ХЕРОИ ЗА ЕДЕН ДЕН HEROES FOR ONE DAY. Навраќање кон три урбани артефакти на словенечките архитекти во Скопје

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2 Учесници и сооработници Contributors and participants Виолета Бакалчев / Минас Бакалчев (архитекти), Иван Блажев (фотограф), Мартин Гулески (архитект), Јован Ивановски / Владимир Десков / Ана Ивановска-Дескова (архитекти), Влатко П. Коробар (архитект), Зоран Петровски (куратор), Душан Перчинков (уметник), Илија Прокопиев (уметник), Андријана Тилиќ (фотограф), Никола Узуновски (уметник), Митко Хаџи-Пуља (архитект), Берт Стаин (писател), Драган Христов (моден дизајнер), Јане Чаловски (уметник) ХЕРОИ ЗА ЕДЕН ДЕН HEROES FOR ONE DAY Навраќање кон три урбани артефакти на словенечките архитекти во Скопје Revisiting Three Urban Artefacts in Skopje by Slovenian Architects Violeta Bakalcev / Minas Bakalcev (architects), Ivan Blazhev (photorgapher), Yane Calovski (artist), Martin Guleski (architect), Mitko Hadzi-Pulja (architect), Dragan Hristov (fashion designer), Jovan Ivanovski / Vladimir Deskov / Ana Ivanovska - Deskova (architects), Vlatko P. Korobar (architect), Zoran Petrovski (curator), Dushan Perchinkov (artist), Ilija Prokopiev (artist), Bert Stain (writer), Andrijana Tilic (photogrpher), Nikola Uzunovski (artist) КНИГА ЗА ЗГРАДИТЕ НА: МОБ / НА БИРО 71 / УКИМ / НА МАРКО МУШИЧ / ПМФ / НА ЕДВАРД РАВНИКАР / A BOOK ABOUT THE BUILDINGS: MOB / BY BIRO 71 / UKIM / BY MARKO MUŠIČ / PMF / BY EDVARD RAVNIKAR / Изложбата и публикацијата сe подржани од The exhibition and publication are supported by 2 3

3 Сите фотографии, ако не наведено различно All photographs, if not othervise stated Уметничка дирекција на фотографија Artistic direction of photography Даниел Серафимовски Daniel Serafimovski Фотографија Photogrphy 4 Андријана Тилиќ Andrijana Tilikj 5

4 FOREWORD TRACES OF THE FUTURE Minas Bakalchev The buildings of modernity remain polemical, are still under question and are the subjects of doubt. We perceive them as the signs of excess from a particular socio-political system or aesthetic mode, an experiment from the past. They are under question from an ideological point of view, but also in relation to their content, form and materiality. Nevertheless, they remain part of our reality, they are the foundations of the contemporary city, they communicate the paths of contemporary life. Through the example of three crucial architectural works by Slovenian authors from the period of the modernisation of the city of Skopje, the exhibition Heroes for One Day (previously Drafting the Future ), aims to establish new interpretations of the achievements from the period of modernity. Daniel Serafimovski and Nada Prlja started with their endeavor of following the traces of modernization of the city, initially with an open archive project, based on the participatory collecting of materials, artefacts and recollections about Skopje (Skopje Open Archive, 2014), followed by the exhibition about the Museum of Contemporary Art in Skopje by the cult Polish architects, the three Tigers, (Tigers - MSU / Tigers - The Power is in the Team ), the group exhibition Thirteen Ways of Looking at the City, which encompassed new/other ways of looking at the city which is in a state of constant change - and most recently with the exhibition Heroes for One Day. As much as recreating the research subject, they also recontextualised it in the paths they proposed. In fact, the project concerns the material imprints of a period of continuous transformation and recontextualizion: the post-war reconstruction of the city with monumental artifacts in the silhouette of the city, the Faculty of Mathematics and Natural Sciences by Edo Ravnikar, then the urban artefacts of the post-earthquake rebuilding of the city with the Macedonian Opera and Ballet, by the architects Marian Urishich, Stefan Kacin, Jurij Princes and Bogdan Spindler, and the University Centre Ss.Cyril and Methodius by Marko Mushich. But those physical artifacts are precisely the ones being the reason to make a complex stratification of many materials, figures and interpretations related to their presence. of a worldview, a testament to the permanence and contradictions of the city s architecture. But most importantly for Daniel Serafimovski and Nada Prlja is that they are a cause to create an assemblage of documents, images, stories about Skopje. A kind of Merzbau-composition that looks at the city and its materials not only retrospectively but also prospectively. It is in the multitude of elements, tangible and intangible traces, the positions in which the continuity and reality of the city is perceived. But what do those traces represent? Are they material residues, particles from an event, messages or signs of some presence or activity, a trail imprinted in an uncertain territory? The traces are a product of the confrontation of architectural form with time. Aldo Rossi (1984) says that architecture becomes possible in the confrontation of the form with the time, a confrontation that lasts until it is destroyed in mutual combat. Hence, the unfinished, fragmented work is always more authentic than the pre-imagined. Because only ruins express the facts completely. That possibility to use the pieces of a mechanism or an architectural work, whose overall sense is partially lost, always remains attractive (Rossi, 1984). In that sense, this exhibition is an apparatus (apparecchio) of the memories, a tool for folding things into a kind of recreation, over-creation of an analogous work. The traces are signs, records of a former existence, influence or action of an event. But, do they always connect us with the past? Modernism expressed the urge to project the future, wanted to free us from the ancient dependence to draw the vision for the future. Years later we see the artifacts of modernity from the past as traces of the forgotten future, a kind of an outdated future. But exactly through their possible recomposition we experience them as still open messages from the future, as proof that the sense of the big idea is still possible. Traces are a path on a certain territory made from the passage of people and animals. In the film Stalker by Andrei Tarkovsky (1979), the protagonist Stalker uses a specific method of detecting the exact path in forbidden territory simply called The Zone. The disturbing scenery from the remains of modern society are settled in the Zone. Stalker is a leader by throwing objects, nuts and bolts, tied with remnants of cloth, he suggests the way because the Zone exhibits sensibility, and the road across it can be felt but not seen. The project Drafting the future acts in a similar way. This exhibition is a guide to the unfinished episodes from the past, in the region whose meaning differs from today s obviousness, to which many of us are witnesses, but less are allowed to move in the enigmatic spaces of the border of the past, present and future. Rossi, A. (1984). A Scientific Autobiography. Cambridge, Massachusetts: The MIT Press Serafimovski, D. (2015). Thirteen ways to see the city. [Online] Serious Interests Agency - SIA. Available at: events/ / [Accessed 16 June 2016]. Stalker, [Film] Directed by Andrei Tarkovsky, Soviet Union: Mosfilm Tigers MSU / Tigers - The team is the power, The Architecture of Vaclav Klishevski, Jerzy Mokshinski and Eugenjush Wierzbicki (2014). Skopje: Embassy of the Republic of Poland The three buildings offer a different interpretation of a single city. The Faculty of Mathematics and Natural Sciences stems from a still romantic vision of a heroic city with the necessarily symbolic role of education, а building that enters and redefines the silhouette of the city. The University Centre provides a different reinterpretation of the historical urban texture, a kind of anti-monument aiming to blend with the created and the natural environment of the site, being the inspiration and background of revised architectural and urban elements. The building of the Macedonian Opera and Ballet reassesses the edge of the city and the river, the architectural object and its background, suggesting a continuously created topography of the building / surface / natural border. None of them is fully finished, they are fragments within themselves as well as urban fragments in the context of the city. Finally, they are a reason for reaction, challenge, dialogue, aggregation and destruction, layering and confrontation, extension and denial. However, they are traces in our reality, part of our everyday lives, inserts 6 7

