/radovi/A2-2/A2.2-2.pdf. Lynch, Kevin. 1960. The Image of the City. Cambridge, Massachusetss: MIT Press. Prodanović, Milan. 2011. “Mesto Beograda u globalnom repoziciranju gradova.” Acceessed January 17, 2016. http://www.republika.co.rs/516-519/09.html Stojanović, Velimir. 2015. “Development Directions of Urbane Structure Through Registration of Changes of Segments of Urban Complex.” Proceedings of the second International Academic Conference Places and Technologies held in Nova Gorica, Slovenia, 18 – 19. 6. 2015. Book of conference abstracts (pp. 68 – 69). Ljubljana: University of Ljubljana, Faculty of Architecture.


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FORMS OF CONTINUITY IN ARCHITECTURAL SPACE1

Petar Cigić PhD Student, University of Belgrade - Faculty of Architecture, Vojvode Putnika 59, Sremska Kamenica, [email protected]

Milena Kordić Assitant Professor, University of Belgrade - Faculty of Architecture, Zvezdarskih jelki 17/4, [email protected]

ABSTRACT Starting from understanding the architectural space as one of many modes of continual urban space, the research focuses on the interpretation of concepts developed in order to describe the properties of the so-called cognitive architecture. In the last decade, guided by the issue of social effects of architecture, many investigations in the field of theory of architecture were conducted within the framework constituted from the philosophical elaborations of the notion of affect, mainly by Gilles Deleuze, Felix Guattari and Brian Massumi. In some proposals, the concept of cognitive architecture was established to describe the impact that the space occupied with new information and communication technologies exerts on the domains of intellect and mental disposition, coupled with the practices of every-day life. Cognitive architecture emerges as a consequence of the intertwinings of physical and mental processes in individuals’ bodies, as well as between them, that characterize social space in contemporary communication-information age. The concept of cognitive architecture thus emphasizes the ways in which technologies of communication shape the mental sphere of humans and its relation to material processes in humans’ bodies. Paralleling this phenomenon, in the field of architectural design, the architect Philippe Rahm has developed a practice based on investigations into the morphogenetic potential of material flows in space. The flows in question comprise a series of chemical, physical and biological transformations through which non-living materials and human mind and body become directly connected. Comparing and intersecting theoretical interpretations of cognitive architecture with Rahm’s design strategies, we shall offer a set of notions that trace new forms of unity between mind, body and architectural space, as a contribution to the exploration of the concept of bodily-mental-social continuum.

Keywords: cognitive architecture, affect, bodily-mental-social continuum

INTRODUCTION The cognitive city as a model of urban governance which is based on the introduction of many networked infrastructure systems as cognition centric systems - systems that function through the interaction between many human and non-human cognitive entities in order to adaptively synthesize adequate individual and collective behaviors (Mitola 2000, 4). The cognitive city model 1This paper is a part of Scientific research project TR 36034 supported by the Ministry of Education, Science and Technological Development of Republic of Serbia.


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is, therefore, premised on the ubiquity of communication and information technologies, and appears as a variant among many other similar concepts, such as “wired city”, “smart city”, “intelligent city”, “digital city”, etc (Mostashari et al. 2011, 4). Paralleling the formulation of these models of urban governance, many mutations of urban space are registered in contemporary cities. They appear as consequences of the ubiquitous presence of information and communication technologies in their present state of development, but are also related to a whole set of conditions which underline these technological currents: from the physiological processes in living bodies and mental states in humans, to the broader socio-economic and political phenomena. In the field of urban theory a number of hypotheses were made about the impact of digital technologies on the urban morphology and urban space: from optimistic insight into the new possibilities for liberation of urban space from many material ties potentially relegated to the digital realm and speculations on the future of urban form, whether in the sense of its dispersal or concentration, to examinations of the changing importance of physical and digital space on the processes of socialization (Picon 2010, 172-184). Of particular importance for this investigation is the role of the sensory experience of urban environment saturated with and partly constructed through digital technologies of information and communication in mediating and reflecting ideological or political relations traced across the domains of body, mind and society.

The main question discussed in this paper is whether the notion of cognitive city implies certain characteristics of urban space, or more precisely, whether the congregation of cultural and technological phenomena which initiate the discourse on the cognitive city, at the same time points to and stresses the importance of a particular aspect of space, opening up problems and fields of agency for the discipline of architecture. This paper focuses on the impact of the repositioning of the sensory experience of cities in manifold networks of physical, mental and social processes defining the urban space on architectural design. In the broader sense, the goal of this investigation is to obtain an insight into the sensory experience of the urban space as the site of intervention of the discipline of architecture in a social reality of the information-communication age.

The main assumption is that in the complex of networks across the domains of the body, mind and environment many continuities are emerging offering a changed perspective on the architectural space and new possibilities for the discipline of architecture to engage with the contemporary urban reality in a political way. This assumption is posited in relation to the concept of continuity located in the philosophical platform of the French philosopher Gilles Deleuze. Numerous editions of referential libraries testify to the immense impact of Deleuze’s philosophical platform on the modalities of thinking about the contemporary reality.2 Trying to locate the fundamental attribute of Deleuze’s philosophical thought, philosopher John Rajchman concludes that the entire Deleuze’s philosophy focuses on the principles of the coming together of things, which are irreducible to calculations and identifications and capable of leading the processes of selection and affirmation resulting in keeping only the things that can increase the number of connections (2000, 4). Instead of localizing the concepts of logic, ethics and aesthetics, Deleuze stimulates the sense for logic and the taste for the unknown, constructing the network of connections. In the book Mille plateaux: Capitalismeetschizophrénie (1980), co-authored by Felix Guattari, the notion of connectivity marks the transition from one singular point to the other, through their immediate contact. Taken as a whole, Deleuze’s philosophical thought discourages any unified plan of organization or development, and uses an idiosyncratic style to formulate ideas as series and plateaus that are constantly ramifying and making contacts with each other without ever structuring in a definite hierarchical system of thought. The concept of continuity, understood as a guiding principle of Deleuze’s philosophy, is taken in this paper to provide a lens through which more or less recent debates in the architectural discourse could be interpreted as elaborations of the problems raised by the ubiquity of technological and 2One of such examples is an edition Deleuze Connections, edited by Ian Buchanan and published by Edinburgh University Press („Deleuze Connections“ Edinburgh University Press Website, 2016. Acessed Febrary, 11. http://www.euppublishing.com/series/delco).


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communication systems in the contemporary urban realty that are confronting the discipline of architecture in its attempt to develop a strategy for effecting a critical agency.

The methodological approach taken in this paper is also provided by the philosophy of Gilles Deleuze which strives to expose the zones of indeterminacy that lie beside the logic of signification, and their relevance in the understanding of thought as experimentation, rather than reasoning. According to the ideas of Deleuze and Guattari presented in their book “What is philosophy?” the goal of philosophy is not to explain and convince, but to provide us with a new means for describing the everyday processes and events, to provide us with concepts (Deluze, 1995). Within these new concepts, every discipline should find new specific ways for understanding the world and acting upon it. In the field of architecture two distinct but productively intertwining modes of thought are found, identified with theoretical and design experimentation, respectively. Following Deleuze’s and Guattari’s understanding of many different modes of thought constructing intersections in the world’s chaos and the stated duality of architecture, this investigation attempts to interrelate the interpretations of theoretical arguments about the significance of sensory experience of space for the politics of the discipline of architecture through the lens of the concept of continuity and the design practice of the architect Philippe Rahm. The aim of this undertaking is a reflection on a possibility of developing a design methodology that mobilizes continuities found in contemporary urban space to a critical effect.

COGNITIVE ARCHITECTURE For In the first years of the twenty first century, the architectural historian Charles Jencks, continuing his almost four decades long project of registering and classifying contemporary concerns and orientations of modern and post-modern architectural practices, announced the end of postmodernism in architecture marked by the attack on the World Trade Centre’s/Centre on September 11th 2001, that radically aggravated the sense of insecurity under the constant threat of the global ecological and social catastrophe pervasive in contemporary society which the sociologists Anthony Giddens and Urlich Beck theorized as a society of risk (Dženks2002, 263). In this context, Jencks advanced a proposal that the architecture’s agency should be based on the critique of modernism’s belief that the world is a predictable machine and enacted through the research into the design possibilities of self-organizing systems lying in the centre of the new cosmology embodied in the scientific and philosophical theory of complexity (Dženks2002, 264). We would argue that such a claim causes numerous confusions about the nexus of architecture’s inner disciplinary concerns and its effects actualized in the broader social and cultural context, and also discuss whether such systems are only a formal metaphor or a possibility for a development of new design methodologies. Nevertheless, the request for overcoming the technocratic understanding of the world as a predictable set of isolated linear processes somewhat simplistically attributed to architectural modernism and delving into the world’s chaos in order to engage with its complexity, remains a relevant one. Still, this proposal says little or nothing about the domains through which the discipline of architecture could propel or represent the processes of self-organization of matter and space, besides analogies between world’s complexity and the complexity of architectural form.

In contrast to the Jencks’ prescriptive stance, Jean-Louis Cohen concludes his book The Future of Architecture Since 1889 by identifying seven problems that confront the discipline of architecture at the beginning of the third millennium and represent the points of its opening towards broader cultural phenomena. These issues are related to contemporary socio-economic, technological and political reality and concern the possibilities of the critical engagement with the dominant image-culture and the globally pervasive processes of commodification of space, appropriation of innovations in the fields of construction materials and methods, participation in the matters of ecological and social sustainability of construction and use of space, intervention in the patterns of interaction between different actors driving processes of urbanization and the development of cities, proposition of new locally specific and globally bound types of urban space between


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architecture and landscape, and the questions of institutional organization of the discipline of architecture and its agency in the persisting social problems such as the housing conditions of the poorer segments of society (Jean-Louis Cohen 2012, 468-474). What is of particular importance here is that these problems are not posed in isolation from one another, but many connections between them could be realized and represented through architectural design practice. Further, we are most interested the in the ways in which the proposition of new spatial forms between the traditional architectural tectonic elements and landscape understood as a system of material processes in nature relate to other questions that frame possible politics of the discipline. But before tackling into this problematic, we need to identify the aspects of architecture and landscape that, through the design of places, effect the meaningful conjunctions to other issues observed by Cohen, as well as the nature of these conjunctions and their mode of operation.

