IMPRESUM

NASLOV KNJIGE Predeo igre: Košutnjak - Principi arhitektonskog

projektovanja u svetlu klimatskih promena
IZDAVAČ Univerzitet u Beogradu, Arhitektonski fakultet,
Bulevar kralja Aleksandra 73/2, Beograd
ZA IZDAVAČA prof. dr Vladan Đokić, dekan
UREDNIK docent dr Ana Nikezić
RECENZENTI prof. dr Vladan Đokić
prof. dr Ratko Kadović
PREVOD NA ENGLESKI Aleksandra Marjanović
Danilo Beronja
DIZAJN Dragan Marković
TIRAŽ 250
ŠTAMPA CICERO, Beograd
MESTO I GODINA IZDAVANJA Beograd, 2013
ISBN 978-86-7924-116-0
 PREDEO IGRE - KOŠUTNJAK, Ana Nikezić // PLAYING LANDSCAPE - KOŠUTNJAK, Ana Nikezić

LEARNING FROM THE LANDSCAPE recovering landscape is seen through the scope of culture,
Ana Nikezić shaping the cultural landscape through optimizing both archi-
Nataša Janković tecture’s intervention and our spatial imagination. In this way,
designed landscape becomes a rug but not a picnic, a scene
1. INTRODUCTION but not a spectacle, a memory but not a monument, a frame
Natural landscape can become a resource of contemporary life but not a scenery, a patchwork but not a scheme, a construct
in the city where leisure demands new sanctuaries over and over but not a structure.
again. It is a lot more than just a site for architecture. Its com-
plex phenomena, through topography, climate and vegetation, 2. LANDSCAPE AS A MENTOR
namely through its elements and rhythms become an inspiring A quest for “alternatives” is not in its singular originality, but rath-
part of the architectural discourse. During each architectural in- er in searching for new methods for sensing relation between
tervention in the natural landscape, it is necessary to reconsider natural and artificial, where artefact becomes a bonding ele-
the position, scope, program, and its measure in the context ment operating directly within the full complexity of our envi-
of contemporary city life, which will inevitably be viewed from ronment.
the ratio of materiality of both, architecture and landscape. Hu-
man behaviour and actions influence the structure and func- The question is in which way and by which means landscape as
tion of landscape thus affecting the process of urban living. In a starting premise affects the process of architectural creation?
that sense, nature does not stop at the physical, but also affects What are the ways in which architect can direct development
the process of urban living, through intersecting and intertwin- of sustainable natural environment as an integral part of urban
ing architecture and nature, making a new “cultural landscape” landscape? What lessons can be learned from observing the
(Longstreth, 2008). landscape and how these lessons as fundamental can lead to
the conception of artefacts? How both, nature and architecture
Architecture and landscape present distinct, even antithetical can be used to their full potential without being detrimental or
phenomena. For that reason, architectural intervention requires destructive to each other?
acts of translation. When relating architecture and nature, sev-
eral notions are being observed. First of all, the roles of the ele- 2.1. Defining Landscape: Towards Designed Nature
ments of design are being changed in relation to elements of The term landscape is defined in the book The Room in Context,
nature, where architecture becomes a tool for enforcing nature. Katherine F. Benzel, especially in chapter two: “The Room and
Second, the power of learning from nature changes material the Landscape” (Benzel, 1996). In essence, landscape is seen as
and sensual possibilities of architecture, broadening ways in a product of a particular culture’s longings and desires, part of a
which architectural intervention is conceptualized. And finally, civilization’s relationship with the natural world. Author explains