5 Листа на уметнички проекти во книгата и изложбата List of Art projects in the book and the exhibition Јане Чаловски Yane Calovski Компресиран минимум Compressed Minimum Синтетичка гума и метал Synthentic rubber and meta елементи, секоj апрохимативно 27,5 x 21 cm цм 4 elements, each approximately 27,5 x 21 cm cm Добиено со љубезна согласност на уметникот и ZAK BRANICKA Courtesy of The Artist and ZAK BRANICKA Душан Перчинков Dushan Perchinkov Teст Test Серија од шест графики А series of six prints 1992 Ситопечат Silk-screen print 35 x 50 цм сm Добиено со љубезна согласност на уметникот Courtesy of The Artist Илија Прокопиев Ilija Prokopiev Вазни Vases Серија на цртежи Series of drawings 2015 Јаглен на хартија Coal on paper 60 x 42 цм сm Добиено со љубезна согласност на уметникот Courtesy of The Artist Никола Узуновски Nikola Uzunovski Туѓинецот The Alien Kомбинирана техника Сombined technique 2016 Променливи димензии Variable dimensions Добиено со љубезна согласност на уметникот Courtesy of The Artist 8 9

6 Листа на модели во книгата и изложбата List of models in the book and the exhibition Оригинални архивски материјали за објектот на МОБ се обезбедени од Богдан Спиндлер (Биро 71) и техничкиот директор на МОБ, Горан Кочишки The original archival documentation for the building of the Macedonian Opera and Ballet have been provided by Bogdan Spindler (Biro 71) and the technical director of MOB, Goran Kociski. Оригинални архивски материјали за објектот на УКИМ се обезбедени од ректорот, Проф. Д-р Велимир Стојковски, (благодарност на Минас Бакалчев и Митко Хаџи-Пуља за нивната поддршка). Цртежите беа дигитализирани врз основа на цртежите на Георги Константиновски од проектот на Мушич. Original archival documentation for the building ensemble of UKIM, the University Centre Ss. Cyril and Methodius, have been provided by the rector,dr. Velimir Stojkovski (with gratitude to Minas Bakalchev and Mitko Hadzi-Pulja for their support). The drawings were digitalized on the basis of Georgi Konstantinovski s drawings of Marko Mušič s project, initially developed for inclusion in the book Univerzitetsko Srediste v Skopje. Оригинални архивски материјали за објектот на ПМФ се обезбедени од деканот на факултетот, Prof. Dr. Ицко Ѓоргоски, (благодарност на Минас Бакалчев и Митко Хаџи-Пуља за нивната поддршка). Original archival documentation for the building of the Faculty of Mathematics and Natural Science, have been provided by the Dean of the faculty, Prof. Dr. Icko Gjorgoski (with gratitude to Minas Bakalchev and Mitko Hadzi-Pulja for their support). МОБ MOB Оригинален архитектонски модел од конкурсниот проект за Културниот центар во Скопје на Биро 71, реставриран од ЛОТУС ДООЕЛ под покровителство на Амбасадата на Словенија во Република Македонија Original architectural model of the Cultural Center competition project in Skopje by Biro 71, restored by LOTUS DOOEL, sponsored by the Embassy of Slovenia in the Republic of Macadonia ПМФ PMF Оригинален архитектонски модел од конкурсниот проект за Универзитетски центар во Скопје на ателје Марко Мушич, реставриран од ЛОТУС ДООЕЛ, Скопје под покровителство на Амбасадата на Словенија во Република Македонија Original architectural model of the University Center competition project in Skopje by Atelier Marko Mušič, restored by LOTUS DOOEL, Skopje, sponsored by the Embassy of Slovenia in the Republic of Macadonia Архитектонски модел од фасадата и амфитеатарот на објектот според изведениот проект на Едвард Равникар, изработен од Игор Спировски, нарачано од Галерија SIA Architectural model of the facade and the auditorium of the building according to the realized project by Edvard Ravnikar, made by Igor Spirovski, commisioned by SIA Gallery Македонска опера и балет, Скопје, Македонија. Моделот подготвен од студентите: Илија Мирчески и Синиша Павловски Macedonian Opera and Ballet, Skopje, Macedonia. Model prepared by the students: Ilija Mircheski and Sinisha Pavlovski. Педагошки тим Under supervision:проф. Д-р Анета Христова (раководител на предметот) и доц. д-р Мери Батакоја Prof. PhD Aneta Hristova (subject leader) and Sen. Lect. PhD Meri Batakoja Национално собрание на Бангладеш, Дака, Бангладеш, на Луис Кан. Моделот подготвен од студентите: Бисера Коџасинска и Марија Трајковиќ Parliament House in Bangladesh, Dhaka, Bangladesh, by Louis Khan. Model prepared by the students: Bisera Kodzasinska and Marija Trajkovikj Педагошки тим Under supervision: Проф. Д-р Зорица Блажевска, Проф. Д-р Минас Бакалчев, Проф. Д-р Саша Тасиќ, Проф. Д-р Митко Хаџи Пуља, Проф. Д-р Влатко П. Коробар, Проф. Д-р Тихомир Стојков Prof. PhD Zorica Blazhevska, Prof. PhD Minas Bakalchev, Prof. PhD Sasha Tasikj, Prof. PhD Mitko Hadzi-Pulja, Prof. PhD Vlatko P. Korobar, Prof. PhD Tihomir Stojkov Универзитет Св. Кирил и Методиј, Скопје, Македонија. Моделот подготвен од Ателје Марко Мушич. Изборна настава, 2006, тема: Учење/Домување: мисловни појаси University Ss. Cyiril and Methodious, Skopje, Macedonia. Model prepared by Atelier Marko Mušič. Facultative subject, 2006, theme: Learning and Living:Rings of Thought 10 11

7 Птичја перспектива од Централно Скопје каде трите урбани артефакти (МОБ, УКИМ, ПМФ) се видливи. Сопственост на Влатко П. Коробар Aerial view of Central Skopje, in which the three urban artifacts (MOB, UKIM, PMF) are visible. Cоurtesy of Vlatko P. Korobar 12 13

8 CITIES WITHIN THE CITY In the second half of the twentieth century, the urban development of Skopje went through two important phases which determined the course of transformations of its urban tissue. The first one was related to the period immediate after WWII, when the new societal order decided to manifest itself through the Modern paradigm in urban planning as a sign of its future oriented and progressive nature. It was set to change rapidly the city of the past. The second one was related to the period of reconstruction of the city after the earthquake of 1963, when the effort to build a virtually new city reflected the need to show the superiority of the country s so called, third way in the then divided, bipolar world. This time, the extensive urban planning exercise was influenced by the critique of post-war urban planning and the late Modern paradigm in the design of urban space. Vlatko P. Korobar Both events were linked heavily with the involvement of external, mainly international experts who, although working with local planners and architects, had the leading role in the major decisions regarding the urban future of Skopje. In the years after WWI, it was the brotherly help among the new socialist countries of Europe s East which brought the Czechoslovakian planners to Skopje to prepare the first post-war master plan. In the period after the earthquake, it was the international community that, through a UN led activity brought together a truly international team of planning experts and architects to prepare both the new master plan and to decide upon the future of the city centre. It is within this context that we should observe the works of the Slovenian architects represented by three major buildings/complexes that have left a lasting mark in the urban history of Skopje. They can fully be understood and appreciated only through the wider social and planning context in which they emerged. The earliest of the three works is the building of the Faculty of Philosophy and Natural Sciences designed by Edvard Ravnikar in At the time of designing the building, the new master plan was in its final stage and the site of the faculty building was decided upon in relation to the provisions of the plan. Namely, the master plan of Ludjek Kubesh, envisaged a new Republican (state) science centre on the Gazi Baba hill that was to showcase the importance of science and knowledge for the development of the new socialist society. The complex was to include the buildings of different university and scientific institutes and was planned according to the best rules of practice of Modern urbanism, as freestanding buildings immersed in an ample green area. Nothing felt more appropriate or natural, even, to express spatially the urban condition that was to emerge in the near future, than the marriage of modernist planning principles and the notion of science and knowledge as the driving forces of the new society. Ravnikar s building was the first one of the many that were meant to come. It is not by accident that it occupies the most prominent spot in relation to the old city. With its symmetrical façade and the monumental flare, 14 15