Since this paper is primarily focused on the sensory experience of space in the context of ubiquity of digital technologies that characterize the contemporary urban condition, we shall first assess the continuities between the human mind, body and physical environment that are constitutive to the architectural and urban space. In the book Cognitive Architecture. From Biopolitics to Noopolitics. Architecture and the Mind in the Age of Communication and Information, edited by Deborah Hauptmann and Warren Neidich (2010), and ensued from the conference Architecture in Mind: From Biopolitics to Noopoliticsheld at the Faculty of Architecture – Delft University of Technology in 2008, these continuities are examined from a number of disciplinary perspectives: those of cognitive neuroscience, political philosophy, culture studies, urban geography and architectural and art theory. The volume is organized through a set of interconnected themes endowed with the capacity to expose manifold effects that new forms of production dependent on contemporary information and communication technologies exert on the practices of everyday life, but also on the consciousness of humans, encompassing the domains of attention, perception and memory (Hauptmann and Neidich 2010). Without delving deep into this enormously complex transdisciplinary subject matter, we would attempt to rephrase general assumptions underlying the concept of cognitive architecture, despite the risk of blatant simplification. It is our understanding that the starting point of the discourse on cognitive architecture is that the domain of mind conditions and is conditioned by the whole of the body and cannot be connected only with the functioning of certain parts of the brain, and consequently, that there exists a continuity between human perception, attention and memory on one side, and physiological processes in the body on the other. Furthermore, the body is on its part strongly permeated by the physical processes in its immediate environment, and at the same time, the sensory experience of space is dependent on actions the body performs in it. This manifold nexus, which we could designate as the mind-body-environmental continuum, opens up a possibility of abstract faculties of the human mind being affected not only through cultural practices of representation, whose circulation is exponentially propelled by the presence of digital technologies of information and communication, but also by the conditioning of the physical environment and ordering bodies in space.

In their seminal article entitled „Notes around the Doppler Effect and Other Moods of Modernism“, Robert Somol and Sarah Whiting (2002), noting the exhaustion of the so called project of criticality advocated in the theoretical opus of Michael Hays and the design practice of Piter Eisenmann, have proposed the model of the architectural theory and practice termed “the projective architecture” as an alternative, stating that the discipline of architecture, instead of obsessively reproducing its own status of the field in between the instrumentalizing dominant culture and the autonomous tradition of the development of forms, should contribute to the creation and projection of new moods and behaviours, as well as of novel forms of collectivity (Somol and Whiting 2002, 75). This social function of architecture is realized through, inter alia ambiental and atmospheric qualities of architectural space, conjugated with its diagram programming. The authors’ proposal is therefore based on the continuity of diverse architectural effects as the feature of space where social interactions occur.


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While Somol and Whiting remain relatively vague about the ways in which the space instigates certain behaviour sand moods, some contributions to the post-critical architectural theory explain the impact of non-representational aspects of architecture on its social content as the effects of intensive space levels, comprised by the concept of the affect. It was Brian Massumi, a philosopher, who pointed out the crucial importance of the concept of the affect for the studies of the image culture of late capitalism. Commenting on a series of experiments in the field of neuro- and cognitive sciences and re-interpreting their conclusions, Massumi establishes the existence of at least two reception levels of environmental phenomena: the level of qualification or signification at which a particular phenomenon is attributed with a sequence of isolated conventional meanings, i.e. socio-linguistic qualifications, and the level of intensity, the effect of the phenomenon which is not structured in advance, and at which the elements indexed as separated are inter-connected (Massumi 1995, 85)Both levels are directly embodied: the intensity level is embodied in chiefly autonomous reactions at the body surface – the interface of the body and the environment, while the qualification level is connected by a feedback through which the stream of consciousness is reflected by heart beating and breathing into the sphere of autonomic reactions within the body, which themselves condition the conscious reception level (Ibid, 85). A bifurcation of the response to environmental phenomena in the two systems or levels provides multiple possibilities of their mutual connection: as reasoning or interference, resulting in mutual dampening or amplifying.

Massumi relates this level of intensity to the concept of affecte laborated in a philosophical tradition interpreted in the works of Deleuze and Guattari as well as in connection with the more recent theories of complexity and chaos. According to Massumi’s explanation, the affect is the point of emergence of resonating levels of mind and body, body depth and epidermis, volition and cognition, past and present and many others, in their actual specificity, as well as their vanishing point, in which singularities are displaced by their coexistence and interconnections (Ibid, 94). Further, the affect is theorized as immanent to experience, but also not exactly accessible to it. It is always experienced in its effect – in levels of bifurcation composing and composed of matter and events, mind and body. The affect could also be understood as virtual, thus always open, synesthetic perspectives, potential interactions and transformations, that an actual, particular thing embodies. In experience there always exists a perception of an escape of the affect, alongside its effect, which Massumi, following Gilbert Simondon, the philosopher of science, identifies as a “perception of one’s own vitality, one’s sense of aliveness, of changeability” (Ibid, 97).

Although it could be discussed in relation to experience, the affect actually encompasses the whole material universe, between the quantum physical and the human level, appearing in each one in a unique mode adequate to it, and turning firm dividing lines that separate the physical, the biological and the human into dynamic thresholds. As Massumi explains, the modes of appearance of the affect on the human level at various scales of collectivity encompass many forms of undecidability in logical and signifying systems, emotions on the psychological, resistance on the political level, etc. (Ibid, 98). Constantly feeding back and forth into one another, these many modes are the key to conceptualizing the operations of power in postmodern culture as the processes of triggering an actualization – induction, and the ones of transmission of “an impulse of virtuality from one actualization to another and across them all” designated by the term transduction (Ibid, 104-105). Transduction is thus offered by Massumi as a crucial component of the agency of cultural artefacts:

“Transduction is the transmission of a force of potential that cannot but be felt, simultaneously doubling, enabling and ultimately counteracting the limitative selections of apparatuses of actualization and implantation. This amounts to proposing an analog theory of image-based power: images as the conveyors of forces of emergence; as vehicles for existential potentialization and transfer”(Ibid, 104).


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Massumi’s account on affect resonates most strongly with Sylvia Lavin’s theoretical project of “kissing” in architecture (2011). In contemporary architecture, Lavin finds and analyses many interior and exterior spaces on whose surfaces the ancient medium of architecture, requiring the detached, contemplative mode of reception, kisses with many new mediums commonly used in installation art, producing the synthetic medium named superachitecture. (Lavin 2011, 11). Superarchitecture could be understood as a space at the same time outside and inside the body, as a field of multiple occurrences and possible internalizations of its perception (explained by Lavin as affect). According to this proposition, the confounding of architecture with other mediums in a state of kissing is a necessary precondition for the discipline of architecture to act ethically, through the contribution to the reinvention of experience, “not personal or sentimental or idealized, but affective and political” (Ibid, 113). In Lavin’s arguments, we can identify the significance of the sensory experience of space in the process of engaging architecture in a cultural project of contemporaneity as a permanent fluidity of time (Lavin, 2003). In the light of Massumi’s explanataion of the process transduction we can understand how this nexus of architecture, space and experience is intended to operate. However, Lavin arguments don’t necessarily explain the critical stakes of this cultural project. We would argue that critical effect of architecture’s operation within the continuum established between domains of mind, body and physical environment could be conceptualized as an instigation of its resonation with other levels that concern the problems posed by Cohen. Of crucial importance here is the question of the relative distance between different levels, but also their capacity to resonate with each other.

PHYSIOLOGICAL – CLIMATIC CONTINUITIES IN ARCHITECTURAL SPACE The practice of the Swiss architect Phillipe Rahm is oriented towards the investigation into the methodology of design in the intersection of the objective scientific knowledge and artistic fiction (Krstić et al. 2016, 76). In the focus of his architectural projects, there lie the non-hierarchized and complex ecosystems of human minds and bodies, and physical objects tied by environmental material processes. Rahm believes that knowledge of the physical, electromagnetic and chemical dimensions of space will modify the nature of contemporary architecture in the same way as once reinforced concrete and steel structural systems transformed our conception of space (open plan of Le Corbusier and Mies van der Rohe). He defines this paradigm shift in architecture as the transition from physical architecture to physiological or atmospheric architecture. He is trying to see the architectural space not through the limit of the void (or the envelope) but through the properties of the void itself. His research called "from space to gradient" is directed towards an escape from traditional ways to represent space (as a line that divides the outside from the inside) using more complex gradient composition strategy.3 The direct product of Rahm’s architecture is therefore the continuity between the entities in space traditionally thought of as separate, divided by their different essential properties.

Although Rahm continues with the traditional Swiss interest in questions of ambiance linked to the materiality of objects like Zumthor and Herzog&deMeuron, his work moves beyond the phenomenological ideas of memory or analogy, toward immediate perception of material properties such as the odor, the length of wave, the level of humidity, etc. He deals with the literal sense of the space-void properties, not with metaphorical meaning of materials that build limits to that inner space-void. ". Architecture is no longer simply the expression of the play of light and shade on bodies and materials but attains a physiological dimension. Such discoveries opened up a new field of research with new implications, with unheard-of design rationales. I called this field physiological architecture” (Rahm 2010, 89).

This attitude, that architecture deals with a problem of performance not with a problem of form, enabled Rahm to generate a catalogue of forms determined by pure intensities such as the temperature of air or displacement of humidity. Architecture's principal task should be, according

3New paradigm shift in design strategies Rahm formulates as a shift from phisical to physiological (Rahm 2010, 88-93).


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to Rahm, the control of the interior climate. His project Digestible Gulf for the Venice Biennale in 2008 sought to create a varied thermal landscape. It consists of two plateaus different by temperature that change habitants’ behavior according to thermal conditions. (see Figure1). In the project Domestic Astronomy, the spatial organization of a home is generated by the same principal: circulation of the air between different temperatures and humidity levels. According to these conditions, activities in space are distributed without crisp and fixed borders. (see Figure2) The architect derives a design conception from intensive, not extensive properties of space. The escape of functionalism, fixed typologies and rationalism, , enables new architecture close to Deleuzian materialism to emerge, that sees the human body in an immediate contact with space through the row exchange of matter (Rahm, 2010).

Figrue 1: Philippe Rahm architectes: Digestible Gulf Stream, 12th International Architecture Exhibition, La Bienale di Venezia, 2008 (photo: Noboru Kawagishi) (Source: Rahm, P. (2010) Form and Function follow Climate, in Interview of Philippe Rahm by Laurent Stadler in ARCHITHESE 2, p. 89)

Figure2: Phillipe Rahm architectes, Domestic Astronomy, Louisiana Museum, Denmark, 2009. (photo: Brøndum& Co) (Source: Rahm, P. (2010) Form and Function follow Climate, in Interview of Philippe Rahm by Laurent Stadler in ARCHITHESE 2, p. 90)


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CONCLUSIONS In an attempt to interpret concepts developed in order to describe the properties of the so-called cognitive architecture, paper traces how the intertwinings of physical and mental processes in individuals’ bodies, as well as between them, that characterize social space in contemporary communication-information age, resonate in the field of architectural design, through interpretation of recent design paradigm's shifts in architecture.