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that noun “landscape” refers to an expanse of natural scenery 2.2. Between Landscape and Architecture: Towards Sustainable
taken in by the eye in a single view. The verb “to landscape” im- Architecture
plies human intervention, to recreate the landscape in various By wondering what sustainability means in the architectural
ways, to change or remodel it as to make it more attractive for arena, F.J. Soria Lopez in Architecture and nature at the end of
use or viewing. Connotations of landscape in which it is real- the 20th century: towards a dialogical approach for sustainable
ized as a person’s, a society’s, or a culture’s attitude toward place design in architecture argues that really sustainable and simply
and nature is important as a departure point. It is important to good must satisfy simultaneously all architectural dimensions:
acknowledge that landscape forms have significance through logical (scientific, technical, functional), ethical (security, low
content as well as through particular meaning which we should impact, protection, good use) and aesthetic (beauty, meaning,
be able to decode and interpret, and that it should be tangible emotion) dimensions (Soria Lopez, 2006). In that way sustain-
topographically but not spiritually. ability becomes a way, a means to achieve a better life quality
for society as a whole, not a goal in itself, just for architecture
Encouraged by the text “Vacancy and the Landscape: Cultural or nature. This study also helped us in understanding the place
Context and Design Response”, Carla I. Corbin forest regenera- through dialogue between man and nature, where natural set-
tion is seen as the recycling of brown-fields, abandoned and for- tings can be registered through the interpretation and valua-
gotten, alienated spaces with fragments of the strong and sig- tion of the experience and perception that the inhabitants have
nificant past (Corbin, 2003). Using common phrases like “There’s through the use of an architectural space. The role of the archi-
nothing there” she describes landscape that lacks scenic appeal tect is to incorporate this dialogue into the project by listening-
or distinguishable features. Starting from this approach, exam- understanding-responding to the “voices of the natural and cul-
ining cultural ideas of vacancy and landscape, in terms of how tural context” and interlock it with the experience of the users
sites are described, perceived and valued, our discussions open of the real place.
up various theories of vacant places and compares strategies of
awareness, revealing, openness and occupation. As “sustainable” was too technological in its definition, we used
Smart and Vital architecture as A. van Hal in his article “The key-
As Van der Laan explains it is not just about a contact between word is quality not ecology” notes that most architects do not
our feet and the earth, but about a meeting of our being with want their work to be associated with green terminology such
the whole natural environment (Van der Laan, 2009). The har- as “sustainable or eco-architecture” (Van Hal, 2006), rather ac-
mony is not achieved through a piece of soft ground which “is cepting terms like “smart architecture” or “vital architecture”. As
being under our feet, but through a piece of living space” which van Hal suggests “Be smart” should be the message instead of
is highlighted from the natural environment by the walls. “be green” (Van Hal, 2006). Being “smart” means thinking ahead,
building an environment that adapts cleverly and works inter-

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disciplinary, stressing out the quality of it, not ecology in itself. main constituents of landscape, students best responded to
She explains that Vital architecture is a strategy intended to in- the article “Developing design in balance with nature”, in which
ject new élan into thinking about sustainable building, through A.J.Ansem explains that the first step towards achieving nature’s
various concepts from which the most important for us was integral design lies in understanding the natural environment
that the care for the environment is regarded as an inherent (topography, terrain, management of climate and energy) en-
architectural quality, where architecture must not only be envi- tailing ecosystem with its actions and reactions that relates to
ronmentally sound, but resilient, dynamic and flexible in its rela- building design (Ansem, 2006). Later he argues that designing
tion between form, function and construction, at all scales and with nature begins with an intimate understanding of place, like
through time. Moreover she argues that a vital design is more designing with existing topography pattern (landform should
than the sum of its parts; it challenges the architect to selec- be carried along in the design concept), carful management of
tively integrate and compose all the elements while respecting local climate condition and winds, orientation, sun reflections,
the constraints of a sustainable context (Van Hal, 2006). all with the aim to integrate architecture and natural surround-
ing at its best (Ansem, 2006).
In short, architects should incorporate the natural in a fundamen-
tal manner into their project in order to affect mind and body Following the typological determinates of materiality, through
as a way to improve and intensify our relationship with nature, the article “Da li je materijalizacija arhitekture neophodno ma-
through architecture - an experience that might increase soci- terijalna?” (Is the materialization of architecture necessarily ma-
ety’s awareness of the urgency to preserve and respect nature. terial?) Ane Carapic we wanted to explore the potential and
limit of the second category: “weak” material - water, air, light,
2.3. New Architectural Conditions: Towards Architecture in Ac- sound, examining their position in the conceptualizing stage
cordance with Climate Change of creating architectural form and space in accordance with
Climate is the most notable item in a landscape, so it was inevita- climate (Čarapić, 2008). Absence of the need to accumulate
ble for us to incorporate it into our research dialogue. In respect matter increases the sense of enjoyment, elevating the charac-
to the overall urgency of climate change and its connections to ter of the architecture from the primary - material to the level
the practice of architecture that pressures next generation of of immaterial sensitive dimension. All aspects of metaphor of
architects, students faced the challenge of recognizing architec- lightness are reflected in the ability of these weak substances to
tural tools and methods in accordance with it (Ypersele, 2010). “take” on themselves the architectural form, emphasizing variety
and diversity of states in which artefact defines itself in accord-
In searching for reflection to our statement that creating cli- ance with climate change.
mate friendly architecture is all about choice of where, how and
what it’s made off are crucial as ground, water and air are the Stimulated by the book The Eyes of the Skin by Juhani Pallasma,