9 it unmistakably exerted its function and its symbolic meaning. It denoted the new acropolis where future men of knowledge were to be created. In later years a number of faculties were built in the area, but there was never an effort to connect them in a meaningful whole. Thus, Ravnikar s building remained the most exposed and sole witness of a city of knowledge that was to be, but was never completed. The other two works of Slovenian authors are related to the post-earthquake development of the city. Although both of them are related to the master plan and the city centre plan, it is possible to view them as influenced to a different extent by each of these plans. It is a common mistake, even among the professional community, to perceive the post-earthquake planning of Skopje as a result of Tange s plan. The major directions for future development of the city were laid down in the Master Plan which was prepared with the involvement of Polservice, Doxiadis Associates, Wilbur Smith Associates and the local Institute for Planning and Architecture in Skopje under the support of a special UN fund. The plan preparation itself utilised some of the most advanced planning approaches of the time. One of them was the thorough sociological study resulting in the conclusion that there was a functional and spatial divide between the old and the new part of the city on the left and the right banks of the Vardar River, respectively. This finding had a direct bearing on the distribution of major functional areas on the left bank of the Vardar River in the Master plan. It was one of the early cases in postwar planning where a sociological study was not yet another of the many studies that preceded the plan, but one which had a direct spatial impact. microclimate of the surrounding areas. This was skillfully incorporated in the final design, resulting in an expressive spatial statement. The Cultural centre comprised of four major buildings housing the Macedonian Opera and Ballet, the Macedonian Philharmonic, the Faculty of Music Arts and a secondary school for music and ballet. In the original design the four buildings also housed a cinema, a supermarket, a restaurant and a bank, providing for a functional variety that was to secure the full daily cycle of activities in the area. The Cultural centre was only partially completed. Only two of the four planned buildings were built which, set apart, did not manage to establish the street-like nature of the communication lines towards the river and the open space along the quay. However, despite the early criticism, the Opera and Ballet house acquired a status of symbol of the city, with an architecture that was a forerunner of later architectural endeavours elsewhere in the world. In their initial design concepts these works could be comprehended as cities within the city as they all strived to colonise larger areas in an urbane fashion, extending their influence beyond their utilitarian function. All three works were related to major planning exercises which dramatically revised the planning strategy of the city. Coinciding with these events they managed to seize the opportunity and become distinct marks of important periods of development of the city by their bold architectural statements and their architectural integrity. It could be argued that the University campus of Social Sciences by Marko Mušič, although part of the plan for the city centre, was more substantially connected to the master plan and its goal to locate important functional segments on the left bank of the Vardar to fulfil the important role a vehicle of integration of the two parts of the city. It was located in a highly sensitive area, surrounded by the old bazaar and traditional residential neighbourhoods. It was to bring new users and a new activity in this part of the city that was to increase its attractiveness and reinstate its vitality. Despite the orthogonal disposition of the buildings and their constituent parts, it is fair to say that it is an attempt to reinterpret the concept of the surrounding neighbourhoods, with external and internal streets and squares. Unfortunately, the connections between the complex and its immediate surrounding were never fully established and it remained an urban island in its own right. The Cultural centre designed by Biro 71 is the last of the three major works by Slovenian architects in Skopje. It stemmed from Tange s concept for the development of the city centre which was regulated by two perpendicular axes representing the old north-south axis and the new east-west axis. The new east-west axis, like a string of beads, incorporated the transport centre, the administrative and business centre, the government centre, the cultural centre and the shopping and trade centre along the Vardar River. The design brief asked for gradual decrease of height towards the river to allow for increased influence of the air flow along the river on the 16 17

10 Цртеж од центарот на Скопје со петта фасада од трите урбани артефакти МОБ, УКИМ и ПМФ, кои се тема на овој истражувачки проект. Размер 1:5000 Drawing of the city centre of Skopje with the three urban artifacts MOB, UKIM and PMF, the subject of this research project. Scale 1:

11 HETEROGENEITY AND EQUALITY - ARCHITECTURE AND URBANISM IN SOCIALIST YUGOSLAVIA SYNOPTIC OVERVIEW 1. Monument -mania was initiated by the work of the photographer, Jan Klempenars. 2. One of the best books in this field is Belgrade Formal Informal - a Research into Urban Transformation. ETH Studio Basel, Contemporary City institute. Maroje Mrduljaš First published in TEC21, 24/2014 Despite the increased global interest in the architecture of Central and Eastern Europe and the other world in the broader cultural circles is still relatively little known and is not registered in the dominant historiography. The latest international outside look at the entire region including the former Yugoslavia, is either esoteric, or is placed within the narrow scientific and academic circles. In the first case, with the popular approach pictorial and photogenic topics are mainly comprised, often destroyed monuments of the anti-fascist struggle and the socialist revolution are displayed indiscriminately, regardless of their objective aesthetic qualities are being decontextualised as if they belonged to a long-extinct civilisation 1. The other approach deals with procedural issues of the urban development 2 and thus inevitably faces the problem of interpreting the very complex circumstances of Yugoslav selfmanaging socialism in the economic, political as well as cultural meaning. Official internal review, in turn, explored in national historiography and often monumental representations of certain authorial opuses, while in the margins of mainstream culture a set of young researchers work with a lot of passion to study the legacy of urban modernization and its present performance. The architecture and the urbanism of Central-Eastern Europe and Yugoslavia thus far are viewed from many different perspectives, but are still missing their full evaluation and synthesis. Sure, it is a phenomenon that carries strong political overtones by itself: the assessment of architecture and urbanism at the time of the failed project of socialism inevitably binds to the question of its real accomplishments and promises not fulfilled. The pre-war condition Modernism in the former Yugoslavia has been absorbed relatively early, during the 1920s and 1930s, with education or work of architects in the epicentres of cultural events: Paris, Vienna, Berlin, Prague and elsewhere. Some specific figures like Joze Plecnik in Ljubljana developed quite specific architectural languages that are difficult to categorize in conventional terms. Belgrade, Zagreb and Ljubljana have their own architectural schools based on the polytechnical model. During the 1930s a branch of CIAM for Yugoslavia acts as a Working Group in Zagreb, led by an associate of Le Corbusier and later by the sharp critic Ernest Vajsmen, which prepares the little-known alternative to the Athens Charter. A whole colony of Yugoslav architects are working with Le Corbusier, and some, such as Edvard Ravnikar from Ljubljana, Juraj Neidhard from Zagreb, who will continue his career in Sarajevo or Milorad Pantović who works in Belgrade, become leading protagonists of post-war architectural life in Yugoslavia. Most of the pre-war modernist architects are socially engaged and left oriented, and many of them, just to mention Nicola Dobrovikj - the first planner of New Belgrade, participate in the fight against fascism during World War II and are entrusted by the new political nomenclature. Therefore, in cultural and political terms, the architectural landscape is ready for a new context that will bring socialism. Self-governing socialism and architectural culture Immediately after the war, Yugoslavia was one of the most faithful allies of the USSR. Design activities are centralized in large state offices, and a short debate about social realism is ongoing. However, in 1948 a break with Stalin comes and Yugoslavia leaves the Eastern bloc, and already in 1950 the foundations of specific sociopolitical project of self-governing socialism based on the forms of direct democracy, political decentralization and weakening of the state were established. Culture promotes freedom of aesthetic expression, and various forms of modern art and design from the 1950s quickly develop. The modernization of everyday life follows this process in which, of course, the urbanization plays a key role that reaches its climax in the 1960s. Although it cannot be said that there was an official cultural policy that would be oriented towards modernity, it gradually becomes a symbolic marker of a system that promotes itself as an authentic, open and progressive, which is particularly well illustrated by the Yugoslav pavilion at EXPO in Brussels at 1958, designed by Vjenceslav Richter as an elegant structure constructed in steel and glass with no door, but open to its visitors in fully designed environment. Already in the first half of the 1950s, centralized bureaus are quickly reduced, small independent studies are established. Some bureaus are related to construction companies, then interdisciplinary republic urban institutes act, and university professors can design through the faculties as well. This diverse organization of the architectural profession contributes to the dynamics of the scene. Each of the federative republics (except Montenegro) has its own school and they cultivate individual approaches as well. Republic scenes are associated with different international epicenters of architecture and dialogues with the architectural heritage or intellectual preferences of the local cultural environment are held. Slovenia maintains contacts with the Scandinavian countries, Croatia with Dutch members of Team X, Juraj Neidhard in Sarajevo explores the possibilities of fusion of the Ottoman tradition and modern spatial concepts, in Belgrade the architect Bogdan Bogdanovic is a part of the surrealist cultural group. Macedonian architects are in direct contact with architects such as Kenzo Tange, Alfred Roth and Polish Architects Tigers, which together with the Yugoslav architects participate in the reconstruction of Skopje after the catastrophic earthquake of 1963, so Skopje becomes architectural cosmopolitan global city. As a result of such heterogeneity, we cannot speak of a Yugoslav architecture, but rather of a patchwork of autonomous researches, that are not simplified reflection of the global trends, but authentic expression of self-conscious Yugoslav cultural backgrounds of geopolitical and cultural position between the East and the West. Economic and political context of the construction of the physical environment. Regarding the forms of ownership of the means of production, with accumulation of other goods including land which is not national, but social in its management are involved different stakeholders - communes, economic communities and various funds. In the first phase of the introduction of self-management there are certain elements of the market, and after the economic and banking reforms in the mid-1960s, specific hybrid between planned and market economy is established. All these aspects influence the development of the built environment. For example, social ownership of the land facilitates planning and implementing major expansions of cities such as New Belgrade and New Zagreb and provides equity in the distribution of housing stock in which the right to housing is one of the important elements of social care. The elements of the market, however, in various ways affect the quality of architectural production. In housing construction the impact 20 21

12 of the construction industry is strong and does not require optimization in construction, where various plants develop their own versions of the system of prefabrication of the façade, therefore the housing blocks are not unified. In the industry of mass tourism, which since the mid-1960s became one of the main industries, the architecture is seen as an important aspect of the competitiveness of the tourist product and the Adriatic coast is crowded with hotels, which are among the most interesting in this typology in an international context. Yugoslav architects thus act in circumstances that have significant aesthetic and programme autonomy and, as far as they are in accordance with the available material resources. Results? As in any environment, in Yugoslavia as well, raises the question of the reach of modernity and modernization in two fields: the closer cultural-aesthetic and urban-generic field. While, in the first field, on the territory of Yugoslavia we find architecture that is able to translate global modernity in locally specific forms, among which one of the finest examples is the White Mosque in Visoko, by the architect Ugljen as a harmonious blend of abstract modernist poetry and metaphors of Islam, which was awarded the Aga Khan prize. In the development of cities, modernization showed its good and bad sides. The design for large numbers enabled the transformation of rural land into modern environment, provided a sound level of modern life for many citizens and provided the infrastructure of the social services. In this sense, the socialist urbanization was also a civilizational task, in order to achieve social equality. However, even if spatial policies and development of cities followed the agenda of egalitarianism, it was not ideal in spatial sense and was realized in the gap between utopist ambitions, pragmatic financial capabilities and bureaucratic obstacles. However, in fortunate cases, most of which were dependent on the micro policies and the capabilities of managerial elites - sensitive and internationally relevant results were realized. Reliable example of such synergistic relationship of the economy, the administration and architecture is the great expansion of Split known as Split 3, which brought the connection of various Yugoslav scenes. The urban development plan is developed by Slovenian team - Braco Mushich, Marian Bezovan and Nives Starc and is built by local architects from Split Ivo Radic, Frane Gotovac, Dinko Kovacic and others. In this project, which combined models of introducing pedestrian streets and mega structures, a successful synthesis of international trends is achieved in the range of criticism from Jane Jacobs modernism, which Braco Mushich had adopted during his studies at Harvard, to metabolist concepts. However, these impacts are not literal, but upgraded on the already existing local architectural knowledge and immediate lesson of the historic city of Split, and were also enabled by the project of socialist urban and broader social modernization. the modernism, today partly changed its meaning and citizens recognize the benefits of a planned shining city in big public spaces and functional plan of apartments. New Belgrade, for instance, is becoming a more prestigious place for living. Urban institutions and mechanisms for managing the environment are deliberately destroyed or degraded in the process of transition and the city no longer is conceived by planners, but developers associated with the policies of the clients. The times when Yugoslavia in cooperation with the UN has invested tens of millions of dollars in regional plans for sustainable development of the Adriatic coast or when habitology studies were implemented at the Center for Housing on IMS in Belgrade are a distant past. The unstable, yet rational cooperation among political elites, urban architectural profession and investors, no longer exists, with disastrous results for the environment. The architectural culture has survived as an isolated discipline, while Slovenia and Croatia yet managed to build proportionally recognizable scenes following the modernistic heritage. In other republics, advanced oriented architects advocate modern values, but with little possibility for their application. Deregulation, neoliberal model of managing cities is not Yugoslav specificity, but they are in significant contrast to the recent history and urban and architectural discipline still requires operating models of action in those circumstances. One of the more interesting and even more active models is, in fact, the engagement on the protection of architectural and urban morphology of modernism, involving various civil society initiatives. The discussion about the right to the city and urban protests against injustice in Belgrade, Zagreb and Skopje develops architectural discourse, and the mechanisms of civil society and civic engagement in the region are reinforced, but are still in garments. Urban heritage of modernism in Yugoslavia today shows its longterm effects and spreads like a virus on future generations of possible romantic idea of architecture as a public good. Post mortrem Citizens of the former Yugoslavia still largely reside in a socialist city, use the housing stock, visit schools and hospitals built under communism, the industry of tourism almost exclusively uses the hotel complexes built in the early 1970 s including large contents and public spaces used by the local community. Sometimes the pejorative attribute socialist, which referred to 22 23

13 Корицата на Наоди, каталогoт на Македонскиот павилјон на Архитектонското биенале во Венеција, 2014, со истражувања за 50 избрани згради од 20тиот век во Скопје / The front cover of Findings, the catalogue of the Macedonian Pavilion at the Venice Architecture Biennale, 2014, with research about a selection of 50 key 20th century buildings in Skopje 24 25