The dramatic shift in architecture’s focus from the tectonic to the climatic, from the visible to the invisible dimensions of space found in Rahm’s design practice is guided by the notion of interconnectedness of an eco-system established through a series of chemical, physical and biological transformations. Restraining from formal concerns of representation and interpretation and consequently releasing the architectural space from metaphorical meanings Rahm aims at, as Blagojević and Ćorović have argued, creating an architecture that exists as “a climatic, geographical or psychological and physiological space-time relation of a future social practice,” thus offering a new mode of architecture’s engagement with broader social issues, primarily those of social and ecological sustainability (Blagojević i Ćorović 2011, 24). However, we would add that by impacting on the relation between human body and its immediate physical environment through the manipulation of natural processes in architectural space, Rahm’s practice necessarily relates to the questions of memory as well, thus indirectly affecting the realm of meaning and representation. Following Massumi’s explanation of the interaction between at least two levels of human’s response to environmental phenomena, we would contend that the restrain from formal and representational dimensions of tectonics has an operational significance for a critical effect that is potentially exerted between the physiological levels of the body conditioned by its physical surrounding and the faculties of mind spanning perception, attention and memory. In a potential of such an effect we see an uncharted territory for the discipline of architecture to further engage with the issues of contemporary social practice, especially those raised by the ubiquity of digital technologies of information and communication that stands in the center of the notion of cognitive city. The concept of the bodily-mental-social continuum thus points to the opportunities offered by this field of exploration.

REFERENCES Blagojević, Ljiljana I Dragana Ćorović. 2011. “Klimatske promene I estetika savremene arhitekture”. U Vladan Đokić i Zoran Lazović (ur.). Uticaj klimatskih promena na planiranje I projektovanje. Beograd: Univerzitet u Beogradu – Arhitektonski fakultet. Cohen, Jean-Louis. 2012. The Future of Architecture Since 1889. London: Phaidon Press. Deleuze, Gilles and Felix Guattari. 1987 (1980). AThousand Plateaus: Capitalism and Schizophrenia, translated by Brian Massumi. Minneapolis and London: University of Minnesota Press. Делез, Жил и Феликс Гатари. 1995. Шта је филозофија. Нови Сад: ИК Зорана Стојановића. Hauptmann, Deborah and Warren Neidich (eds). 2010. From Biopolitics to Noopolitics. Architecture and Mind in the Age of Communication and Information. Rotterdam: 010 Publishers. Крстић, Верица, Милена Кордић и Јелена Ристић Трајковић. 2015. „Интервју са архитектом Филипом Рамом: Имагинација без научног сазнања није довољна“. Аритектура и урбанизам 41: 75-80. Lavin, Sylvia. 2003. “The Temporary Contemporary.” Perspecta 34: 128-135. Lavin, Sylvia. 2011. Kissing Architecture. Prinecton, New Jersey: Princeton University Press. Massumi, Brian. 1995. “The Autonomy of Affect.” Cultural Critique, no. 31: 83-109. Mitola III, Joseph. 2000. Cognitive Radio: An Integrated Agent Architecture for Software Defined Radio. PhD thesis. Royal Institute of Technology (KTH) Stockholm, Sweden. Mostashari, Ali, Friedrich Arnold, Mo Mansouri and Matthias Finger. 2011. “Cognitive Cities and Intelligent Urban Governance.” Network Industries Quarterly 13, no. 3: 4-7.


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Picon, Antione. Digital Culture in Architecture. An Introduction for the Design Professions. Basel: Birkhäuser, 2010. Rahm, Philippe. 2007. “Form and Function Follow Climate.“ AA Files 55: 2-11. Rahm, Philippe. 2009. „Meteorological Architecture.“ Architectural Design 79, No. 3: 20-41. Rahm, Philippe. 2010. “Form and Function Follow Climate,An Interview of Philippe Rahm by Laurent Stadler.” Archithese, no. 2 (February): 88-93. Rajchman, John. 2000. The Deleuze Connections. Cambridge and London: The MIT Press. Somol, Robert and Sarah Whiting. 2002. “Notes around the Doppler Effect and Other Moods of Modernism.” Perspecta 33: 72-77. Dženks, Čarls. 2007. Nova paradigma u arhitekturi: jezikpostmodernizma. PrevelaMarijanaMilosavljević. Beograd: Orion art.


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URBAN DESIGN EDUCATION FOR PLACEMAKING: BETWEEN COGNITION AND EMOTION

Jelena Živković1 Associate Professor, University of Belgrade Faculty of Architecture, Bulevar kralja Aleksandra 73, Belgrade, Serbia, [email protected]

Zoran Đukanović Assistant Professor, University of Belgrade Faculty of Architecture, Bulevar kralja Aleksandra 73, Belgrade, Serbia, [email protected]

Uroš Radosavljević Associate Professor, University of Belgrade Faculty of Architecture, Bulevar kralja Aleksandra 73, Belgrade, Serbia, [email protected]

ABSTRACT The paper explores possibilities for linking knowledge and emotions in urban design education for placemaking.

The concept of placemaking emphasises the need for strengthening connections between people and the places they share. These connections are based not only on knowing but also on experiencing and loving particular places. Besides that, place making refers to a collaborative process of shaping public realm in order to maximize shared value. In this process, urban designers are just one of the actors involved. Therefore, placemaking, as a new paradigm in urban design, asks for reconsidering and strengthening links between aesthetic, social, and technical dimensions of urban design process.

All of this implies not only changes in professional domain, but in the education for urban design as well. The research is based on experiences of two urban design projects from the elective course “Art in Urban Public Spaces – PaPs” at the University of Belgrade - Faculty of Architecture. We analyse various paths of educational urban design process that have been conducted in collaboration with local communities in Belgrade and Negotin, and discuss different possibilities of linking cognitive and emotional aspects in urban design process for placemaking.

Keywords: urban design, placemaking, education, cognition, emotion



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INTRODUCTION In order to reverse the process of urban space production from producing non-places to creation of feelings of belonging and authenticity of space, the concept of placemaking became a new paradigm for urban design and planning. This approach aims on strengthening the connections between people and the places they share so as to form the basis for sustainable urban development (Healey, 1997). Since these connections are established through knowing but also through experiencing particular places - emotional, affective dimensions of urbanism are recognised as important for urban sustainability (Kyle & Chick, 2007)

This adds a new dimension to traditional approaches to urban design, where emphasis was made on the urban design project and professional cognition and knowledge of space. Placemaking approach refers to a collaborative process of shaping public realm in order to maximize shared value (PPS, 2012). This process is deeply linked to lay knowledge and emotions of people, and in this process, urban designers are just one of the actors involved. In that sense, the concept of placemaking asks for reconsidering relations between emotions and cognition/knowledge, as well as the relations between aesthetic, social, and technical dimensions of urban design - in order to strengthen links between all actors involved and places they make through process of urban design.

All of this leads to necessary changes in urban design professional practice, but also to changes in urban design education. In that context, this paper explores how may urban design education for placemaking be conceptualised, and more precisely, how to educate future generation of urban design professionals so that they are able to integrate emotions with knowledge in the process of placemaking?

In order to answer this question two experimental urban design educational projects for placemaking will be presented, in which possibilities and forms to link cognitive and emotional aspects of urban design process will be explored. The paper is organised in two parts. In the first part we present the concept of placemaking as a new paradigm in urban space development and implications that it has for the discipline of urban design. In the second, after presenting an overview of forms of urban design education, we explore different paths of educational urban design process, based on experiences of the elective course “Art in Urban Public Spaces – PaPs” at the University of Belgrade - Faculty of Architecture.

PLACEMAKING AS A FRAMEWORK FOR URBAN DESIGN

Placemaking and urban design Placemaking is a people-centered, multi-faceted approach to the planning, design and management of public spaces. It is based on a local community’s assets, inspiration, and potential and uses them in order to create good public spaces that invite greater interaction between people and foster healthier, more social, and economically viable communities. It is both a process and philosophy of acting in human environment (PPS, 2012) and a “hands-on tool for improving a neighbourhood, city or region” (Project for Public Spaces + Metropolitan Planning Council, 2008). It can be used to improve different spaces that comprise the gathering places within a community such as: streets, sidewalks, parks, buildings, etc. Since personal and cultural identities are related to places, the role of urban design as artistic, technical and socio-cultural process become crucial to place-making (Madanipour, 1996).

Urban design is the process and product of designing and shaping built environment: cities, towns and villages. It is focused on making connections between people and places, movement and urban form, nature and the built fabric. In order to do this, urban designers need to address technical, social and expressive concerns, through visual and verbal means of communication (Madanipour, 1996). Although urban design operates from the macro scale of the urban structure


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(planning, zoning, transport and infrastructure networks) to the micro scale (street furniture and lighting) - much of urban design is concerned with the design and management of public spaces and the way they are used and experienced.

Urban design involves placemaking as creation of a setting that imparts a sense of place to an area. This can be done through establishing identifiable neighbourhoods and aesthetically pleasing public places, unique architecture and identifiable landmarks, and through a human element established by compatible scales of development and on-going public stewardship” (The Center for Design Excellence, 2013).

But placemaking is more than just creating better design of public spaces, since the possibilities for making places solely through physical design are limited (Seamon, 1993). It facilitates creative patterns of activities and connections (cultural, economic, social, and ecological) that define a place and support its on-going evolution. In that sense, “placemaking is how we collectively shape our public realm to maximize shared value” (PPS, 2012). An effective placemaking process capitalizes on a local community’s potential for creating good public spaces that promote people’s happiness, health and feelings of well being, and that have meaning and value for different people (Djukanović & Živković, 2015).

Cognitive and emotional aspects of urban design: traditional and placemaking approach In the placemaking theoretical framework the emphasis is made on the urban design process that generates valuable relations between people and places. These relations are cognitive but emotional, as well. Maximizing shared value is deeply linked with emotions of various people included in this process – citizens, visitors, government representatives and urban designers, as well. But this dimension is not well developed in traditional approaches to urban design.

Traditional (technical and artistic) approaches to urban design take into account emotions towards space, but reduced to the emotions of the author of the project, and conceptualised more as a result than as a part of urban design process. In technical (problem-solving) approach to urban design, projects are based on information, cognition and knowing of spaces. In the artistic approach to urban design, design projects are based on aesthetic norms, knowledge and emotions towards (real or imagined) spaces, but are linked solely to urban designer - the author of the project. In both cases, emotions of local people towards spaces are seen as a consequence of the project, not as its part.

Placemaking framework reminds us that knowledge and feelings are separate domains, but both important for quality of place and its sustainability. Contemporary approaches to urban planning and design work on integrating emotions in development process. One of the best known is the use of ICT (cognitive and smart city solutions) for marking individual citizen’s emotions towards space for various purposes. In this case, citizens’ emotions are conceptualised as impersonal information. This contributes to the placemaking by enabeling the identification of important places and citizens attitudes towards them.

But we argue that cognition and emotions can be linked in various forms in urban design process and that this is important for achieving creativity in placemaking process. Testing possible relations can be done by innovative urban design practice, but also through initiating experimental educational urban design projects, that at the same time prepare students for future placemaking practice.


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LINKING COGNITION AND EMOTION IN URBAN DESIGN EDUCATION FOR PLACEMAKING

Forms and approaches to urban design education The Urban design is a discipline oriented towards practice and production of urban space. Therefore, the concept of “learning by doing” 2 is widely recognised and practiced in various forms as a teaching perspective in urban design education (Scot Brown, 1990; Đukanović & Živković, 2015).