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architectural intervention is seen as an interpretative poten- and relationship between people and nature, the tendency is to
tial of the sensual experience that accompanies the artificial give some indication of change in the architectural paradigms
through every form of human senses, at the very least the sight of the current process of sustainable urban development (with
as predominant in the architectural practice and education (Pal- special reference to the acute process of climate change), as
lasma, 1996). While our experience of the world is formulated by well as possible guidelines for actions in the architectural land-
a combination of five senses, a lot of architecture is produced scape of the contemporary city.
under consideration of only one – the sight. The suppression of
the other sensory realms has led to an impoverishment of our As previously described, the focus of this kind of approach is
environment, causing a feeling of detachment and alienation. not to incorporate landscape as a part of architectural creation,
but to observe and translate landscape as an appropriate tool
Instead of creating mere objects of visual seduction, architec- for thinking about architecture. The main principle behind this
ture relates, mediates and projects meanings. The ultimate sig- kind of approach is that architecture can be guided by people’s
nificance of any building is beyond architecture; it directs our experience of landscape. We can be guided by observing places
consciousness back to the world and towards our own sense of that are dominantly formed and evidently variable in relation to
self and being. natural forces, such as sun, wind, rain and seasonal cycles, and
also by flora and fauna. We can learn from landscape lessons
If we rethink the static nature of architecture and re-imagine about interconnectedness, growth, decay and stability, about
innumerable conditions between material and sensual, archi- continuous adaptability to climate change and of course about
tectural intervention could restructure relations to the body, the subtle strength.
reframe relations to the context and might argument its diverse
logics. If we redefine culture fusing historic references and con- 3. TOWARDS NEW PARADIGMS IN CONTEMPORARY ARCHITEC-
temporary technologies, cultural landscape is shaped through TURAL EDUCATION
the lens of surreal materiality, where sound, smell, light and As a part of the first-year Master’s program at the Faculty of
shade, touch and psychological interior of nature become lead- Architecture, University of Belgrade, for a period of two aca-
ing elements of architectural intervention. demic years (spring semester 2010/2011 and autumn semester
2011/2012), a group of 15 students per year, through the Archi-
If we question a pure functional definition of the program tectural Design Studio, under the supervision of assistant pro-
and reframe typologies, re-envisioning expectations we have fessor Ana Nikezić and Nataša Janković, PhD student, had a task
from the landscape, emotional experience of landscape could to examine the position and scope of architectural intervention
become a generator for creating a cultured form. At the end aimed at potential rehabilitation of the protected landscape of
through a connection between sustainability of the landscape Košutnjak park-forest in Belgrade.