14 FINDINGS FOR THE FUTURE Аs required by the chief curator of the 14-th Venice architectural Biennale the Dutch architect Rem Koolhaas, the 66 participating countries of the Biennale were given the task to respond to a single theme, entitled: Absorbing Modernity: The Macedonian response to the theme was focused on representing the last one hundred years of the rich and diverse architectural history of the city of Skopje. The research of Skopje s modernist history was imagined as an examination of its architectural Findings. By making a conscious analogy with the archaeology, the research attempted to (re)discover and (re)read the chronologically overlapped patterns of a century long modernization of the city, which was achieved through a careful selection, classification and evaluation of the architecture of public buildings (city artefacts). Jovan Ivanovski The modernist architectural heritage of Skopje is an example of how diverse political concepts, the diverse stages of socio-economic development, the international architectural movements and technological advancements can influence the development of the architecture of the city. At the same time, the city of Skopje is a showcase of how a particular historic event - the catastrophic earthquake of could become a force that completely changes the architecture of the city, accelerating its modernization in a dramatic way. Inspired by the obvious richness of Skopje s experience of modernization, the Macedonian exhibition and this book are an attempt to document and present parts of the archive materials for fifty public buildings which, in our opinion, tell the (hi)story of absorption of the modernist paradigms. The selected examples earned our attention due to the following myriad of characteristics: conceptual strength, originality of form, esthetics, materiality, craftsmanship, but also - their authorship. They illustrate the unparalleled Modern architectural legacy of Skopje one that would have certainly be oversimplified were it to be described solely as an interpretation of the universal language of modernism. The presented case studies not only show how global modernity was dissemi nating its knowledge of ideas and ideologies in architecture within the Macedonian national context, but also how the local interpretations, alterations, adjustments and appropriations of the global trends were both possible and indeed, common practice. The combination of strong global influences, the inspirational architectural past, together with the complex societal and cultural circumstances of the each and every Macedonian present over the past 100 years, have given rise to novel potential and a wealth of variety in the expression of the Macedonian modern archi tecture. Rather than becoming a tool for flattening out and creating sameness, modernity in Macedonia became more of a membrane in an interactive relationship between opposing cultural environments - East-West, Mediterranean-Continental, socialist-capitalist, and eventually, traditional-progressive... From that perspective, observing the Skopje Findings, we argue that a century of the ciy s modernization did not much endanger the national architectural characteristics (in favor of the almost universal adoption of a single modernist language); on the contrary, the process of modernisation has, ultimately, contributed towards the process of their (re)definition and 26 development. 27

15 Страници од Наоди (каталог на Македонскиот павилјон на Архитектонското биенале во Венеција, 2014) на кој се прикажани основи и изгледи на МОБ од Биро 71 (изградена ), УКИМ, универзитетскиот центар на Св. Кирил и Методиј од Марко Мушич (изграден ) и ПМФ, Природно математичкиот факултет во Скопоје од Едвард Равникар (изграден ) Pages from Findings (Catalogue of the Macedonian Pavilion at the Venice Architecture Biennale, 2014) showing a plan and elevation of MOB, by Biro71 (built ), UKIM, the University Centre of Ss.Cyril and Methodius in Skopje, by Marko Mušič (built ) and PMF, the Faculty of Mathematics and Natural Sciences in Skopje, by Edvard Ravnikar (built ) Страници од Наоди на кои е прикажан преглед на инсталацијата на Македонскиот павилјон на Архитектонското биенале во Венеција, во просторот Arsenale (2014). Курирано од Јован Ивановски Pages from Findings showing a view of the installation of the Macedonian Pavilion at the Venice Architecture Biennale, within the Arsenale (2014). Curated by Jovan Ivanovski 28 29

16 Страници од Наоди на кои е прикажана инсталацијата на Македонскиот павилјон во просторот Arsenale на Архитектонското биенале во Венеција (2014). Курирано од Јован Ивановски / Pages from Findings showing the installation of the Macedonian Pavilion at the Venice Architecture Biennale, within the Arsenale (2014). Curated by Jovan Ivanovski 30 31

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18 REASSESSING THE POST-EARTHQUAKE RENEWAL OF SKOPJE Previous Drawing: Reassasseing the Post-Earthquake Renewal of Skopje, axonometric view of the 30 selected buildings - including the buildings of the Macedonian Opera and Ballet (MOB) and the University Centre of Ss.Cyirl and Methodius (UKIM). Exhibitied as part of the Macedonian Architecture Biennale (BIMAS, 2016). Ana Ivanovska - Deskova The exhibition was based on research developed as part of The architecture of the period of the post-earthquake renewal of Skopje - values and conditions within the framework of the contemporary context. Doctoral dissertation (unpublished), University Ss.Cyril and Methodius - Faculty of Architecture in Skopje, Skopje, 2015 The architecture of the post-earthquake renewal of Skopje represents one of the most valuable architectural experiences in the history of the city. The earthquake which struck Skopje on destroyed almost 80% of its built environment, thereby prompting extensive planned and systematically implemented construction. To a large extent, this period paved the way for the future urban development. Moreover, it dramatically changed the city and accelerated its modernization. Even though the reconstruction remains unfinished, the effects of the completed parts are impressive. The built collection of valuable and, in some cases even exceptional buildings, sheds light on the ideal, late-modernist city as it had been envisaged. Today, almost 40 years after the end of the renewal, some of these buildings represent an architectural heritage with significant values, of which the general public and, to an even greater extent, even the institutions lack awareness. Facing constant change and an insensitive environment, in which they are for the most part unrecognized, these buildings are left to decay, or are subjected to unprofessional and - increasingly frequently - destructive interventions. As a result, they fall into an endangered category which should be given immediate attention. This question becomes even more important, taking into consideration the recent architectural transformation of the city which clearly shows what can happen if the professional conscientiousness, ethics and/or knowledge, are not part of the process. The Biennial of Macedonian Architecture (BIMAS) seems to be an appropriate occasion to pose the question regarding the value of this segment of Skopje s architectural history to the professionals and the wider public. Even more so, since the notion of recycling (the Biennial s underlying theme in 2016), apart from the intention of giving a new function to the architectural potential of unused buildings, more importantly within itself, carries the idea of a greater social awareness and sensitivity towards the environment. In this context, the idea for raising awareness of the material potential of the resources, can be transferred to the revision and reconsideration of ideas, cultural and aesthetic categories and values of what has already been built, but has been left slightly out of focus. This issue is particularly important today, considering that the rethinking and revalorization of the architectural creations of the 1960s and 1970s is becoming an important topic on the international architectural scene. * clearly points to the process of transformation through which Skopje has undergone, while reflecting on the prevailing tendencies and the character of the architectural production. These buildings, as architectural and urban unities, constitute particular urban artifacts primary elements which permanently participate in the evolution of the city and become its integral parts. Although varied in their nature and architectural value, they attract attention through their conceptual strength, originality of form and aesthetics, their materiality, the quality of their construction, their authorship, as well as certain technical and technological innovation, etc. Taken out of the city s fabric and placed in a chronological order on a common base (through drawings, models, photographs and archived documents) they give a clear insight into the various aspects of the reconstruction of the city its duration and intensity, the density and the special disposition within the city fabric, the volume of what was planned and the level of implementation, the strong modernizing character of this extensive project, as well as the plurality of architectural languages adopted and their relation to the current events on a broader Yugoslav, European and architectural scene. The architectural selection presented in the exhibition, shows that this is not a simple interpretation of a universal architectural language; the architectural answer is not predefined in its form and it is not subject to a fixed aesthetic type which imposes rules. On the contrary, it is a research library of new forms and technological possibilities through which Skopje is given a new, different, individual look, through buildings with a strong architectural identity. With a radical intention and the optimistic belief in the world to come, these buildings strive to represent the architecture of the future - architecture in which the social, technical and aesthetic considerations, compose a new unity. Benefitting from the sense of historical distance, necesary for a critical evaluation and perception of the historical, cultural, aesthetic and other values which these buildings entail, it can be concluded that this is an important cultural heritage of the city. In this sense, this selection can be seen as a preliminary inventory of valuable architectural realizations which can/should serve in the political processes involved in the protection of these kinds of buildings, either on a local level, or within the framework of an international network of institutions. The exhibition Reassessing the Post-earthquake Renewal of Skopje aims to draw attention to this important cultural layer of the city s recent history. Having in mind the abundance of built works on one side, as well as the limited scope of the exhibition display on the other, 30 significant representatives were chosen characteristic architectural realizations, all of which are public buildings (from the field of education, culture, health ). Although this is not a definite selection, due to its sheer 34 volume and variety, it constitutes a rich and valuable collection, which 35