Though learning about theories of urban design is usually achieved through seminars, basic unit in most bachelor and master urban design academic programs is urban design studio. Work in an urban design studio enables students to connect theoretical knowledge and urban design methods and technics while working in specific urban context (Milovanović- Rodic, D. et al., 2013). Besides that, smaller, elective courses can be organised, based on problem-based learning approach (PBL) that teaches not only the information but also the thinking strategies concerned. It involves students to problem solving, therefore increasing their interest levels in the subject. Besides transferring information, this approach makes knowledge more memorable (Altomonte, 2012).

The orientation towards placemaking (as a basis for sustainability) implies broadening the basis and creating synergies in making sustainable urban places. This means that communication and collaboration of all interest groups and individuals is prerequisite for sustainable placemaking. In this way learning by doing in urban design education means not only learning theoretical concepts and developing artistic and technical skills, but also learning how to communicate and collaborate with various stakeholders, professionals and broad public in process of placemaking. And this can be done properly and effectively only in natural setting of working together on real-life urban problems. Therefore many contemporary urban design curriculums are developed to work in partnership with local authorities and citizens in testing solutions for real problems through students design projects. In this way students learn about diversity and conflictual nature of urban development values and approaches (Archeworks, 2011).

Possible ways of linking cognition and emotion in urban design process will further be explored on two experimental urban design educational projects for placemaking.

Case studies Educational Project 1 – Step to the River, Belgrade

a) Project description

The aim of the project “Step to the River” was to bring people from the city center to the riverbanks by using temporary spatial interventions. The idea was to sprinkle pedestrian pathways with the magnetic "art dust": small-scale but numerous temporary design interventions and events, which will lure people into taking these shortcuts between the existing public spaces. The purpose was not to speed up the walk but to make it more enjoyable, thus increasing the intensity of the urban experience.

The experimental project „Step To the River“, was conceived as a simultaneous presentation of the results of 13 workshops that were conducted by interdisciplinary teams of students that worked with the team of mentors, local community and officials. In making or supporting project 3 Academic institutions, 7 national public institutions, 15 local public institutions, 2 institutions of 2 “Learning by doing” means learning from experiences resulting directly from one’s own actions. Actions do not only follow thinking – they induce thinking. The thinking generated from action is relative to the action and this recursive practice is the essence of experiential learning (Đukanović & Živković, 2015)


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civic sector and 22 private sector participants were included. The project was structured in 3 phases: initiation, concept design, and realisation - each having its own spatial and media results that were presented to the public, thus generating support for the next phase. Each of these stages had material results which were presented to public institutions and local citizens with an idea to gain their active support (Figure 1)

• Phase 1 – initiation: Defining goals, objectives and fields of action. Identification of public spaces and analysis of their potentials for public art, done by students of Faculty of Architecture. Result: Catalogue of public spaces in central core

• Phase 2 – conceptualization and design: 13 workshops were organized as interdisciplinary teams of students who worked together with interdisciplinary team of mentors on developing design solutions for chosen sites. Result: Catalogue of projects - digital simulation of public art interventions in space.

• Phase 3 – realization: Design projects were modified due to chosen path to the river and budget. Different forms of public art were presented to broad public. Result: one-day event on 10 locations forming a path to the river

The one-day event „Step to the River, organised as a series of public events on the chosen pedestrian paths, took place on the 12th of July 2003 and was opened by the city mayor. More than 2,500 people attended the event, and after decades of living in oblivion, the old Sava port belonged to the people again, at least for a day. By increasing density of events the intensity of urban experience and recognition of the place increased, too (Živković&Đukanović, 2010) .

b) Linking cognitive and emotional aspects in process of urban design for placemaking

In the first phase of the project, knowledge on citizen’s emotions towards urban space was indirectly recognised through study of literature and art that expressed emotional response of the authors. This knowledge was included in the “Catalogue of public spaces in central urban core” as a description of the central and marginal urban spaces, and helped find locally valuable public spaces.

Second phase of the project mainly took place in situ. The basement of the Museum of the applied arts became “classroom” and a meeting point. This enabled students to actually live on the location for almost two months. In that way, they become intimately connected to the space and got to know local people as well. They proposed projects as “Catalogue of digital simulation of spatial interventions in space” based on their visions, emotions and knowledge of people and their emotional relations to space.

For some groups, work with local community was even more intense. In the third phase – realisation of the “Step to the river” event – they actually worked together, sharing space, time, feelings and ownership of the project.

Figure 1: Step to the river project, PaPs archive


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Educational Project 2 – Vino-grad: The Art of Wine, Negotin

a) Project description

The aim of the project “The Art of Wine” was to shed a light to a wine region of Negotin and to help activating its spatial and cultural potentials through students’ projects of small spatial interventions and cultural programs. On conceptualising and designing the projects, students worked with the mentors, wine experts, local community and officials of the City of Negotin.

Work on the project was organised in three phases: initial, exploration and design phase. In initial phase, students were introduced to wine culture through serial of lectures and workshops and individual literature research. Second phase started with getting to know the Negotin region, cultural landscapes, people and the city. Through communication with local authorities and citizens, students gain knowledge about the space and culture. Based on direct experience of place, and knowledge gained through communication, research and lectures, students proposed design solutions to small but essential interventions that were supposed to re-establish the identity and promote the specific place.

Third phase included exhibition and promotion of students work in several spaces, thus informing local people and showcasing spatial and cultural potentials of the place. The semester works were finished in spring 2012, and after three successfully exhibitions held the same year, the Municipality of Negotin decided to realize the project named: “Rogljevo wine and jazz festival” (Đukanović & Živković, 2015.b).

b) Linking cognitive and emotional aspects in process of urban design for placemaking

In the first phase, students’ emotional response was induced through direct contact with elements of wine culture. Though connection with the place (Negotin) was not established, these steps enabled widening views and preparing students for more open attitude towards people and places they would be able to experience in the second project phase.

The second phase brought both direct experience of place and people by visiting and getting to know Negotin region. At the same time, connection to the local community was established in short, but intense workshops and discussions that informed design projects but also started constructing relations between local officials and inhabitants and young designers (Figure 2).

The third phase enabled students and local representatives to work together on presenting the results in chosen locations. The exhibition and presentation was very successful on many levels. Although co-working and sharing values didn’t happen between students-designers and citizens, positive emotional response happened. In this case, local government appreciated student’s efforts and provided support for realisation of one of the projects.

Figure 2: Vino-grad: The Art of Wine, PaPs archive

DISCUSSION In presented projects at least three new positions of linking people’s emotions with knowledge in urban design process, can be identified.


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The first one stresses designers (as well as decision-makers) knowledge on emotions of citizens towards certain spaces. When these emotions are sensed, identified and marked they can be used to identify and compare urban spaces that people value the most, or that are in a need for intervention. In the broadest sense, this forms a part of cognitive city, considering cognition as the ability of a system to learn from previous experiences and adapt its behaviour based on them (Mostashari et al., 2011). For urban design education, this relates to the information basis for project planning and design.

The second position relates to gaining emotions (of students) through better knowing of certain urban space. This means not only knowing physical attributes of space (traditional approach), but also relates to knowing local people and all living things that inhabit the space. Though emotional respond can be linked to specific formal and aesthetic features as well as to the history of space, intensity and durability of feelings can be linked to the time spent on location and to possibilities of knowing it in a more complex ways. For urban design education this is linked to place-based learning approach (Nikezić, 2013) as part of process of placemaking.

Finally, the third possible link between cognitive and emotional aspects in urban design, considers working together on urban design project through emotions of both designers and citizens. For this to happen, personal openness, time spent together, quality of communication and small, but visible results, are necessary preconditions for success in process of placemaking.

CONCLUSIONS The concept of placemaking asks for reconsidering relations between knowledge and emotions in process of urban design. Therefore, in this paper we presented and analysed two paths of educational urban design process that have been conducted in collaboration with local communities in Belgrade and Negotin, and identified different possibilities of linking cognitive and emotional aspects in urban design process for placemaking.

The research results showed that besides traditional (technical and artistic) approaches to urban design, in which knowledge and emotions of the author/urban designer about the physical space can be integrated into urban design project, at least three more positions of linking people’s emotions with knowledge in process of urban design can be identified: a) knowledge on emotions, b) gaining emotions through better knowledge on space and c) working together on design projects through emotions, sharing values and knowledge, and thus contributing to placemaking.

Acknowledging that cognition and emotions can be linked in various forms in urban design process is important for conceptualising education for placemaking. In that sense, urban design education for placemaking should not be developed as a prescription of a new educational model. It may and should encompass various approaches to urban design that, throughout academic curriculum, enables students to develop their artistic, technical and communication skills as well as sensitivity towards real-life situations, thus helping them to become informed, creative, collaborative and pro-active partners in placemaking processes.

*This paper is prepared as part of the project: Spatial, Environment, Energy and Social Aspects of Developing Settlements and Climate Change - Mutual Aspects, which is financed by the Ministry of Education, Science and Technological Development of the Republic of Serbia, No. TR 36035.

REFERENCES Altomonte, S. (ed.).2012. EDUCATE: Framework for Curriculum Development, EDUCATE Project Partners, www.educate-sustainability.eu , (8.10.2013). Archeworks. 2011. Sustainable Urban Design Program: Curriculum 2011 – 2012, www.archeworks.org/.../2011-12%20Curriculum%20and%20Speakers.pdf, (10.10.2013).


