Papers by Mirjana Lozanovska
Antony di Mase Gallery, 2019
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Fabrications, 2018
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Geelong After Dark, 2017
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Global Diversities
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The Ohrid School is a tentative category proposed in the 1980s to capture the architecture built ... more The Ohrid School is a tentative category proposed in the 1980s to capture the architecture built in regional Macedonia in the 1970s. The Letnica Restaurant (1972) by the Hadzieva sisters makes a distinct break by referring to Ohrid's notable architectural heritage. Traditional Urban Architecture in Ohrid (1982) by the late Prof. Čipan and Prof. Grabrijan's The Macedonian House (1955/86) had built a case for the region. Complicated by the 'mediterranean language' of the Yugoslavian socialist hotel architecture extending along the coastline of Lake Ohrid, this points to the multiplicities of modernism and their entangled histories with critical regionalism. Popovski's design for the Pensioners Centre in Ohrid (1973), articulated a different canonical question: at what point can shifts in architecture be identified collectively? The Ohrid School is signified through the cultural geography of Ohrid, but it does not signify the Ohrid region specifically. Popovski beca...
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Building Research & Information, 2022
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Journal of Housing and the Built Environment
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Space and Culture, 2021
The dead, not unlike the sick, are historically quarantined from the space of the living. Spatial... more The dead, not unlike the sick, are historically quarantined from the space of the living. Spatial separation is a constituent of civilization and this is epitomized by an architectural and urban separation, indeed division, between the space of the dead and the space of the living. Cemeteries are historically located on the periphery, quartered off by a clearly demarcated boundary, or in a separate site altogether as it is called, the City of the Dead. Architecture manifests a clarity of distinction between the living and the dead as spatially distinct building block of civilization. Yet we know this cannot be the whole story. This paper will draw on the death drive from psychoanalytic theory to discuss an architecture of quarantine.
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Open Studio Open Day Wednesday May 24, 1-5pm Come One, Come AllArtists Talks, Collaborative Works... more Open Studio Open Day Wednesday May 24, 1-5pm Come One, Come AllArtists Talks, Collaborative Workshops, Walks, and Conversations about Geelong’s futureVACANTGeelong invites everyone to imagine a bright future for the city. A team of artists, Deakin researchers and students, and community groups are currently working on a vision for Geelong that celebrates and builds on its industrial history, its culture and its potential as a creative and clever city. In the spirit of collaboration and community engagement we are opening our doors to our studio in Nth Geelong. Where: Cnr Baxter Rd and Blackwell St, Nth GeelongWhen: 24th of May 2017, 1 – 5 pmMeet the Artists and their Works-in-ProcessBindi Cole Chocka, Sarah Duyshart, Merinda Kelly, Robert Mihajlovski, Amanda ShoneIn casting Geelong as a city for the future we see art and architecture as active agents in the way we live. They guide us spatially, culturally, aesthetically, emotionally and politically. Artists and researchers from Deak...
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Fabrications, 2018
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Journal of Housing and the Built Environment
Background This paper provides an evidence base for practice in Australia from an integrative lit... more Background This paper provides an evidence base for practice in Australia from an integrative literature review of research on co-designing housing with people with an intellectual disability. The study asks: what methods and outcomes have been reported from including people with an intellectual disability in the co-design of their housing? Method The integrative review framework described by Whitemore and Knafl (2005) was used to analyse the literature. Results The literature searches yielded 16 articles after applying inclusion and exclusion criteria. Important gaps in the literature were found relating to: co-designing with people with an intellectual disability; the co-designing of housing with people with an intellectual disability; specific frameworks or benchmarks for co-designing with people with an intellectual disability; processes on use of proxies; and on design outcomes. Conclusions Considerable work is required to explore and evaluate co-design processes in the design ...