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In order to permit various research patterns, the topic under Such a provocative and dynamic challenge produced a set of
the title Landscape as a Living system for the year 2010 and research topics, among which the most imposing were:
Landscape as a Learning system for the year 2011 were chosen. - positioning Košutnjak in contemporary urbanity (through
Students were supposed, according to the proposed reader, to rhythm, content, network, etc.);
investigate a position of landscape in the process of design, and - analysing the values, potentials, obstacles, and emphases of
later through researching complex place-based problems to Košutnjak;
design an approach that should translate its analogies through - discovering events and activities that Košutnjak could offer
imaginative and particular architectural intervention extreme in and complement;
its relation to the body and context (in the sense of its content, - investigating how the forest could become vibrant and attrac-
structure, materiality and sensitivity toward nature). tive in an urban setting;
- questioning the interpretative potential of architecture
A reason to choose the protected urban park forest as a research through small-scale design;
polygon was two-folded: [1] Insufficient awareness of the im- - opposing small-scale architecture to large-scale nature;
portance of urban forests and of the relationship between - networking Park Forest with the city through small architec-
natural qualities and protected cultural-historical values of the tural interventions.
site; and [2] The distinct, even antithetical, relationship between The working process was developed in three stages: research,
architecture and landscape, in which architectural intervention conceptualization, and design.
requires acts of translation in order to offer a new, creative per-
spective for cultural landscape. 3.1. Research
The research was conducted with respect to two aspects: ana-
The students were expected to discover limitations and find lysing the spatial and programmatic potential of the Košutnjak
new possibilities in networking nature and architecture. They re- park-forest, and studying the proposed theoretical basis for
considered the connection between the city and the landscape establishing the relationship between architecture and nature
through a limited and inconspicuous architectural intervention, (Figure 1). In order to adopt the final architectural approach,
which would restructure nature without disturbance, and in- these two aspects were examined simultaneously as to empha-
clude all its attributes (rhythms, diurnal and seasonal changes, sise the critical notions of a particular context.
morphological features, the ecosystem, etc.) as positive stimu-
lants. The result would be architecture created to emphasise The students conducted individual place-based research of the
and promote nature. The task was to determine the relationship spatial polygon and discussed theoretical approaches. They
between an architectural intervention, freed from content and were prompted to think beyond the visual and to explore the
program, and nature, in all its states and transitions. domain of tactile, auditory, visual and similar sensations related

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to the landscape of Košutnjak. They were also encouraged to

Individual Problems and Place-based Investigation appreciate the echoes and memories of its former uses, the re-
mains of which were more or less evident in the forest.
Characteristics of the Forest
3.2. Conceptualization
Permanent material features: After the comprehensive research of Košutnjak, the process
morphology, infrastructure, boundaries, physical of exact intervention in the site was developed through con-
structures, places of heritage, vistas, etc. ceptual models. This phase implied a series of working models
through which the students examined various logicscte defined
Changeable Material Features: through the interaction between architecture and nature. The
seasonal cycles, vegetation, memory, colours, lights students were then asked to think of the future character of the
and shade, sound and resonance, winds, etc. place, and, using the physical model as a tool for presenting a
previously perceived sensation or a vague icon, to materialise
Theoretical Basis: their aspiration towards the sense of the place respectively.
Three different stages were proposed (Figure 4).
Towards designed nature - references [1], [2]
_definition of landscape, Model of the event: Using a physical model as a tool and a
_relationship between nature and architecture, means of presenting something that, until then, was only a
_topographically tangible and siritually intangible; sense or just a vague imagined icon, students were asked to
think on the future character of the place, respectively to mate-
Towards sustainable architecture - references [3], [4] rialize their aspiration towards a sense of place.
_sustainability as better life quality for society,
_”smart” and “vital” architecture, Students were expected to define and show a change. Their
_dialogue between man’s experience and nature; proposed goal was to bring to the character of particular place.
This was rather hard, as students were usually supposed to show
Towards comfortable place - references [3], [4] this change through architecture, not before and without it. In-
_intimate understanding of the place, stead of being a result, this change was set as a meaningful task
_careful management of local climate conditions, for every individual concept. It meant being able to make an ab-
_multi-sensory experience. stract model, being capable to divide desirable dynamics from
mere fascinations, to determine basic features of the concept
Figure 1: Research Methodology in terms of establishing characteristics of the relation between