19 Фотографии од изложбата Навраќање кон постземјотресната обнова на Скопје од модели на некои од 30-те селектирани згради од студијата вклучувајќи ја Македонска опера и балет (МОБ) и универзитетскиот центар Св. Кирил и Методиј (УКИМ). Изложени како дел од Архитектонското биенале во Македонија (БИМАС, 2016) vo Mузеј на Град Скопје Photographs from the exhibition Reassasseing the Post-Earthquake Renewal of Skopje, with models of some of the 30 selected buildings from the study - including the Macedonian Opera and Ballet (MOB) and the University Centre of Ss.Cyril and Methodius (UKIM). Exhibitied as part of the Macedonian Architecture Biennale (BIMAS, 2016), within the Museum of the City of Skopje. Моделот на МОБ е во преден план The model of MOB is in the foreground Моделите на УКИМ се во преден план The models of UKIM are in the foreground 36 37

20 МОБ / НА БИРО 71 / MOB / BY BIRO 71 / МОБ УКИМ ПМФ MOB UKIM PMF 38 39

21 МОБ ХРОНОЛОГИЈА MOB CHRONOLOGY ЈУНИ / JUNE 1968 НОЕМВРИ 1969 МАЈ АПРИЛ 1979 ПОЧЕТОК НА 1980 Објавен е општ, анонимен југословенски конкурс за идејно решение на комплексот на Културниот центар во Скопје. 1 Конкурсот ќе предизвика огромен интерес подигнати се 104 подлоги, а во предвидениот рок ( г.) пристигнуваат 40 завршени трудови; General anonymous Yugoslav competition for the design solution of a Cultural Center complex in Skopje was announced. 1 The competition attracted huge interest out of 104 initial participants, 40 completed works were submitted on schedule ( ) Во просторот на Архитектонскоградежниот факултет е организирана изложба на сите трудови. Првонаграден е трудот со шифра МЕТРУМ на архитектите: Роман Цизеј, Отон Гашпари, Штефан Кацин, Петер Кершован, Јуриј Принцес, Марјан Уршич и Петер Зиданич, сите архитекти од Љубљана; In June 1968, an exhibition of all the competition projects, was organized at the Faculty of Architecture and Civil Engineering in Skopje. The work coded METRUM by the architects: Roman Cizej, Oton Gashpari, Shtefan Kacin, Peter Kershovan, Jurij Princes, Marjan Urshič and Peter Zidanič, won the first-prize; all of the architects were from Ljubljana. До ноември авторите, во соработка со поширок проектантски тим од ГП Бетон и од Македонијапроект ќе изготват идеен, а во фаза на изработка ќе биде и главниот проект; 2 By November 1969, the authors, in cooperation with a larger project team from the building companies Beton and Makedonija-proekt, prepared the project drawings based on the initial competition project, while the detailed design project was also under development; 2 Започнува изградбата на Културниот центар со предвидување дека комплексот ќе биде готов до 1976 г. Поради големината на зафатот, изградбата се предвидува етапно, според можностите на градот и на Републиката. Првата фаза ги вклучува објектите на МНТ (денес МОБ), Музичкото училиште и доградбата на Комерцијалноинвестициската банка. Под влијание на различни фактори, веќе на почетокот на 1973 г. станува јасно дека следната фаза (зградите на кината и на филхармонијата) нема да се реализира; In May 1972, the construction of the Cultural Center began, with the expectation that the entire complex would be complete by Due to the size of the building, the construction was foreseen in phases, according to the city and the country s (financial) capacity. The first phase included facilities for MNT (today MOB), the Mušič School and the extension of the Commercial and Investment Bank. Донесена е Одлука да се започне со изградбата на зградата на МНТ; во текот на 1973 г. се одвиваат расчистувањето и подготовката на теренот за градба, а објектот започнува да се гради во октомври 1973 г. The decision to launch the construction of the building of the National Theatre was made; during the year of 1973, the site was cleared and preparation of the ground for construction took place; the construction of the building started in October До април е завршен првиот дел од изградбата - сите работни простории, без сцените, гледалиштето и просторите за публика. Со тоа се создадени услови за преселување на вработените во новиот објект (проби, вежби, подготовки на претстави, работа на администрација); By April 1979, the first part of the construction was completed - all of the working areas, but without the scenes, auditorium and the main theatre spectator hall. This created conditions for the staff members to move into the new building (enabling rehearsals, exercises, preparation of performances, and general administration work); Во почетокот на годината најголемиот дел од објектот (без сцената) е завршен, а во завршна фаза е и платформата пред него. In early 1980, the largest part of the building (without the scene) was completed and the construction of the public platform in front of the building, was also in its final stages. 1 Конкурсните барања се однесуваат пред сè на функционалните параметри на објектите. Програмата е развиена во Скопје, а ревидирана и речиси во целост прифатена од Институтот за технологија на театарски згради од Берлин (ГДР). Конкурсот не поставува услови и ограничувања во однос на архитектонското обликување на комплексот, освен дека треба да е современ во архитектонскиот израз. 1 The requrements of the Competition were related primarily to the functional parameters of the buildings.the competition program was developed in Skopje, and revised and approved (virtually entirely in its original form), by the Institute of Technology of Theater Buildings in Berlin (GDR). The competition did not set conditions and restrictions regarding the architectural form of the complex, except the demand that it should be of a contemporary architectural expression. 2 Одговорни проектанти во фазата на изработка на идеен и главен проект се Штефан Кацин, Јуриј Принцес, Богдан Спиндлер и Марјан Уршич. 2 The design and project architects, during the construction phase of the preliminary and main project, were Shtefan Kacin, Jurij Princes, Bogdan Splindler and Marjan Urshic (Biro 71). Under the influence of various factors, towards the beginning of the building process, and as early as 1973, it became clear that the following construction phase (the buildings of the Cinema and the Philharmonic Concert Hall) would not be realized; 40 41