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Fabrications, 2020
How can aesthetics be understood from the perspective of the ethnicminority migrant subject or th... more How can aesthetics be understood from the perspective of the ethnicminority migrant subject or the ethnic-minority migrant community? The mainstream paradigm of migrant settlement is one of deprivation, conditioned by hardships, financial struggles, and bare functionality. But migrant aesthetic production transcends this narrative of thrift and survival. It is underscored by desire and agency, beauty and inspiration. A taxonomy of identifiable migrant architectural types – housing, worship structures, street and retail spaces, gathering spaces – evolving in the migration histories of Australia and New Zealand, as in other settler nations, outlines the interface of migration and aesthetics. This Forum invited these short texts to offer provocations to mainstream aesthetic framing in architecture and its conventional understandings of migrant architecture. A powerful narrative of “remittance” economy frames the discourse on migrant architectural aesthetic production in homeland sites. In The Remittance Landscape, Lopez details structures including sport stadiums and cultural facilities, in addition to housing, that result directly from emigrant economic flows. Images in postcards and magazines, and of iconic structures discovered by migrants are just some of the complex aesthetic sources of this architecture. In contrast, migration studies often assume the aesthetic sources of migrant architecture in destination sites to be homeland vernacular architecture. Singular directional flows of architectural aesthetics are problematic for migrant architecture as for architecture generally. Visibility/invisibilty is important to ethnic-minority migrants, as is the narrative about that visibility. As Lopez illustrates below – a material reference to the homeland and a right to exist and to be visible in the US city – are both part of the objective of using stone transported from Mexico into the United
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The scholarship of emigre architects that arrived in Australia in the period between 1930 and 196... more The scholarship of emigre architects that arrived in Australia in the period between 1930 and 1960 has focused on developing an understanding of individual architects and their particular contribution to the discipline and profession integral to a dominant architectural historiography. Examination of how architects together form movements, aesthetic affinities, and attitudes about architecture generates an understanding of the collective dimension of the discipline, and the complexities of architectural production. Significant to the capacity of the individual emigres architects were the opportunities gained firstly, through the network of the architecture profession and institution, and secondly with one another. On arrival, except for migrants from Britain, many emigres faced a difficult path of migration and struggled to gain registration and thus employment in the architectural profession. What were the relationships between emigre architects and architecture’s institutional inf...
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Migrant Housing
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Through their frequent visits to public green spaces in cities with white majority cultures, non-... more Through their frequent visits to public green spaces in cities with white majority cultures, non-English-speaking immigrants draw attention to the way people from different cultural backgrounds perceive and use these spaces. By building on theories of landscape as a cultural phenomenon, this paper investigates new ways in which recent generations of immigrants to Australia are using urban park spaces. It focuses on cultural and mythical notions of Australian park landscapes and questions to what extent they contribute to the sense of inclusivity, or alienation, that non-English-speaking immigrants experience in using these spaces. This paper examines the mythology surrounding the 'bush' and 'Arcadia' and how these are intrinsic to Anglo-Australian consideration of natural landscapes, landscape design and, therefore, urban park character in Australia. These characteristics, along with the influence of English picturesque design, have resulted in landscapes that illust...
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Kultura (Skopje), 2014
What is cultural memory in the relation between the nation-state and the emigrant? How is the con... more What is cultural memory in the relation between the nation-state and the emigrant? How is the connection to and communication with the emigrant community continued and developed by the nation-state after emigration? This paper will focus on the role of the<em> Macedonian Review: History, Culture, Literature, Arts,</em> a journal that was published by "Kulturen Život" and distributed by Matica, the organisation responsible for the communication with the emigrant community, through the diaspora in Australia and elsewhere. How is the subjectivity and cultural memory of the emigrant as individual and collective represented in the journal? From a study of the issues of the Macedonian Review as archival data, this paper will argue that rather than representation, the emigrant, as subjectivity is absent from the essays in the journal. The role of the journal can be interpreted as a form of 're-education' of the emigrant and members of the Macedonian diaspora....
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Rapid population influx due to migration in Australia has produced diverse cultural landscapes, w... more Rapid population influx due to migration in Australia has produced diverse cultural landscapes, which become visible in cities as physical forms, settings and symbols produced by different ethnic communities. Scholars have argued that people moving away from the country of their birth, whether this be a necessary migration, labour mobility or voluntary migration, results in a difficult process of resettlement for families and individuals. To provide a cohesive multicultural society for all citizens, it is essential to understand how immigrants perceive their new environments and how they make connections in a new land in the process of cultural renewal. While the policy of 'multiculturalism' has had a rocky road since the optimistic 1970s, a drive through many suburbs in Australian cities shows buildings, festivals and communal gatherings of people that express and refer to diverse cultural backgrounds.Urban green spaces, ranging from private home gardens to public parks and...