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A result was racionalized and materialized sense, a distinct char-

Concept of the Architectural Intervention acteristic, where architecture and nature have equal values; they
unite. As a group, we were fascinated with a scope and versatility
Model of the Event of feelings one can present through a model. Those constructs
were dynamic in sound and texture and at the same time were vis-
_character of the element, ually attractive. One could notice something very interesting. The
_relationship between man and nature, majority of models were some sort of a mechanism for recovery.
_aspiration towards a sance of place.
Model of the spatial experience: Only after a clearly defined goal
Model of the Spatial Experience and physically clear character of the place, students were pre-
sented with the task to spatially frame the extent of the inter-
_structural character of the place, vention. As Košutnjak offers a variety of actions to be involved
_framing the extent of the interventin, with, from small to large one, from hidden to accentuated, form
_desired character of created structure. lost to found, from structural to contextual, a spatial frame was
determined from research phase and from the previous step - a
Model of the Relationship Between Architecture desired character of created experience. At this stage, models
and Nature were primarily discussed in terms of transparency, vulnerability,
fullness or emptiness, on features recognizable through spatial
_material and sensual character, dualities and a sense of spatial articulation, all with a purpose
_structure, texture, articulation, of giving a physical shape to the goals that were previously set.
_concept content vs context.
This phase included numerous test models, where simple ar-
Figure 2: Concept of the Architectural Intervention ticulation of space elements (line, plane, volume in horizontal,
vertical, diagonal disposition and their interconnection) with
man and nature. These models were expected to act like acu- their structure and texture, and through articulation tried to
puncture, where their strength is not reflected either in size or reach relevant content and context elements of future interven-
in appearance, but in finding the way intervention is going to tion. While the first model had a goal to set a clear purpose and
act upon nature. The process involved plenary decoding of test character of the space, the second aimed to define a way to
models in which students, over and over again, explained their achieve it, the purpose and character of architecture.
intentions and tried to unwind confusions of diverse thoughts.
Consequently they slowly made their specific goals through, Model of the material and sensual relationship between archi
clear as crystal, physically recognizable features.
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tecture and nature: In this last conceptual stage, students were 4.0. STUDENTS’ WORK
expected to define materiality, being on the edge between the In summarizing results of the research together with the stu-
natural and built. In designing the architectural intervention / dents we have come to several general conclusions which were
structure, the time for the final resolution of the relationship be- pertaining to the possible ways of establishing the connection
tween structure and nature occurred. At this stage, the students between nature and architecture.
learned that the appearance of a structure might not be as im-
portant as its operability and its contribution to the relationship 4.1. Cultured Landscape
between man and context. Cultured landscape refers to interventions on the verge of being
architecture, shaped through the transformation of the natural
The result was a rationalised and materialised sensation, a dis- landscape itself. Elements of nature are translated into architec-
tinct characteristic in which architecture and nature had equal tural language challenging their potential through its urban ar-
values; they seemed to have united. Although architecture was ticulation and content positioning. It is all nature and nothing
vague, space impressions were clear in terms of colour, mate- but nature exploring extreme values of architectural sensation
riality, sound, or contrast of light and shade. In that sense, the by blurring the border line between them. Cultural landscape is
students were challenged with the problem of how to use ar- optimized through its urban content and spatial logic borrowed
chitecture as a meaningful tool. from the logic of man-made history.

3.3. Design Each of the natural elements (earth, rock, sky, water, tree or
As the final objective of the research, this stage yielded the plant) is transformed through intensifying movement, light or
expected design product - naturalised architecture as a multi- topography. Architectural intervention positions itself in natural
sensory experience. By the mutual superimposition of the land- surroundings, a piece of ground where earth, sky and plant is
scape and the city, this concept was intended to support both seen as a purpose, a goal. Recovering landscape is seen through
the natural elements (earth, water, sky, and vegetation, materi- its program, being in the nature, on the ground, under the sky
alised through light and shadow, sound, softness and hardness) and between plants, contextually connected to natural land-
and the artificial elements (volumes defined through vertical scape. Emphasizing nature with the minimal use of architectural
and horizontal planes, borderlines and openings, articulated elements proposed designs successfully creates leisure spaces
through rhythm, hierarchy and contrast). Architectural interven- or intimate gardens – “pieces” of nature included in the contem-
tion fostered qualities of nature, regarding architecture as an in- porary urban life as its resting place – the pause.
frastructure that allowed nature to take its place on the cultural
map of Belgrade. Stressing the importance of being in balance with nature, these
interventions show that it is possible to use nature as structural