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Đukanovic, Z., Živkovic, J. 2015. A “Public Art & Public Space Program: Learning, But Doing!” ANNALES-Anali za istrske in mediteranske studije-Series historia et sociologia. Vol . 25/1, pp. 49-65, Koper: Historical Society of Southern Primorska of Koper Đukanović, Z., Živković, J. (eds.).2015. b Vino-Grad: The Art of Wine, Beograd: Univerzitet u Beogradu Arhitektonski fakultet Healey,P. 1997. Collaborative Planning: Shaping Places in Fragmented Societies, Vancouver: UBC Press Kyle.G., Chick,G. 2007. The Social Construction of a Sense of Place. Leisure Sciences, 29: 209–225. Madanipour, A. 1996. Design of Urban Space: An Inquiry Into A Socio-Spatial Process, Chichester and New York:Wiley. Milovanović-Rodic, D., Živković, J., Lalovic, K. 2013. “Changing architectural education for reaching sustainable future: A contribution to the discussion”. Spatium, (29): 75-80. Mostashari, A., Arnold, F., Maurer, M., Wade, J.: Citizens as sensors: the cognitive city paradigm. International Conference & Expo on Emerging Technologies for a Smarter World, pp. 1–5. IEEE (2011) Nikezić, A.(ed.).2013. Playing Landscape – Košutnjak, Belgrade: University of Belgrade Faculty of Architecture Project for Public Spaces. 2012. Creativity and Placemaking, http://www.pps.org/reference/creativity-placemaking-building-inspiring-centers-of-culture (10.10.2013). Project for Public Spaces + Metropolitan Planning Council. 2008. A Guide to Neighborhood Placemaking in Chicago, http://www.placemakingchicago.com/cmsfiles/placemaking_guide.pdf, (10.10.2013) Seamon, D. 1993. Dwelling, Seeing, and Designing: Toward a Phenomenological Ecology, NY: State University of New York Press Scot Brown, D. 1990. Between Three Stools: A Personal View of Urban Design Pedagogy, Architectural Design: Urban Concepts , Academy Groups LTD. The Center for Design Excellence. 2013. The Art Of Creating And Shaping Cities And Towns http://www.urbandesign.org/ (11.4.2014) Živkovic, J., Đukanovic Z. 2010. “Small Steps Towards Big Vision: Taking People To The River (Again) in Belgrade”, PORTUS 20, Venezia: RETE, pp 36-41


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SKETCHBOOK AS AN ARCHITECTURAL DESIGN INSTRUMENT OF THE COGNITIVE CREATION PROCESS FOR THE QUALITY OF PLACE

Igor Rajković1 University Assistant Professor, University of Belgrade Faculty of Architecture, Bulevar kralja Aleksandra 73/II, Belgrade, Serbia, [email protected]

Uroš Radosavljević Associate Professor, University of Belgrade Faculty of Architecture, Bulevar kralja Aleksandra 73/II, Belgrade, Serbia, [email protected]

Ana Zorić Teaching Assistant, University of Belgrade Faculty of Architecture, Bulevar kralja Aleksandra 73/II, Belgrade, Serbia, [email protected]

ABSTRACT The paper explores possibilities for using sketchbook in architect’s education as an architectural design instrument for the cognitive creation processes for the production of quality of place. We strongly believe that for the architect’s education and future professional work, unconscious mental cognitive processes could be best captured by freehand drawing and sketching, beside conscious cognitive mental activities of perception, thinking, understanding, judgment and reasoning. This paper presents possibilities and results of new designed and tested teaching concepts and methods for the architectural design based on the course Sketchbook – Drawn Thoughts which form the part of the curriculum at the Master level of studies at the University of Belgrade Faculty of Architecture. As famous architects refer to sketches as the beginnings for the development and formulation of conceptions of architectural design, freehand drawings represent materialization of visual mental images and visions based both on rational thinking and on the impressions influenced by other human senses such as hearing, relaxing and sensing. Five mentors tested their respective different methods on students using sketchbook as an architectural design instrument, each one revealing different, yet interesting outcomes that led to conclusions of variety of outputs which might be useful for the cognitive creation processes within the architect’s education processes. We will show these methods and their application on student’s work and the results originated from such an approach. At the end of the paper, based on our research, we will set conclusions and recommendations both for the architect’s education processes and practice of creation of place as the profession’s ultimate goal.

Keywords: sketchbook, architectural design, instrument, cognitive creation process, quality of place



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INTRODUCTION Looking at the architecture and addressing it we become aware of the importance of drawing in the design process. Diagrams, drawings and sketches are indispensable principles of architectural expression, but their impact may be linked to creating of unique handwriting of the author and recognition of his future works.

Considering the architect as creator of forms in space, Stern (1977, cited by Vrachliotis, 2005) characterized the relation of the object on the paper and the object in reality as very complex Besides the obvious similarities of drawings and completed project, the process of drawing follows all phases of design process: from thinking, conceptualization, to the elaboration of project and realization of the building. Le Corbusier declares sketching as translating mental images in the design process. According to Porter (1997, cited by Vrachliotis, 2005), place in the imagination of architect, which is discontinuous and non-dimensional image, becomes aware just by drawing. Therefore, freehand drawing is the beginning of architectural design, and sketch is the first step of the realization of ideas.

On the other hand, analyzing the relationship of sketches and projects of significant architects, we can see a deeper importance of freehand drawing. In addition, as a form of architectural expression, which is reflected in the form of future buildings and spaces, it conveys the sensibility and character of the author to all of his works. Drawing is a medium of learning and gaining knowledge in the discipline of architecture, but it is also a medium of creating authors unique architectural style. Additionally, beside rational thinking while designing architectural projects and making decisions about the design issues, we strongly believe that for the architect’s education and future professional work, unconscious mental cognitive processes could be best captured by freehand drawing and sketching. Interest for the importance of freehand drawing and sketching in life and work of architects enlightened us to research and present concept and methodology of, the workshop course Sketchbook – Drawn Thoughts aimed in exploring drawing skills of students, their way of thinking through sketching and connection and similarity between their sketches and final projects on studies.

METHODOLOGY The aim and purpose of this paper is to explore possibilities for using sketchbook in architect’s education as an architectural design instrument for the cognitive creation processes for the production of quality of place. For that purpose, we have chosen a methodology of the case study at the empirical level in the field of knowledge production at the academia. In order to do so, we have build our case on presenting possibilities and results of new designed and tested teaching concepts and methods for the architectural design based on the course Sketchbook – Drawn Thoughts which form the part of the curriculum at the Master level of studies at the University of Belgrade Faculty of Architecture.

First the conception of the course itself will be presented. Next is the explanation of five different methods which five mentors prepared and tested on students using sketchbook as an architectural design instrument. The description of each method is followed by the application in the form of student’s sketches and drawings and the results of distinctive approaches showing characteristics of sketches and their relation to the unconscious mental cognitive processes.

Based on that kind of analysis with the evaluation of five methods and student’s response in the form of sketchbook leads to the end in order to define main aspects in which we set conclusions and recommendations both for the architect’s education processes and practice of creation of place as the profession’s ultimate goal.


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SKETCHBOOK – DRAWN THOUGHTS2 The course Sketchbook –Drawn Thoughts was conceived as a five-day workshop, where different mentors posed various tasks, in order to provoke drawing reactions of students. The main objectives of the workshop were winning the fear of white paper through rapid drawing reactions, documenting thoughts instantly by sketching, and thinking through freehand drawing. The main assumption of the mentors was that the five-day series of quick drawings creates unique drawing style of the author. We recognized the unique character of each author's drawings as a major potential of their future expression in architecture, but also in their projects on studies. In the remaining of this chapter, we will show five different methods which five mentors prepared and tested on students using sketchbook as an architectural design instrument.

3x3x3 – mentors Assistant Professor Igor Rajković and Teaching Assistant Ana Zorić The inspiration for this segment of the workshop created by Igor Rajković and Ana Zorić, came from the simplicity and honesty in the character of children's drawings and their perception of space. This segment of workshop is divided into three parts, as an association in three spatial aspects. The whole work was accompanied by sound that would activate another sense of the workshop participants. Duration of 9 minutes was anticipated for each part of the workshop. The idea was that in first two segments, students were asked to refine their thinking about the topic through the sketch. Through quick and impulsive freehand drawings, thoughts are focused to the very essence. The product was a sketch for each segment of the workshop. The third part followed with the idea that for the short time it was necessary to draw a large number of sketches. Consequently, sketches had to be fast, accurate and reduced. Sketching this way, the aim was to reach the pure essence of the idea by drawing.

According to the method used for this segment of workshop, student’s sketches and hand drawings shown two results. One is that when students were drawing quickly, the result was simple drawing, released of details, which shows the essence of the idea. The second one is that production of a large number of drawings in a short time had an impact on the speed of student’s reaction and the drawing routine which was obvious in larger number of sketches in each next phase of drawing.

Figure 1: student’s I. Nešić, B. Brankov, J. Stanković sketches from the Workshop 3x3x3, I.

Eyes wide shut – mentor Associate Professor PhD Uroš Radosavljević The inspiration for this theme of the workshop and method used by Uroš Radosavljević is based on the idea that hand drawing follows closely the life of architects. The hand drawing is the 2 Elective course workshop –Sketchbook – Drawn Thoughts designed by the Assistant Professor Igor Rajković at the Master level of studies at the University of Belgrade Faculty of Architecture in the school year 2014/2015.


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original and distinctive medium of expression of thought through the image we create, but also the most honest indicator of personal sensibility of the author. Conceptualized in that way, hand drawing remains a unique and irreplaceable way of expressing each architect’s uniqueness, sensibility and character.

The method used for this segment of workshop was divided into three tasks. The aim of the first task Eyes wide shut was to stimulate student’s unconscious mental activities and make them fully immersed in the process of drawing in order to achieve their sincerity and creativity in drawings regardless of the result, such as children usually have. The second part was to draw The vision of the ideal city, which should stimulate conscious mental activities and student’s imagination and visionary approach by freehand drawing, like the first visions of the Modern architects and the ways in which they represented their first visions. The third part was to draw an Architectural diagram of student’s project on which they work at the same time on the Master Design Studio Project at the University of Belgrade Faculty of Architecture.

Figure 2: student’s M. Blešić, M. Borović, F. Pisarić sketches from the Workshop Eyes wide shut

According to the method used for this segment of workshop, student’s sketches and hand drawings shown two slightly different results. One is that: when students were asked to get fully immersed in the process of drawing by closing their eyes, their sketches were more natural and relaxed and it took them less time to draw, while sketches revealed their unconscious mental processes. The other result is that when students were asked to draw their Vision of the ideal city and the Architectural diagram of their ongoing project it took them more time to sketch, but again with interesting drawings which showed inner working of their mind, although sketches were more characterized by learned drawing techniques. It is interesting to notice that with sketching the Architectural diagram of their ongoing project, students were, by their own words, astonished with the new insights that sketching architectural diagram helped them further develop and formulate conceptions and hidden meanings in their design projects and reminded them of possible design alternatives which their solutions would have on the quality of built space their projects aim to accomplish.

Self marketing – mentor architect Marko Stojčić The theme Self-marketing, as part of the workshop created by Marko Stojčić, emphasizes purpose of architectural drawings as a presentation of an architect and ability to convince someone of the quality of his works. In times where freehand drawing with the purpose of architectural presentations is reduced to the level of a hobby or is extremely rare, it is important to re-establish order and define the basics of presentation modes of architects and their works. To make such a thing possible, it is important to have educated young architect, which understands and know the importance of drawing as a part of the presentation, but also feels the need to express himself in such away.


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According to the method used for this segment of workshop, student’s sketches and hand drawings resulted in the recognition of specificity in the drawing of each author individually. Producing large number of drawings, students could recognize a similar expression of their sketches and consequently their own presentation style.

Figure 3: student’s M. Borović, B. Cojić sketches from the Workshop Self marketing

From incomprehensible to recognizable – mentor architect Miloš Kašul Nikolić The idea of this theme of the workshop and method used by Miloš Kašul Nikolić was that the participants of the workshop during two hours create eight sketches of eight unknown words from some atypical foreign language, meaning to produce one sketch based on one spoken word. Sketch should be a product on a given association of spoken unfamiliar word. Conceptualized in this way, freehand drawing remains honest way of expression revealing sensibility and associativity of the listener. Participants first drawn in silence for several minutes, and later work continued with listening to music that is not in relation to the language spoken words. The purpose of playing music was, except relaxing participants, to disrupt the sound of words and influence the character of drawings.