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Papers by Mirjana Lozanovska
examines this displacement of dwelling and its effect on migrant housing.
This timely volume investigates the poetic and political resonance between migration and architecture, challenging the idea of the ‘house’ as a singular theoretical construct. Divided into three parts, Histories and theories of post-war migrant housing, House/home and Mapping migrant spaces of home, it draws on data studies from Australia and Macedonia, with literature from Canada, Sweden and Germany, to uncover the effects of unprivileged post-war migration in the late twentieth century on the house as architectural and normative model, and from this perspective negotiates the disciplinary boundaries of architecture
The decline of industrial towns is a global phenomenon and is causing escalation of the crisis of expansive mega cities. Regional cities and towns have been seeking to revitalise their identities in order to remain viable, and have at times appropriated global top-¬down ideas. There is often a gap between aspiration and reality. This project takes an alternative approach to this crisis, with a focus on redefining Geelong as a 21st century city.
migration and architecture. Cities have been substantially affected by transnational
migration but the physical manifestations of migration in architecture – and its
effect on streetscape, neighbourhood and city – have so far been under-studied.
This contributed volume examines how migrants interact with, adapt, and
construct new architecture. Looking at the physical, urban and cultural impact of
these changes on a variety of sites, the authors explore architecture as an identity
category and investigate what buildings and places associated with migration tell
us about central questions of belonging, culture, community and home in regions
such as North America, Australia and the UK.
This book makes an important contribution to debates on place identity and
the transformation of places as a result of mobility and globalised economies in
the twenty-first century.
* pioneering research on migration and architecture
* tabula rasa - examining both destruction and reconstruction of the city, focussing on Tange's role in Skopje 1965
*creative research on the post-industrial town focussing on the activation of industrial architecture
South Africa as a nation has a unique history; it is different from other former Southern
African colonies, with the exception of Zimbabwe and Namibia, in its post colonial
history. The majority of sub Saharan African colonies were democratised after the
Second World War. The governments of the former colonies were chosen through
democratic election processes which involved all the citizens of a particular nation
regardless of their ethnic background. South Africa was a British colony until 1910
when it became a British dominion, it was not declared a republic until 1961. Unlike
most other former colonies the South African government intensified the policies of
segregation of the colonial era, through legislation such as the Native Urban Areas
Act 1923 and the Pass Law Act 1952.
for Medium Density Public Housing in Dandenong,.
The First prize (equal) was awarded to Deakin student
Jaka Sedovnik.
Jaka Sedovnik’s project infuses the typical pattern of
suburban detached dwellings with an abstract idea of
pavilions in a landscape. It creates a site of an informal
play of solid and void in which the void is shaped and
programmed, making it as significant as the solid,
and transforming the sense of left over space. The
density is increased, and yet spaciousness is preserved.
A sophisticated internal plan related to mass housing
design complements the minimalism of the houses. Jaka
Sedovnik’s proposal is a courageous translation of the
SANAA Moriyama house into medium density public
housing. It offers spatial poetics to the local and suburban
environment of Dandenong.
Architecture
The theme of the studio is captured in the title in which
the plan is framed on one side by urbanism and on the
other by architecture. It suggests that the plan represents
and might generate a productive and dialectic relationship
between urbanism and architecture. The plan might also
link the writings (and work) of Le Crobusier, who states
that the architect is an organiser of space, not a designer of
objects, and the writings (and work) Rem Koolhaas who
has stated that his generation (after 1968) has ridiculed
the professional field of urbanism. The studio programme
was based on Proposition 3047, a national urban design
and architecture ideas competition that seeks to identify
innovative development concepts for a group of important
sites in the town centre of Broadmeadows, Victoria.