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24 THE MACEDONIAN NATIONAL THEATRE / NOW THE MACEDONIAN OPERA AND BALLET BY STEFAN KACIN, JURIJ PRINCES, BOGDAN SPINDLER, MARJAN URSHIČ Ana Ivanovska - Deskova Response to the urban context The location designated for the buildings of the Cultural Center, was in the most central city area, in view of the significance of such an ensemble of buildings for the city. On the western side, it adjoins the existing buildings of Daut Pasha Hamam, Ibni Pajko and the Commercial-Investment Bank; to the east and north it is framed by the street Stiv Naumov and Bull. Gotse Delchev, while to the south it opens onto the quay of the River Vardar. 1 On the opposite side of the river is located the new City mall. The realized project of the Macedonian National Theatre occupies a key, central position in this location. The main entrance to the building is accessed from the south, through a wide pedestrian platform or through the subterranean car-park. 2 About the Cultural Center The building of the Macedonian National Theatre is a segment of a broader unifying idea. In this sense, it is impossible to speak more specifically about the theater building without briefly explaining the integral idea of the Cultural Center that can be viewed through the prism of Fumihiko Maki s notion of the collective form, present in the 1960s - as a segment of the city that cannot be reduced to isolated objects, but objects that enter into relationship with each other and with the whole. 3 With an estimated total area of 50,000 m2 (nearly 40,000 m2 of net usable area), the Cultural Centre represents a unique configuration of several segments in which the specific cultural program is inserted the Philharmonic Concert Hall, the building of the Opera and Ballet at MNT, the building of the Music and Ballet schools (now the Music Academy), a Cinema-hall, a building of commercial shops, as well as an annex of the Commercial-Investment Bank. 4 Through their broken geometries, the buildings form a kind of artificial topography, a landscape which, together with the unifying platform in the central area, descends towards the river bed of the river Vardar. Thus, a remarkable open public space with southern orientation is created with the potential to become a gathering place, a public square and simultaneously also an external auditorium. In that sense, this project is the only one of very few projects, showing a high degree of sensitivity to the landscape, connecting the citizens and the city with the river and the new public space. On the western side, the shared platform is accessed through a narrow opening - a «canyon» formed by the building of the music schools and the extension of the Commercial Bank, where the space in front of the theater building opens up to the visitors in all its width and expressiveness. The relationship to the north, towards the bul. «Gotse Delchev», onto which the additional facilities, workrooms and the service entrances are oriented, is much less clear in terms of its form. Spatial-volumetric structure In spatial-volumetric terms, the segment of the Cultural Centre, represents one of the most radical architectural experiments, revisiting the functionalist architectural position at a time when architecture was searching for new answers, returning to the expressionist roots of the avant-garde of the 1920s - to the individual, irrational, organic or fragmented. The classical relation of figure (object) and background (base) changes, and they enter ia dynamic relationship in which they are seen as a surface that creases a different intensity - creases of a single gesture» so that in the final form...cannot single out distinctive architectural objects (...) nor distinctive architectural elements a wall, a pillar, a roof. In this sense, according to Bakalcev, the spatial configuration of MOB can be experienced as a cubist decomposition of the basic form as a series of different abstract views, so that... on each side, several planes are seen at the same time facade and profile, elevation and roof... etc. Programmatic layout in the Opera and Ballet building The new theater building is one of the most representative, as well as the most complex buildings realised in the process of rebuilding Skopje, following the earthquake. With a net area of over 16,000 m2, 6 it is designed to provide high quality working conditions to the three ensembles within the National Theatre - Drama (established in 1945), Opera (established in 1947) and Ballet (established in 1948). 7 The building is divided into an area for the audience and a working area, which overlap in the space of the stage and the auditorium. This duality can be read also in the plan - the irregular, fragmented geometry of the visitors space, as a continuation of the general spatial composition and the raised platform through which one accesses the building, as opposed to the rational matrix of the utilitarian arrangement of the building in the northern part of the building. The visitors space is representative in its character, and is generous in terms of it size and surface area, its height and the cubic capacity per visitor. The lobbies, stairs, halls and the gallery platform are dramatic and expressive spaces, which in their tilted geometries, are adapted to the constantly dynamic changes of the bilding form. The building has two halls - the auditorium on the big stage with a capacity of about 800 seats 8 and a mobile auditorium on the small stage (the so-called «experimental hall») with 232 seats. The complex architectural topography continues inside the auditorium; here the initial geometry is fragmented in order to achieve better acoustic qualities. The stage area, with its size and technical equipment, ensures the possibility of accomodating all types of preformances, including opera, ballet and drama, and enabling even the stagin of spectacular scenes with the aid of a large number of technical effects. 9 The orchestra pit accommodates orchestra members, with the possibility to decrease in size, whenever appropriate, for performances by smaller orchestras. The working part of the building is an extremely complex organism that contains everything that is necessary: spaces for choir and orchestra rehearsals, dance halls, spaces for group rehearsals, opera studios, piano studios, spaces for rehearsals of ensembles, workspaces for conductors, directors, set designers, costume designers, etc., as well as an appropriate number of dressing rooms, make-up rooms, sanitation facilities, workshops, stage storage, administration space, archive,library and so on. The object has provision for all kinds of workshops for the creation of decorative and costume accessories, as well as the required storage space to accommodate equipment repertoire