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element of creation, emphasizing a “smart” way. The focus was
on reconciling comfort and ambient, reminiscence, as well as
on ethical components of nature. With just a few newly built
elements, in accordance with eco-system and climate change,
principles of vitality in reshaping nature are achieved.

4.2. Landscape as a Playground

Landscape as a playground covers a large quantity of small
interventions where elements of design intensify natural phe-
nomena challenging the relation between body and nature; ar-
chitecture becomes a tool for enforcing nature through which
body explores its sensual limits.

Through determining typical or particular Košutnjak topogra-

phy, using metaphor tools, activity patterns of artificial structure
were conceptualized. Being inside, being on the verge and won-
dering through it highlighted particular human senses through
basic architectural elements and their interlocking with natu-
ral environment. In this way, design project opens new paths
through the forest in a way that we might avoid, by levitating
above, inserting between and indenting through. Recovering
landscape is seen through the action-reaction relation between
man and architectural elements of column, bridge, stairs, lather,
platform, by which the forest itself is emphasized.

Pushing body and nature to its limits, this design projects or

more likely constructs emphasize the importance of everything
that is found in nature, and what is even more important, it em-
phasizes the need to preserve it as such, in spite of all anthropo-
genic, but also natural factors, such as climate change. The focus
was on experiential components of nature, on interrelatedness,

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contradictions and limitations between nature and artificial natural landscape. Architecture challenges itself forcing con-
structure. In this case architecture serves as a means for “rescu- text to become an urban life incubator. Projects quickly and
ing” the properties of nature and our sense of it. Being “vital” lie successfully demonstrate what it is in the natural environment
in numerous possibilities of our body and soul to experience that often goes unnoticed. They create structure which empha-
nature over and over again. size various ways of perceiving nature. By pointing out ways in
which someone can look at, track, investigate or explore nature
4.3. Landscape as a Metaphor (its particular parts, elements and characteristics), depending
In interlocking nature and architecture through its concept, on the way we choose to take, diverse possibilities to “feel” the
content, structure, meaning and identity artefacts compete for nature in a certain way are open up before us. Each passage,
dominance in humouring both man and nature (in forceful or whose character can be partly enhanced, leads through the
voluntary way). These projects have something in common; a fragments of nature down to the real nature.
need to take a break from the city, where Košutnjak, being a part
of the contemporary urban landscape, is exactly such а place. In this way architecture serves as the infrastructure for the nature,
Designs are based on structuring a mechanism for recovery facilitating it in various ways. Sometimes fragments of nature are
(rehabilitation, dance, theatre, sensing space or alike). Various locked, enclosed or duplicated, but architecture does not take
states are formed in response to the urban states, through their away from nature, but rather, paradoxically, supplements nature
denial, supporting or enhancing. and increases it, making it a resource for what we can easily
run out due to negligence and urban development. The main
In this case we can say that architecture serves as a framework focus of this group of designs was on seeing the magnificent
for artificial processes close to nature, like a box that holds the diversity of the particular place of Košutnjak, as a system inside
natural living, as a reminder of the importance of incorporating a city worth preserving and managing in smart and vital way.
nature into the urban landscape, as part of contemporary life.
The focus was on increasing the understanding of the subjec- 5.0. NATURALISED ARCHITECTURE
tivity of nature and awareness of the limitations of the world Opposite to the observation of nature as something that is
around us. It can serve as a message that our generation should outside the field of architecture, landscape is set as an integral
regenerate nature, to make it resistant to the process of ubiqui- part of architectural mechanism. Architectural “control” of natu-
tous change, but at the same time and to reflect contemporary ral substances creates new, technological nature, or vice versa,
urban life. naturalized architecture. Natural and artificial mechanisms,
however, are not in antagonism. They share “work” in disappear-
4.4. Landscape as a Mentor ance and emergence of different forms of materiality. Where the
Architecture becomes a cultural generator, complementing first disappears, there is the other matter, a new, artificial nature.