According to the method used for this segment of workshop, student’s sketches and hand drawings shown interesting results. When students were drawing on the basis of resonance of the spoken word not knowing what it means, they translated character of the sound into a drawing. Words became images literary, but drawings themselves were diverse, which shows the differences in our experience of perception of the same things and ability of drawing to show it. On the other hand, adding effect of music in the second part of the workshop, disrupting the experience of the sound of words, drawings transformed themselves taking the character of the music.

Figure 4: student’s M. Borović, J. Stanković sketches of the Workshop From incomprehensible to recognizable.


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Listening sketches – mentors architects Daša Spasojević & Predrag Milić The aim of the workshop created by Daša Spasojević & Predrag Milić was to introduce students with the fear of the white paper and help them cope with that fear. Listening to the story each of us creates a certain image in his head. The aim was to discover these images and awake the possibility of artistic expression by freehand sketching. Through introducing students with freehand drawings done by architect Vladimir Milić, and talking about drawings created during the workshop, mentors wanted to emphasize the importance of communication and formulation of ideas through any architectural drawing. By drawing stories of other participants, each participant created, in fact, his own story. This way the drawing stimulates creativity and presentation skills.

The task was that each student, one by one, describes an imaginary or real object, landscape or scene. During the story, the rest of the students were drawing what they were listening to. The changes of stories were rapid, because the goal was that a sketch becomes an instinct, to win numbness and fear. Stories were different: from underground compartment, the interior of the train, ice trap, crickets over the lake, old stone houses in karst, rural landscape, wooden interior, to islands on the sea. Overall there were 19 stories, so each student had 19 drawings. Drawing process lasted about 90 minutes.

According to the method used for this segment of workshop, student’s sketches and hand drawings resulted of various drawings based on the same heard story, which shows the differences in our thinking, creativity, drawing, differences among ourselves. Freehand drawing proved as a free agent of showing these differences.

Figure 5: student’s I. Nešić, J. Stanković, J. Stojanović sketches from the Workshop Listening sketches

CONCLUSIONS By aiming to explore possibilities for using sketchbook in architect’s education as an architectural design instrument for the cognitive creation processes for the production of quality of place, based on the analyzed academic course Sketchbook – Drawn Thoughts and its methodology, we have set conclusions and recommendations.

Analyzing the results of the workshop conceived and realized by 5 mentors, we derived conclusions about the importance of freehand drawings in the educational process for students of architecture, but also its importance in relation to other modes of expression in architectural design and set recommendations for architectural professionals:

− Freehand sketch relieve the fear from the white paper, which is the basis for freedom in creative expression;

− Freehand sketch is the most honest reaction of imagination stimulated by the influences of external factors - listening to stories, music, resonance of words...;


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− Sketch as a quick reaction by hand clarifies unexplained idea of the autor, transforming it into an image and reveals unconscious mental processes;

− Sketch as a beginning of the conceptualization of the project shows the character of the future project in elaboration and realization;

− Drawing style creates a unique handwriting of the author, and therefore recognition of presentation and character of future projects.

Relying on previous conclusions and recommendations, drawing is important instrument in the educational process of architects, as well as their creative thinking. Freehand drawing stimulates the imagination, but the logic of drawing process affects the logic of understanding and perception of the space. Following all phases of the design process, logic of free hand drawing simulates the logic of space - first in the imagination, than in reality. Therefore, reaching design skills, drawing is an influential factor of the future quality of the space.

ACKNOWLEDGEMENTS This paper is the result of the research on the elective course workshop – Sketchbook – Bounded Thoughts designed by the Assistant Professor Igor Rajković at the Master level of studies at the University of Belgrade Faculty of Architecture with workshop mentors: Assistant Professor Igor Rajković and Teaching Assistant Ana Zorić (3x3x3); Associate Professor Phd Uroš Radosavljević; architect Marko Stojčić; architect Miloš Kašul Nikolić and architects Daša Spasojević & Predrag Milić.

This paper is the result of the research conducted through the Scientific Project TR 36035 Spatial, Environmental, Energy and Social Aspects of Developing Settlements and Climate Change – mutual impacts, financed by the Ministry of Education, Science and Technological Development of the Republic of Serbia.

REFERENCES Crowe, Norman and Laseau, Paul (1986). Visual Notes for Architects and Designers. New York: Wiley. Jones, Will (2011) Architects' Sketchbooks. London: Thames & Hudson. Lyndon, Donlyn and Moore, Charles (1994). Chambers for a Memory Place. Cambridge, MA: The MIT Press. Nerdinger, Winfried (2003). Dinner for Architects, A Collection of Napkin Sketches. New York: W. W. Norton & Company. Rajković, Igor (2014) ‘’Sketchbook – Drawn Thoughts’’. Elective course at the Master level of studies at the University of Belgrade Faculty of Architecture. Accessed February 6th 2016 from the Faculty of Architecture: http://www.arh.bg.ac.rs/ Vrachliotis, Georg. 2005. “Articulating Space Through Architectural Diagrams”. Accessed February 3rd 2016, from American Association for Artificial Intelligence: http://www.aaai.org/Papers/Symposia/Spring/2005/SS-05-06/SS05-06-025.pdf Yanes, Magali Delgado and Dominguez, Ernest Redondo (2005) Freehand Drawing for Architects and Interior Designers. New York: W. W. Norton & Company


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THE MUSICALITY OF UNDULATING GLASS PANES IN THE CONVENT OF LA TOURETTE

Marko Slaviček1 Researcher, Arheo d.o.o., Tomislavova 11, 10000 Zagreb [email protected]

Anja Kostanjšak PhD student, University of Zagreb, Faculty of Architecture, Kačićeva 26, 10000 Zagreb, [email protected]

ABSTRACT Seeing as many authors have used a metaphor of architecture being frozen music, we could state that the role of geometry in this context is a combining one, formalizing and reconciling the liaisons that intertwine music and architecture. Ideas of Pythagoras’ regarding harmony and proportion impressed the formation processes in music over many centuries. In architecture, notorious Le Corbusier and his collaborator, a Greek composer and architect-engineer Iannis Xenakis, stand for corresponding creations in the intersections of the two disciplines.

In the project of Sainte Marie de La Tourette, Le Corbusier entrusted a design of window-openings to young Xenakis. Separated by Modulor-controlled divisions, Xenakis’ design of undulating glass panes has been praised for the musicality of its rhythmic variations. They have become an idiosyncratic element of the La Tourette convent and have enriched its environmental appearance. Through the research of Modulor-based design of Xenakis’ glass panes, it is possible to reveal the music that lies hidden within them. Using the analogies between the media, not only do rhythmic variations allow us to actually hear the music “composed in architecture”, but also to direct to the creative possibilities of interdisciplinary design approach. Music and architecture, spoken in their common language of proportions, complement each other and contribute to the convent’s urban identity.

Keywords: La Tourette, Xenakis, Le Corbusier, Modulor, music

INTRODUCTION Sainte Marie de La Tourette is a Dominican convent constructed between 1956 and 1960 on open ground in Eveux-sur-Arbresle close to Lyon, France. Designed by Swiss painter and architect Le Corbusier, the complex includes a church, the monastery itself, 100 sleeping rooms, a room for work and another for recreation, study halls, a library and a refectory. Its structural frame is of rough reinforced concrete and basic form is a rectangle formed by four wings. It is considered one of the most important buildings of the late Modernist style. In 1986 it was chosen by French architects as the second most important modern architectural project, the Centre Pompidou in Paris by Renzo Piano and Richard Rogers being number one.



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The convent features a significant contribution in the light design by Le Corbusier’s young collaborator at the time, Iannis Xenakis. In his own words, “The general shape is Le Corbusier’s, while the internal structure was developed by me, based on discussions with the monks. The façade of the cells is actually a copy of the Marseille housing unit and is the work of Le Corbusier, while the glass panes under the row of cells and the church are almost exclusively my work. The same applies to the round chapels with the ‘cannons of light’ and ‘machine guns of light’ that stick out of them. I positioned them so as to catch the light of the sun during equinox.”2

MODULOR Throughout the history, we can see intertwining pattern of exchange between oppositions from one historic era to other. Every era contrasts the following, and so on, to infinity, and it is same in terms of the anthropomorphism. In 18th and 19th centuries, industrialization was one of the reasons for renunciation of anthropomorphism, because it favoured an empirical and functional side to architecture. However, by the change of an era and an idea for serial production of building units following the 20th century simultaneously to industrialization stimulated the renaissance of proportion theory, of an anthropomorphic theory, the Modulor.

Le Corbusier developed this system of measurements as a reflection on a proportional system based on a golden mean.3 In addition, important fact to share is that the basic concept of Modulor has roots in its relation to serial production and standardization of architectural parts. Le Corbusier based its creation on nature’s mathematical law of proportion taking into account human male average dimensions. In order to achieve this relationship he transferred golden mean to the dimensions of the human body. The figure’s height was initially 175 cm, but gradually changed to 183 cm, with arm raised over his head he stands 226, and dimension from navel to toe being 113 cm.4

Modulor was directed specifically against introduction of meter as unit and of decimal system. For author meter was abstract, bloodless and devoid of feelings, and its usage brought about the looseness of architecture.5 We could state that this anthropomorphism’s resurrection, in form of Le Corbusier’s Modulor is utopian desire for a human architecture, or not so utopian after all.6

UNDULATING GLASS PANES While working in Le Corbusier's studio in the late 1940s and 1950s, Xenakis studied musical composition with the French composer Olivier Messiaen. Messiaen advised Xenakis not to rely too much on classical musical tradition, but instead seek inspiration in his Greek roots and engineering background. He started to experiment with the numerical proportions, as well as Modulor-based time and pitch organization in his compositions. Throughout his entire career as a composer, Xenakis applied his mathematical knowledge in music.7

On the other hand, his musical experience proved fruitful in the design for undulating glass panes which are located in the hallways of the La Tourette convent with glass surfaces being set directly in the concrete. It is interesting that this celebrated feature was due to budget restraints, as large panes were too expensive. To prevent creating a dull façade of monotonous glass panes, Le Corbusier delegated Xenakis to rearrange and play with the distances between the concrete 2 Kanach, Sharon. 2008. The Iannis Xenakis Series No. 1: Music and Architecture by Iannis Xenakis, pp. 49. 3(Latin: sectio aurea) In mathematics, two quantities are in the golden mean / golden ratio if their ratio is the same as the ratio of their sum to the larger of the two quantities. 4Le Corbusier, Der Modulor, pp. 36 -68. 5 Le Corbusier, Der Modulor, pp. 19, 20, 33 and 223. 6 It is considered that Le Corbusier tried to justify his architecture through Modulor. His architecture was frequently characterised as devoured of any emotion, “technoid” with efficiently calculated combination o mathematical laws of proportion and organic looking natural forms. 7 Sterken, Sven. 2011. Music as an Art of Space: Interactions between Music and Architecture in the Work of Iannis Xenakis.