BACKGROUND
Architecture is embodied and sensuous, and involves several ways of perceiving and experiencing it including – sound, volume, solidity, enclosure, materials, permeability, natural light, shape, hardness-softness, texture, ornament, pattern. The relationship between architecture and the body is important and can be both evident and subtle. The body moves through architecture while architecture itself is usually immobile, and yet architecture invariably shapes in some way the body’s movement – both external and internal. Architecture is a concrete thing made with physical materials and yet it also produces a non-material void or series of voids, and we call this phenomenon – architectural space. Space is the non-physical part of architecture. It is essential to nearly all architecture because it is the part which is inhabited by people, in which individuals can exist or just be, and in which all the human action and drama take place (no matter how public, private, intimate or secret). Body-Space relations may be said to be essentially creative.
PROJECT
The project explores ‘space’ and spatiality in architecture, starting with an understanding of the body as a spatial, in addition to a physical, entity. The brief for each of the parts above has asked students to think about space conceptually, to experiment with the design process that assists in visualising the concepts, to practice transforming from 2 dimensions to 3 dimensions and back again, and to begin to perceive the shape of mass and space. Finally to make a drawing that is like a proto-plan (the foundation for a plan) of a house. For each part there has been specific product requirements, exercises, skill practices:
• Project 2a Spatial Body
• Project 2b Sequence Space
• Project 2c Massing
• Project 2d Excavation
• Project 2e Dis/section
• Project 2f Inhabitation
The brief for each of the parts above has asked students to think about space conceptually, to experiment with the design process that assists in visualising the concepts, to practice transforming from 2 dimensions to 3 dimensions and back again, and to begin to perceive the shape of mass and space. Finally to make a drawing that is like a proto-plan (the foundation for a plan).
Design Teachers: Marc Dixon, Todd Palmer, Susan Ang, Nathalia Guaraldo, Su Mellersh-Lucas
Unit Chair: Dr. Mirjana Lozanovska
Co-Chair: Anthony Worm
Design Teachers:
Marc Dixon, Fiona Gray, Eugenia Tan
design orientation
This semester will focus on the ‘making ofarchitecture’ in the more specific sense of the physical building and order of the environment. There will be two major themes explored:
how materiality generates both the physical and aesthetic conditions of
architecture; and how materiality organizes and frames social relations.
These are elaborated below.
Architecture is a product of imagination, ideas, traditions, cultural forces
and it is also a product of technologies, construction, and structures.
Experimentation, invention, manufacture and innovative ways of using
existing materials define the field of the ‘making of architecture’. To be
familiar with the tools, materials, techniques, technologies and structural
possibilities of architecture is to build on the capacity of the
imagination. Architecture is expanded and limited by how it is made
and what it is made of. To resist and prevent a dormant imagination or
an imagination that tends towards repetition, you will be encouraged
to nourish it with the properties, processes and possibilities of
architecture’s material conditions. Concepts such as tectonics, technics
and technology will be explored through ‘hands on’ projects rather
than theoretically. In a sense these all derive from the concept téchne
which is conventionally understood as the science or art of making, the
crafting of an object or tool. However, its deeper sense derives from the
ancient Greek to refer to the process of making something appear, the
letting out of the intrinsic properties within materials to inform their
expression, form and usage.
Technologies of the social emphasises architecture’s role in facilitating
social relations, the ways that the materiality, spatial order, and various
components (doors, walls, windows) set limits and open possibilities for
the various relations between people, whether this be eating a meal,
working, playing, or having a meeting or conversation. Architecture
organises relations between people: person to person, person to group,
person to crowd, group to group, etc. However, architecture also
organises relations between people and objects: person to toaster,
person to iPod, person to tool, person to monument. The important
thing is that there are various different status objects: technological,
aesthetic, consumable, kitsch, precious, profound, functional etc.
At this point you can begin to understand how the two major themes
meet and are overlaid onto one another. The materiality of architecture
mediates the relations between people. In addition, a building is itself
an object and is construed, used and perceived through its relation to
people.
This semester is about exploring how materiality generates architecture
and organizes the relations between people and objects of a utilitarian,
kitsch and aesthetic kind. It will ask you to examine the everyday
garage or shed as a building type that is made in an ad hoc way. The
garage is invariably not only the intended shelter for cars, but a place
for a diverse array of other uses. This will ultimately form the platform
for a design of a factory, warehouse or display centre.