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Equalization of these two fields of activity, natural and artificial, 5. BIBLIOGRAPHY

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range within which it is conceptualised. The pure definition of [8] Soria Lopez, F.J. (2006). “Architecture and nature at the end of the 20th
the program and the existing typologies has been challenged, century: towards a dialogical approach for sustainable design in archi-
offering an emotional experience that could become a genera- tecture”. WIT Transactions on The Built Environment, 86, 23-33.
[9] Van der Laan, D.H. (2009). “Priroda i arhitektura”. U: V. Đokić i P. Bojanić
tor for a cultural form.
(ur.) Teorija arhitekture i urbanizma. Beograd: Univerzitet u Beogradu -
Arhitektonski fakultet, 129-134.
Finally, landscape revitalisation is seen through a cultural dimen- [10] Van Hal, A. (2006). “The keyword is quality not ecology. Eco-Architec-
sion. In that respect the two entities, nature and architecture, ture: Harmonisation between Architecture and Nature”. WIT Transactions
which are seemingly different, are linked in a unique spatial sys- on The Built Environement, 86, 35-44.
tem: Landscape as a Living System: The Cultural Landscape. [11] Van Ypersele, J.P. (2010). Climate change, cities, and the IPCC, Sus-
tainable City/Developing World. ISOCARP Review, 06, 80-88.
[12] Čarapić, A. (2008). “Da li je materijalizacija arhitekture neophodno
materijalna?”. Arhitektura i Urbanizam, 22-23, 25-33. 81
 PREDEO IGRE - KOŠUTNJAK, Ana Nikezić // PLAYING LANDSCAPE - KOŠUTNJAK, Ana Nikezić