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barriers to give the west elevation an asymmetrical order, whereas regular window openings spanned the top floor. The lower three floors had a variety of what Xenakis called densities, the term replacing the concept of rhythm.8 Using simple means of Modulor design principles, it expanded the horizons of possibilities, giving a phenomenological interior space filled with variety of light and shadow patterns (Figure 1). However, the visual impact of glass panes is not limited to interior design only, but to exterior as well, as they are very well perceived from the outside and have become one of the building’s idiosyncratic elements.

Figure 1: Undulating glass panes. Interior view. Source: https://www.flickr.com/

Although the first appearance of the undulating glass panes occurs in Le Corbusier’s previous projects in Chandigarh, India, Xenakis was often called upon to incorporate this feature in other buildings; with a culminating point in La Tourette, nearly every – if not all – project and realization coming out of Le Corbusier’s studio after 1954 included this design.9

Musical analogies Several different methods of architectural intersections with music have been recognized throughout the history; architecture as a sequence of harmonics (based on proportions, as favored by the Renaissance artists), as a musical instrument (based on acoustics, as used in various sound installations), as an irrational expression (based on synesthesia), as a rational expression (based on deconstruction, as used in Iannis Xenakis’ Polytopes), or as a stimulus for movement.10 The latter approach is based on rhythmic relations and La Tourette’s glass panes are an ideal example.

Many authors, including Le Corbusier himself, have spoken about the musicality of Xenakis’ design, without further explaining what that musicality is supposed to be. What makes an architectural design – musical? Of all the project’s undulating glass panes, the ones of the west elevation are the most notorious. Arranged along the three levels, their increasing-decreasing appearance contributes to the project’s overall image and are in focus of this analysis. Acousticians may recognize the horizontal organization of vertical barriers as a representation of particle displacement in a longitudinal wave (Figure 2). The interplay of compression and

8 Riad, Mahmoud: 2009. Architecture: Music, City, and Culture, pp. 95. 9 Kanach, Sharon. 2008. The Iannis Xenakis Series No. 1: Music and Architecture by Iannis Xenakis, pp. 43. 10 Riad, Mahmoud: 2009. Musical Deconstruction / Reconstruction. Visualizing Architectonic Spaces Through Music, pp. 4.


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rarefaction is quite clear, even though the distances between the maximum peaks are not as equal as they should appear in the common one-dimensional waves. One could say that Xenakis borrowed the idea of sound represen-tation as an interchange of air pressures, but did not wish to pursue it too literally (some-thing which could have been easily achieved by Modulor, too). Instead, he used the principle of compressions and rarefactions merely as compositional elements with which he proceeded to play. Even though Xenakis’ intention was not the representation of particle displacement, elevation design surely provided a great diversity of distances between the barriers. This appearing complexity is not what makes them musical only, but what makes them appear organic as well. However, these barriers are not the story’s end, for Xenakis went further and applied the same principle of irregularity to horizontal division likewise.

Audiovisual adaptation Existing analysis of west elevation made in 1999 by Mark Kammerbauer and Alexandra Schnellbögl resulted in an audiovisual adaptation. The authors created a synergetic digital animation of an interpretation of the elevation and a musical adaptation where the distances between the barriers were transcribed from millimeters to seconds and programmed in a way that each of the barriers in the animation triggered the sound of four different musical instruments. The recording of three of the four instruments were percussion instruments, whereas the additional fourth was able to produce definite pitch. Its pitch movement somewhat followed the story of compression, but the general musical representation was basically rhythmical, for it represented the horizontal organization and ignored the vertical one.

If one wishes to complete the analysis by setting both directions of organization to music, one should ask oneself in what way should this rhythm be organized in time? There are five general possibilities: the movement from left to right, from right to left, from upwards down, from downwards up, and randomly. However, there is no left and right or up and down in music. These are the terms borrowed from visual arts, just as the term of rhythm in architecture is borrowed from music. For this reason, any of the five approaches is equally legitimate to be used, and one is free to choose the one resulting in the desired sounding outcome. The choice for this paper’s musical representation relies on Kammerbauer’s and Schnellbögl’s horizontal reading11 from left to right for two reasons: it is intuitive because of Western reading standards, and it favors primary construction over the secondary one.

11 In this paper's accompanying animation, lowest floor level is omitted for the fact of being significantly shorter than the upper two.

Figure 2: Kinematics of a longitudinal wave. Source: http://www.sinequanonthebook.com/AetherHistory.html


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In horizontal reading direction, the distances between the concrete barriers obviously correlate to the rhythmic organization of sound events; at any given velocity in a timeline fashion, the further the barriers are from each other, the longer the durations between events are. Additional division perpendicular to the primary one consists of several rectangular panes between the two adjoining vertical barriers. All the rectangular panes share a common base dimension, which indicates that their rhythmic values or durations are to be represented as equal in the horizontal reading direction. Their vertical superposition is what makes them different from each other, and thus they can be treated as chords.12 In this way, glass panes function as a graphic score in which each level of elevation represents the chord progression with varying rhythmic values. In the way the floor levels are superimposed, different layers of chord progression complement each other. Not only are we able to set the rhythm of elevation’s design to music, but the inner melodic lines of choral-like movement arise as well (Figures 3 and 4).

Figure 3: La Tourette's west elevation sample. Digital drawing by Anja Kostanjšak

Figure 4: Musical analogy of La Tourette's west elevation sample. Musical translation and quarter-tone approximated notation by Marko Slaviček

12 The difference between the panes’ heights may be also treated rhythmically, but as the general durations are already used in horizontal movement, one should seek the means of a different scale, i.e. the pitch.


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CONCLUSIONS The whole idea of interdisciplinarity involves combining diverse activities into one that is to cross the boundaries of all of them individually. Architecture has been inspired by musical processes since ancient times and Xenakis’ own practice is no exception. In 1984, he published an article in the Garland Archives in which he revealed the intricate relationship between his musical preoccupations at the time of La Tourette project, creating, as one young monk wrote to him, a new phenomenon of “visual acoustics”.13 His design contribution is not only visual though, as he has shown that with engineering and interdisciplinary knowledge, one is able to make an impact using cheap resources and simple materials only. Xenakis has also shown that drawing inspiration from other disciplines does not stand in the way of approaching the common architectural requirement such as insolation. On the contrary, with the proper approach and effort, it can only contribute. Le Corbusier’s and Xenakis’ unique collaboration on the La Tourette convent not only has resulted in one of the capital examples of modern architecture, but in a multi-layered work of art that has been an inspiration for generations to come.

REFERENCES Le Corbusier. 1985. Der Modulor, Volume 1: Darstellung eines in Architektur und Technik allgemein anwendbaren harmonischen Maßes im menschlichen Maßstab, 5th edition (reprint of second edition 1956). Stuttgart Deutsche Verlagsanstalt. Kanach, Sharon. 2008. The Iannis Xenakis Series No. 1: Music and Architecture by Iannis Xenakis. New York: Pendragon Press. Riad, Mahmoud. 2009. Architecture: Music, City, and Culture. Master thesis, University of Maryland. Riad, Mahmoud. 2009. “Musical Deconstruction / Reconstruction: Visualizing Architectonic Spaces Through Music.” Digital Architecture: Formalization & Content Proceedings, presented at the 4th ASCAAD Conference. Sterken, Sven. 2011. “Music as an Art of Space: Interactions between Music and Architecture in the Work of Iannis Xenakis.” In Ressonance: Essays on the Intersection on Music and Architecture, Volume 1 edited by Mikesch W. Muecke and Miriam S. Zach. Culicidae Architectural Press. http://www.couventdelatourette.fr/ Accessed February 13, 2016 http://nexialist.com/XENAKIS/NEX_XENAKIS.htm Accessed February 13, 2016

13 Kanach, Sharon. 2008. The Iannis Xenakis Series No. 1: Music and Architecture by Iannis Xenakis, pp. 51.


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THE ROUTES OF DIGITALIZATION – FROM REAL TO VIRTUAL CITY AND VICE VERSA

Dr Miodrag Ralević1 Professor, University of Belgrade – Faculty of Architecture, State University in Novi Pazar, Bulevar kralja Aleksandra 73-2, e-mail: [email protected]

Dr Tatjana Mrđenović Assistant, University of Belgrade – Faculty of Architecture, [email protected]

ABSTRACT We live in informatics society in which we slowly, but certainly reach digitalization of real life in all of its aspects, starting from the user based dimension of functioning of all forms of communication between people through different networks: mobile phones, Facebook, social networks, etc.The spatial dimension (morphology) of entire Earth, regions, each ettlement, ets. can be observed through Google. Data based related to every living person is beeing formed, related to their stationary data, but also related to possibilities to “follow”, “tap/bug” and “track” every individual in space and time.

Flows of financial capital are also being digitalized for every individual (using credit cards, on/line transactions, etc.) as well as in banking systems (on-line transactions). Everyday goods such as food, clothing, etc. can be ordered through portals on the internet. Even various study courses and schools are being organized via internet.

The real world (space, people, money, knowledge) are digitally being moved into virtual space. Here question arises: In which space dimension is this process of digitalization is taking us? This main research question will lead the paper discussion opening basic dilemmas: (1) Will real life slowly move to virtual world? (2) Is the dematerialization of spatial and urban systems is at the end of the digitalization? (3) Shall and what kind of use we will have from virtual world in relation to possibilities of re/questioning developmental model options as well as in perceiving the effects of certain decisions/ trajectories in real life?

The main goal of the paper is giving answers to above disposed questions as well as to the thesis that we have a great range of influence and possibilities on the new meaning of urban development (at all levels) that have to be transformed into digital sphere in order to be effectively and efficiently managed.

Keywords: urban development, digital city, dematerialization, management



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INTRODUCTION Plural and global societies make crucial changes in thinking about urban development. Castells claims that we are now living in a “network society” that has new types of networks. This network is created by the process of globalization and spatial-temporal compression. Therefore, it is possible to experience different cultures, globally speeded, using multimedia, sitting in the own room. This kind of rapid cultural exchange bring together several levels of globalisation process (economic, cultural, social, spatial, technological) that can have positive and negative impacts to urban development regarding the approach we use to tackle the process.(Castells, 2000) “Societies are organized around human processes structured by historically determined relationships of production, experience, and power. Production is the action of humankind on matter (nature) to appropriate it and transform it for its benefit by obtaining a product, consuming (unevenly) part of it, and accumulating surplus for investment, according to a variety of socially determined goals. Experience is the action of human subjects on themselves, determined by the interaction between their biological and cultural identities, and in relationship to their social and natural environment. It is constructed around the endless search for fulfilment of human needs and desires. Power is that relationship between human subjects which, on the basis of production and experience, imposes the will of some subjects upon others by the potential or actual use of violence, physical or symbolic. Institutions of society are built to enforce power relationships existing in each historical period, including the controls, limits, and social contracts achieved in the power struggles.” (Castells 2000: 15) The paper will consider the possibilities to metamorphose real world into digital one in reversible process taking into account forming e-eutpoia as a paradigm to manage the future real life using various methods and techniques of generating alternatives, moving along them, and helming the future.