PROJECT 1, 2, and 3
Architecture is a concrete thing made with physical materials and yet it also produces a non-material void or series of voids, and we call this phenomenon – architectural space. Space is the part that is inhabited by people, in which individuals can exist or just be, and in which all the human action and drama take place (no matter how public, private, intimate or secret).
Architecture 1A explores space and matter. Project 1 (Esquisse) addresses this through learning about the spatial body. Project 2 is a temporary dwelling for three individual persons. A series of tasks develop a design method from the inside outwards, related to spatial relations, ritual, and massing. It culminates in the animation of the wall with openings and fenestration. Project 3 begins with the wall but explored as an ordering mechanism on a public site and urban space. The ceremony and ritual related to the public wall both returns the project to the people and transforms it from the individual to the collective.
township is once again at the epicentre of the largest escalation of mining activity in Australia’s
history. South Hedland’s future is being determined by the exponential economic growth in Western
Australia’s Pilbara region. It is expected the Pilbara will support major wealth generation for
hundreds of years, requiring the creation of long-term, sustainable and high quality communities.
Currently there exists a dearth of information pertaining to remedial urban interventions for resource
boom towns, fracturing the possibility of creating comprehensive and sustainable mining based
communities. The Pilbara produces sixteen per cent of Australia’s gross domestic product. Over 50
per cent of the State’s minerals are exported from the Town of Port Hedland. South Hedland, a
satellite suburb within the municipality of the Town of Port Hedland was planned in 1966. Dr
Alcidiabe Comar who adopted a popular American urban model, the Radburn Plan. In 2011, the
Western Australian State Government predicted the population of the Town of Port Hedland to grow
five-fold by 2035; with South Hedland expected to absorb the majority of new the new residents.
Rather than revelling in the economic prosperity, South Hedland is being crushed by the weight of
the minerals’ boom with chronic housing shortages, unaffordable rents, a transient population,
social disparity and a decaying urban framework that divides the community.
This dissertation examines South Hedland’s urban evolution before and after the Radburn model’s
implementation and, the seminal role urban design has played in informing place and community.
This dissertation attempts to understand the sociological ramification of urban planning, in order to
shed light on potential urban solutions to South Hedland’s current and future challenges.
During the establishment of Victoria City, Hong Kong in 1842, the urban form of the district
Central of Hong Kong was clear with its functions, as a political and military headquarter, and commercial
centre. However, by reviewing the older and current figure-ground maps of Central, Hong Kong, the
spatial arrangement has been changed dramatically with several phases of reclamation and demolition of
historical buildings. What had caused these reclamations and changes in the ground of Central?
This article begins with review on the theory of ‘figure-ground’ with Collage City by Collin Rowe, and
urbanism defined by Harrison Fraker, as well as a new architecture typology ‘field-field’ developed by post
modernist architects, to form a base on recognising the figure-ground in Central. And followed by the
relating local and international events which had impacted the urban development in Hong Kong. The
figure-ground context has been changed with a land reclamation in 1960s when the very first elevated
walkway over the highway, Connaught Road, has been constructed by private developer in the same
period. Followed with the announcement of later phase of reclamation and the signing of Sino-British
declaration, public engagement in the protection of Victoria Harbour had stopped further land reclamation
in Central, the change of figure-ground might have been eliminated. In this thesis, the evolution of figureground
in Central of Hong Kong will be drawn out for details analysis. Concluded by contextualising the
theory of figure-ground with current figure-ground in Central, figure-ground defined by Collin Rowe, will be
challenged when conventional figure-ground meet new architectural form.
Professor Des Smith - Unit Chair
Memory and History in the 21st Century
Poets tell us how memory works. Memory can be profound or fickle, but it is integral to living, not dead societies. History writes the past. By contrasting history and memory how can current concerns about erasure, disappearance, and deterioration of architecture be understood? The present seeks comfort in imagery of the past and yet like Paul Klee’s ‘Angelus Novus,’ towns and villages are propelled into the future, backwards. These ideas will be explored through a series of four projects that are loosely associated: Reconstruction [Tange’s Skopje/Skopje 2014], Deterioriation [Ohrid], Adaptive Re-use [#VacantGeelong], and Oral History [Zavoj and other villages].