REZIME: UČITI OD PREDELA arhitekturi. Osnovni princip koji stoji iza ovakvog pristupa je da
Dr Ana Nikezić arhitektura može biti vođena iskustvom ljudi u predelu. Arhitek-
Nataša Janković tura može biti vođena karakterom promenljivosti prirode,
izazvana elementima kao što su sunce, vetar, kiša i sezonska
Arhitektura i predeo predstavljaju izrazite, ponekad čak i su- cikličnost, ili pak vegetacije, ali može biti inspirisana i oblicima
prostavljene fenomene. Kako slobodno vreme neprestano traži prirode koji su posledica geoloških promena. Od predela se
nova utočišta, to prirodni predeo može postati resurs savreme- mogu učiti lekcije o povezanosti, rastu, propadanju i stabilnosti,
nog života u gradu. Kroz topografiju, klimu i vegetaciju, odnos- o kontinuiranom prilagođavanju na promene, i naravno o sup-
no svojim elementima i ritmom ona postaje inspirativni deo tilnoj snazi koju ona nosi.
arhitektonskog diskursa. Kada se posmatra odnos arhitekture i
prirode, neophodno je preispitati položaj, obim, program i sraz- Postavlja se pitanje na koji način i kojim sredstvima predeo kao
meru ovog odnosa. U takvim uslovima, uočava se da arhitektura polazna premisa utiče na proces stvaranja arhitekture? Koji su
treba da artikuliše i često naglasi predeo, a da arhitektonska in- načini da arhitektura usmeri razvoj održive prirodne sredine
tervencija zahteva preobražaj. kao sastavni deo urbanog pejzaža? Koje lekcije se mogu naučiti
iz posmatranja predela i kako ove lekcije mogu postati osnov
Pre svega, razumevanje prirode proširuje materijalna i čulna svo- poimanja nekog artefakta? Na koji način oba entiteta, priroda i
jstva arhitekture, šireći načine na koji se arhitektonska interven- arhitektura, mogu iskoristiti svoj puni potencijal, a da pri tome
cija koncipira. Zatim, vraćanje prirodi moguće je samo u okviru ne budu kontraproduktivni jedni prema drugima?
savremenog poimanja kulture, društveno aktivno i odgovorno.
Na kraju, oblikovanje predela kroz optimizaciju arhitektonske U traganju za odgovorima na postavljena pitanja, kako u
intervencije moguće je jedino u pravcu ostvarivanja nove ur- različitim teorijskm postavkama, tako i u konkretnom prostoru
bane prirodnosti. Na ovaj način, predeo postaje mnogo više od park-šume Košutnjak, a kako bi različiti oblici istraživanja bili
fizičkog okruženja za arhitekturu, a projektovan predeo postaje omogućeni, izabrana je tema pod nazivom “Predeo kao sistem
ćilim, a ne piknik, scena, a ne spektakl, sećanje, a ne spomenik, učenja”. Namera je bila da studentski istraživački pristupi ispi-
prizor, a ne dekor, mreža, a ne shema, konstrukt, a ne struktura. taju značaj i ulogu predela u procesu projektovanja, a kasnije,
Kao takav, kroz ljudsko ponašanje, projektovani predeo utiče i na i da kroz analizu složenih problema vezanih za mesto osmisle
proces urbanog života, formirajući novi „kulturni predeo“. pristup kojim bi trebalo da prevedu svoje analogije u maštovitu
i konkretnu arhitektonsku intervenciju, ekstremnu u svom
Fokus ovakve arhitektonske namere nije da uključi predeo odnosu prema telu čoveka i prema kontekstu, odnosno u tom
kao jedan element arhitektonske kompozicije, već da posma- smislu njenog sadržaja, strukture, materijalnosti i senzibilnosti
tra i uvede predeo kao odgovarajući instrument razmišljanja o u odnosu na predeo. U tom smislu, polazno stanovište je da

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potraga za alternativnim nije u pojedinačnoj orginalnosti, već u
trajanju novih metoda za uspostavljenje odnosa između prirod-
nog i stvorenog, gde artefakt postaje alatka koja razvija predeo
u punoj složenosti njenog konteksta.

Kroz široki set tema, grupisanih prema karakteru predloženih

arhitektonskih intervencija, istraživanje pokazuje da nije moguće
posmatranje prirodnog predela izvan oblasti arhitekture, već se
potvrđuje da je predeo izvorni deo arhitektonskog mehanizma.
Ako se razmisli o statičnoj prirodi arhitekture i ponovo zamisle
bezbrojni uslovi između materijalnog i senzualnog, arhitekton-
ska intervencija bi mogla da dovede do restruktuiranja odnosa
prema telu, preformuliše odnos prema kontekstu i možda argu-
mentuje raznorodnost svojih logika.

Ako se redefiniše kultura kroz fuziju istorijskih referenci i

savremene tehnologije, kulturni predeo može da se uobliči kroz
prizmu efemerne materijalnosti, gde zvuk, miris, svetlo i senka,
dodir, te unutrašnja stanja prirode postaju vodeći elementi
arhitektonske intervencije. Ako se dovede u pitanje utilitarna
dimenzija programa i preformulišu značenja arhitektonskih
tipologija, emotivni doživljaj predela bi mogao da postane gen-
erator arhitektonskog stvaranja.

Arhitektonska “kontrola” prirodnih supstanci stvara novu, kul-

tivisanu prirodu, odnosno, sa druge strane, naturalizovanu
arhitekturu. Prirodni i veštački mehanizmi nisu u antagonizmu.
Oni dele “posao” u nestanku i pojavi različitih oblika materijalnos-
ti. Gde nestaje prva, tu nastaje druga, nova, artificijalna priroda.
Izjednačavanjem ova dva polja delovanja, prirodnog i artificijal
nog, gde su obe sile podjednako jake “alternativno” postaje alat
u oblikovanju kulturno vibrantnog i urbano atraktivnog predela.