FROM REAL TO DIGITAL AND VICE VERSA: E-EUTOPIA PARADIGM FOR METHAMORPHOSIS We live in the era of generating, forming and establishing of informatics civilisation that reflects, metamorphoses and transcendent all aspects of our culture especially urban one, enabling multilevel change and exchange of cultural practices and experiences globally providing rapid urbanisation process that are based on old and new kind of networks. The old one stands for traditional kind of organising, while the new one uses digital world for re/creating traditional life into all possibilities of individual, group, community desires. Therefore, we can realize our desires using digital networks, creating our virtual identities, monitoring our alter behaviour on other alter-ids/egos/superegos. Following this process we can create virtual/digital cities that transcendent all resources into virtual networks in which we act as a real persons for new utopias, we would say eutopias. For us digital city as e-utopia can take two directions: dis-utopia and e-utopia. The paper will discuss the processes that can reverse some material dis-utopuias to e-utopias and vise versa.

Firstly we would like to distinguish the main notions that the paper is based on. For us:„Digital city refers to a set of virtual practices or repertoires that are undertaken in a sustainable manner by individual residents and groups of a particular city for the purpose of interacting, simulating, explaining, reinforcing, monitoring, neutralizing, criminalizing, expanding (locally or globally), processing, transacting, or undermining any political, social, economic, religious or communicational aspect of the daily activities of the urban community. The digital city is an embodied site- the virtual facade of the modern city – where some aspects of social interaction and traditional daily activities are carried out and thereby transformed.“ (Laguerre, 2005:1) According to Laguerre, this kind of city represents space into which real city expands in a form of another entity for various kinds of communication.

On the other hand Castells claims that modern area is characterized by network society in which we are all interconnected using diverse kinds of communication channels based on information


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technologies that creates bases for new types of social, cultural, urban, economic, financial societies (Castells, 2000).“Bewildered by the scale and scope of historical change, culture and thinking in our time often embrace a new millenarianism. Prophets of technology preach the new age, extrapolating to social trends and organization the barely understood logic of computers and DNA. Postmodern culture, and theory, indulges in celebrating the end of history, and, to some extent, the end of reason, giving up on our capacity to understand and make sense, even of nonsense. The implicit assumption is the acceptance of full individualization of behavior, and of society’s powerlessness over its destiny.”(Castells, 2000:4)

The fact that informatics technology will dominate the future conditions and will become the crucial artifact in observing, assessing and managing future development of human kind; generating all great advantages and disadvantages in influencing future morphogenesis of humans and their behavior, faith, values and mutual (dis)respect, makes this discussion the relevant one for consideration of the ways and trajectories of urban development. As city is an artifact of human organization and reproduction the digital city can be “hell” or “purgatory” for re/cycling and re/creation values for new principles of spatial and cultural organization. The main characteristics of informatics technology is a process of digitalization through which we can, desire and want to project, translate and overwrite real world into digital/virtual one, creating a kind of model/paradigmatic copy (e/eutopia) in which we can efficiently and effectively decide on effects in real world that we face, using different techniques of simulation: mathematic, visual, logic, etc. (Scheme 1)

Scheme 1: Relation between the process of digitalization and simulation: metamorphosis of real and virtual, authors

ROUTES AND PRODUCTS OF DIGITALIZATION PROCESS: DEVELOPMENT OVER TIME In line with the thesis outlined in the Introduction that is presented in the Scheme 1 the core of the research will discuss, systematize and present the “finite” products of digitalization considering Castells thesis: “…are virtual communities real communities? Yes and no. They are communities, but not physical ones, and they do not follow the same patterns of communication and interaction as physical communities do. But they are not "unreal, " they work in a different plane of reality. They are interpersonal social networks, most of them based on weak ties, highly diversified and specialized, still able to generate reciprocity and support by the dynamics of sustained interaction. As Wellman puts it, they are not imitations of other forms of life, they have


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their own dynamics: the Net is the Net. They transcend distance, at low cost, they are usually of asynchronous nature, they combine the fast dissemination of mass media with the pervasiveness of personal communication, and they allow multiple memberships in partial communities. Besides, they do not exist in isolation of other forms of sociability. They reinforce the trend toward the "privatization of sociability" - that is, the rebuilding of social networks around the individual, the development of personal communities, both physically and on-line…” (Castells, 2000:389)

These “finite” products of digitalisation will be especially considered in the area of professional action in urban, spatial development of cities, regions, settlements considering “urban” and “spatial” level as a core of real as well digital world. The process of mirroring real to digital and vice versa is instrumentalized by the process of digitalization and metamorphosis (Figure 1). In this sense we will systematize and present the steps and phases of the digitalization process of urban systems and its effects on urban activities and development. The systematization is in line with two antipode paradigms in urban and spatial development when creating places: positivistic rational, and collaborative-rational.

Our paradigmatic model is the one which should widen the H. Simon’s bounded positivistic rationality using multilevel dimensions of digital city and space to widen and integrate different legitimate rationalities into coherent shared values and visions of future. Therefore, the digital and real space: “… becomes as an arena for mediating differences in plural society. This integration means making linkages not only between the sectors of sustainability and different interests, but also linkages between different levels of governance, both horizontal and vertical.” (Mrđenović, Ralević, 2013). This arena went through various steps and phases of digitalisation in order to have a better insight of the space resources, as well as to manage it in proper manner accoding to global values (see UN Global Sustainable Development Goals):

• “0 step/level” – Zero step is the beginning of digitalization and informatics society in which the discovery of binary code 0,1 as digital resource, has made a revolutionary thought of mathematics-operational systems when the hardware become a virtual place of binary reality of real urban world;

• “1 step/level” – First step of digitalization of urban space works on the basis of memorizing infinite number of data about space, demography, physical structure, into alpha-numeric data-basison multilevel urban and spatial systems, when professionals form data-bases for assessing present states in and about the world in order to rise a level of implementation of developmental trajectories and options (Scheme 2);

Scheme 2: Digitalization – Information systems


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• “Second step/level”: process of mathemetisation of digital space - considers introducing computing techniques that enables efficient work with quantitative data, systematizing them into different categories with relational data bases that produces diagrams of change over time. This is enabled by complex mathematical models: from relational-functional connections to programmed mathematical models (Scheme 3);

Scheme 3: Digitalization – Process of mathematization of digital space

• “Third step/level”: Visual digitalization of space, represent a stride for our profession as we got a possibility of graphic spatial representation that are provided through: (1) Sattelite imagenary, (2) Otho-photo imagenary, (3) Digital mapping of geo-referal cadastre, (4) “Google – earth GIS” system that integrated various levels of space (Image 1,2,3,4):

o Geo-morphology Image 1: Geo-morphology in Google Earth

o Urban maps

Image 2: Urban Maps in Google Earth


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o Physical representations Image 3: Phisical representations in Google Earth

o Virtual walk through space

Image 4: Virtual walk through space in Google Earth

• “Fifth step/level”: Geo-spatial digitalization of simulation models of complex visual, geo-spatial, alphanumeric data, and value representation in order to support decision making towards adequate transformations on regional and urban level: (1) simulation games in real space, (2) simulation games in virtual spaces, (3) Simulation models of city development from various aspects;

• “Sixth step/level”:What if - Digitalization of animation virtual models about real spaces and generating alternatives based on predictions with the cause-effect analysis on all aspects urban and spatial development with aim of continual assessment of our decisions about space (Sheme 4)

Sheme 4: What if digitalization in order to manage the actions with cause-effect assesment

• “Seventh step/level”: Represents transferring social communications between people into digital world through Facebook, Twitter, etc. creating a special kinds of virtual societies that become real entities that influence real world and behaviors;


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• “Eight step/level”: Personal blogs, web-sites through which individuals, institutions, organizations, companies, promotes their offers, results, programmes, etc.

CONCLUSIONS At this specific moment taking into account previous discussion we can conclude that real world is “moving” to virtual one, creating a specific digital city in order to efficiently and effectively manage needs, desires, interests and values, using all benefits of digitalization process:

1. Efficient reaction and feed-back; 2. Easy accessibility and constant presence of all resources (human, natural, artificial,

financial, logistic, etc.) 3. Great interconnectivity of all actors, stakeholders and spatial systems; 4. Full time-based inter-connectivity of all actors; 5. Transparency and accessibility of all real resources using digital world and upgrading

the real one using digital society;

This tendention of metamorphosing real into digital is rapidly developing and forming a kind of digital utopia which should be re-evaluated by rational-positivistic and instrumental values in order to become e-eutopia insead of e-disutopia. On the other hand, e-utopia represents a kind of paradigm to be achived using different techniques of simulation, animation, that enables us to change our behaviour in real space-city to achive agreed, shared and integrated values, and manage urban and spatial development using digital city considering couse-effects of our actions and choosing the right developmental option at the time (Scheme 5).

Scheme 5: Process of reversal methamorphosis of real into virtual worls and vice versa in order to choose the “right“ scenario at the time

Considering the question of re-discovering future of the cities the creation of „digital real one“ we are in the positivistic situation which opens us possibilities to:

1. Establish a range of alternative trajectories of real world (Scheme 6) (Ralević, 2006);

Scheme 6: Establishing a range of alternatives


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2. Consider and evaluate future through wide ranges of alternatives in digital world (Scheme 7)(Ralević, 2006);

Scheme 7: Evalualting alternatives

3. Following the trends of new needs, desires and interests, we would be able to move along the alternatives (Scheme 8)(Ralević, 2006);

Scheme 8: Moving along the alternatives

4. Take the future “in our hands” managing the movements along the alternatives instrumentally and particular (Scheme 9)(Ralević, 2006);

Scheme 9: Helming


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ACKNOWLEDGMENTS The paper is a result of the scientific project TR36035 „SPATIAL, ENVIRONMENTAL, ENERGY AND SOCIAL ASPECTS OF DEVELOPING SETTLEMENTS AND CLIMATE CHANGE – MUTUAL IMPACTS“, financed by Ministry of Education, Science and Technological Development.

REFERENCES Castells, M. (2000) The Rise of the Network Society. Oxford: Blackwell Publishing. Laguerre, M. (2005), The Digital City – The American Metropolis and Information Technology, University of California, Berkeley Mrđenović, T., Ralević M. (2013) Designing/Modeling the Space for Urban Regeneration: Pros and Cons, Technics Technologies Education Management –TTEM (Thompson, Web of science, Web of knowledge, etc), Vol.8, No4.,11/13.2013., (рад прихваћен за објављивање 10.04.2013) Ralević, M. (2006) Modelovanje urbanog procesa, Arhitektonski fakultet u Beogradu, Beograd

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