The presentation of Mirjana Lozanovska at #BATRA2015
#VacantGeelong aims to bring to the surface the latent creativity of the blank canvas that constitutes abandoned industrial facilities. Communities perceive the departure of industry negatively and their closures have resulted in deterioration of the site or the demolition of the vacant buildings, and their expedient replacement with a new but unresponsive built environment. The premise of this project is that buildings contain history and memory embodied in their materiality. They become the artefacts of continuity within processes of change. The project explores a collaborative interface between architecture, art and community. Its intent is to provide an interval or pause in order to focus artistic processes on the re-activation of memory and erasure, and through these envision the value and agenda of the existing architectural fabric for the futures of 21st century post-industrial cities.
Melbourne has 44 high-rise public housing developments which surround the Central Business District
and form a tall, distinct archipelago in the City’s inner-suburbs. Built by the Housing Commission Victoria
between 1962 and 1976, and managed today by the Office of Housing, these towers are inhabited by
approximately 10,000 people, represent ten percent of all of Victoria’s public housing stock, and exist in
nine municipalities.
One such development is Park Towers (1969), a 30-storey public housing development in South Melbourne.
The following is an excerpt from the written and graphical architectural analysis undertaken in this architecture
research project which examined the history and construction technology of Park Towers, canvassed current
attitudes to high-rise public housing in Australia, and ultimately aimed to scope areas within the Park Towers
development where an architectural intervention could help to better provide an appropriate, safe, and
quality living experience for its present and future tenants and for its immediate neighborhood.
The #VacantGeelong exhibition features the artworks of Alexander Hamilton and works by final year students of Deakin’s Master of Architecture.
#VacantGeelong project examines the links between architecture, art and community
Taking the time to acknowledge and celebrate the history and community memories of Geelong’s industrial buildings before they are adapted for new uses is the focus of a project by a team from Deakin University’s School of Architecture and Built Environment and School of Communication and Creative Arts.
The #VacantGeelong project commenced in 2015 with Master of Architecture student research projects which mapped and interpreted vacant industrial space in Geelong. Architect and Deakin senior lecturer Dr Mirjana Lozanovska is leading the project. She says the project focuses on Geelong’s vacant industrial buildings, such as Ford’s production plant, and presents a model for ‘creative research’ or Non-Traditional Research Output (NTRO).
‘With the departure of manufacturing from Geelong, many of the industrial buildings will be subject to adaptive re-use,’ Dr Lozanovska explains.
‘This has often been executed poorly, resulting in façadism or a renovation so complete that it leaves no trace of the original building in the renovated one.
‘Ultimately, this means that the community memories that are bound up in the building disappear.
‘The #VacantGeelong project is all about using art and artists, their visions and perspective, to guide us in understanding the value and role of the buildings and the community memories bound up with them in the transition to a post-industrial city.’
An exhibition was held in July at the Waterfront Gallery at Deakin in Geelong as completion of the first stage of the project, featuring artworks by Alexander Hamilton, including two large format paintings, small-format renditions, and sketches. Also on display were short films, creative mapping works and 3D representation of creative research works by Master of Architecture students.
Dr Lozanovska says the project is now being developed further.
‘We are developing the next stage of the project in which artists will form a collaborative studio space through a program of engagement with emerging local artists, the Geelong community, and past Ford workers.’
The #VacantGeelong program is supported by the City of Greater Geelong through its Community Arts Grants Program.
(L-R) At the #VacantGeelong exhibition: Dr Cameron Bishop, School of Communication and Creative Arts, with Dr Mirjana Lozanovska, Dr Diego Fullaondo and Dr David Beynon, School of Architecture and Built Environment.
Roundtable Discussion: Vacant Reading Material Memory
Mirjana Lozanovska, Vacant Geelong, Deakin University, chairing the discussion
Shibboleth Shechter, University of Arts London
Rut Blees Luxembourg
Alex Hamilton, Artist (Vacant Geelong)
Sarah Duyshart, Artist (Vacant Geelong)