25 Structure, materiality, form, colour Regarding the structure and materiality, the building is percieved as a modern sculpture in white painted concrete. The continuous surface of the same materilaty, as well as the complete absence of colour, further enhance the already abstract qualities of the building. The buildings roof planes, which drops from its highest point towards the fragmented forms of the platform, which in some segments and at various levels, descends further towards the river, are seen as a new, white landscape embedded in the core of the city. The already powerful and expressive impressoin created by the building, would have been further intensified by the realisation of the architectural forms of the remaing planned buildings of the Culture Centre, treated in the same architectural language; the whiteness of their façades and creasing of different planes - both horizontal and vertical, would have contributed to the impression of an increased homogeneity of the whole. Dramatically different from the social, cultural and physical appearance of the surrounding envorinment, from the very outset, the building triggered a series of contradictory reactions and remains one of the most controversial buildings of the post-earthquake reconstruction of the city, 11 Seen from today s perspective, the architecture of the Cultural Centre in Skopje may be seen as a forerunner of trends which would subsequently follow - deconstructivism in architecture and the concept of architecture as topography. 1 According to the newspapers of the period, a settlement of low individual buildings existed on this territory before the earthquake. Almost all of them were destroyed in the earthquake, freeing up more land for construction. 2 A public parking lot with a capacity of around 250 cars was planned was designed for the space under the main pedestrian square, as well as a platform for taxi service. 3 Violeta Bakalcev, Minas Bakalcev. «Fragments of Memories: The Architecture of the Macedonian Opera and Ballet» Pressing III / Music Schools The new music center is a comprehensive musical and pedagogical institution that brings together the musical high school, with the middle and primary music and ballet school. An area of about 6,300 m2 spaces are for specific functions (spaces for individual and collective work, a library with a sound archive, a recording studio, 4 dance halls, a space for performance with an auditorium, facilities for the preparation of performances, adequate sanitation, grimiornas, props, administration etc.), which enables the education of over 800 students. As space for an external use, a disco is accomodated on the level of the the public parking, and various shops shops for school needs. on the ground floor. 5 6 Philharmonic Concert Hall With the complex of the Cultural center in Skopje, a special facility for the needs of the Philharmonic Orchestra of (S) RM was foreseen for the first time,. Up until the earthquake, the institution, founded as early as 1944, held their concerts in the hall of the JNA (Officers Hall). The project envisaged an area of about 9,500 m2 for a large concert hall for 900 ( ) people and a hall for chamber concerts with 200 (217) seats, as well as work premises for the Philharmonic and Concert Directorate. The entrance hall of the building is oriented towards the large pedestrian platform. An exhibition gallery was forseen as part of the institution s external programme, on the public parking level. Given that the planned building of the Philharmonic was not realized, this institution held its concerts for many years in the hall of the new JNA Hall (now ARM Hall). Today, the construction of the new Philharmonic building on the intended location is finally taking place, but with a different architectural language than had been planned by the competition winning project for the Cultural centre. Cinema theater A Cinema hall with an area of over 5,000 m2, was planned just beside the promenade of the Vardar, was foreseen as the central focus of inner city life. consisting of a large cinema theater with a capacity of 1,120 seats and a smaller hall with a capacity of 160 seats, together with all necessary accompanying contents. Commercial and investment bank Covering an area of over 8,000 m2, this facility is an extension of the existing building of the Commercial Bank. A double height grand hall on two levels is oriented towards the quay of the Vardar. A cafeteria with a gallery was also predicted, as well as many small bars, a pharmacy, a hairdresser, jeweler and so on. The plateau in front of these facilities is exclusively pedestrian; the traffic takes place peripherally to the location and laterally on the st. «Stiv Naumov», from where the underground parking lot is accessed. 7 Violeta Bakalcev, Minas Bakalcev. op. cit., Before the earthquake, the National Theatre was located in a building with a total area of 3,500 m2 and an auditorium hall with a capacity of 600 visitors. The damage on the building caused by the earthquake is estimated at about 80% (and damage to equipment - 65%). 9 The building is named «Building of Opera and Ballet» as a result of the more specific spatial and acoustic requirements of these institutions in comparison to those specifically intended for of drama. In 2004, the National Programme for cultural development in Macedonia made a formal and legal separation of the Macedonian National Theatre into two national institutions - Macedonian National Theatre - Drama (MNT - Drama) and the Macedonian Opera and Ballet (MOB). Because of the scenic and artistic needs of opera and ballet performances, MOB remained in the original building. 10 The larger hall is designed with a capacity of 781 seats or 1,008 seats in the case of theatrical performances. 11 Stage technique and equipment (stage, lighting and other technical devices) installed in the building of the Macedonian Opera and Ballet at the time of construction were a novelty in Europe as well as worldwide. The stage is managed, for the first time, by electronic computer equipment. The complete equipment is supplied by England, and this kind of stage equipment, other than in Skopje, was incorporated in the National Theatre in London. in the same period. 12 The extreme positions in relation to the building can be witnessed by the fact that at a certain point, a public debate arose about whether the building should be completed or demolished. Bibliography Bakalcev, V., Bakalcev M. Fragments of Memories: the Architecture of the Macedonian Opera and Ballet. Pressing, Journal of the Chamber of Authorized Architects and Engineers of Macedonia, III / 18, Skopje: 2013 Banham, Reyner. Megastructure: Urban Futures of the Recent Past. Harper and Row, 1976 Banham, Reyner. The New Brutalism in Architectural Review, December, 1955 Colquhoun, Alan. Modern Architecture. Oxford: Oxford University Press, 2002 Findings: Macedonian Pavilion. 14th International Architecture Exhibition. La Biennale di Venezia, 2014 Frampton, Kenneth. Modern architecture, a critical history. London: Thames and Hudson Ltd.,1980 Galic, Risto. Urban Study, Book 2. Skopje: Institute for Urban Planning and Architecture Ilic Zoran edit. Cultural Centre in Skopje, Exhibition of Design Projects. Board of the Cultural Center, Skopje: Graphic Institute Goce Delchev, 1970 Konstantinovski, Georgi. The University Centre in Skopje. Slovenian Academy of Sciences and Arts / Macedonian Academy of Sciences and Arts, Ljubljana, 2013 Koolhaas, Rem and Hans Ulrich Obrist. Project Japan, Metabolism talks. Taschen, 2011 Kulić, Vladimir. Land of the In-Between: Modern Architecture and the State in Socialist Yugoslavia, Dissertation, University of Austin, Texas, May, 2009 Manevic, Zoran, Zarko Domljan et al. ed. Arhitektura XX vijeka, Umjetnost na tlu Jugoslavije. Beograd, Zagreb, Mostar: Prosveta / Spektar / Prva knjizevna komuna, 1986 Mlađenović, Ivica. 55 Istaknutih arhitekata Jugoslavije/55 Outstanding Yugoslav Architects. Beograd: Studio Linija A, 1989 Mrduljaš Maroje, Vladimir Kulić, ed. Unfinished Modernizations, Between Utopia and Pragmatism. Zagreb, 2012 Muratovski, Kiril. Natjecaj za idejno urbanisticko-arhitektonsko resenje univerzitetskih zgrada u Skopju,Čovek i Prostor (ČIP),1968, br. 180 Pasinović, Antoaneta. Kulturni centar Skopje, Čovek i Prostor (ČIP), 1970, br. 207 Schrijver, Lara. Revisiting the 1960 s, Radical Games. Rotterdam: NAI Publishers, 2009 Smithson, Alison and Peter. The New Brutalism, in Architectural Design vol. XXV, January 1955 Štraus, Ivan. Arhitektura Jugoslavije , Sarajevo: Svijetlost, 1991 Thaler, Wolfgang, Maroje Mrduljas and Vladimir Kulić. Modernism In-Between: the Mediatory Architectures in the Socialist Yugoslavia, Jovis, 2012 Archive at the daily newspaper Nova Makedonija ( ) Interview with Jurij Princes 48 The materials of the archive of MOB The relevance of this form of architectural expression, can be seen in the recently realised comparable building of the Opera in Oslo ( ), by Snohetta.

26 МНТ КАКО ДЕЛ ОД КУЛТУРНИОТ ЦЕНТАР КОНКУРСНИОТ ПРОЕКТ MNT AS PART OF THE CULTURAL CENTER THE COMPETITION PROJECT Сите слики и цртежи се во сопственост на Богдан Спиндлер, Биро 71. All images and drawings courtesy of Bogdan Spindler, Biro 71 Цртежи од основата на приземје на конкурсниот проект на Културниот центар од Биро 71 (1967), прикажувајќи ја оригиналната замисла на комплексот, вклучувајќи: Ground Floor Plan Drawings of the Cultural Centre competition project by Biro , showing the complex as originally intended, including: A: Музичко и балетско училиште и Музичка академија Music and Ballet School and Music Academy B: Банка (Комерцијална/инвестициска банка) Bank (Commercial/ investment Bank) F: Филхармониската концертна дворана на Република Македонија Philharmonic Concert Hall of the Republic of Macedonia O: Зграда на опера и балет на македонскиот национален театар Opera and Ballet Building of the Macedonian National Theatre K: Кино Cinema D: Продавници Shops G Плоштад и подземен паркинг Piazza and Subterranean Public Parking Модел од конкурсниот проект на Културниот центар од Биро 71 (1967), прикажувајќи го комплексот како град во градот кој создава низа јавни простори и спуштени дворови како извајани од новата платформа оформена од Културниот центар Model of the Cultural Centre competition project by Biro 71 (1967) showing the ensemble as a city-within-the city which also generates a series of generous public spaces and sunken courtyards, sculpted from the new platform created by the Cultural centre. Перспективен изглед на конкурсниот проект на Културниот центар од Биро 71 (1967), прикажувајќи го комплексот како град во градот кој исто така создава низа драматични изгледи што допринесуваат зградите да бидат видени како пејзаж Perspective facade drawings of the Cultural Centre competition project by Biro 71 (1967) showing the ensemble as a city-within- the city which also generates a series of dramatic profiles, making the buildings appear as a landscape

27 Основа на приземје и пресек од МОБ, зградата на Опера и балет од Македонскиот Национален Театар (изградена) Ground Floor Plan and section of MOB, the Opera and Ballet Building of the Macedonian National Theatre (built) Основа на приземје и пресек од Филхармониска концерта дворана на Република Македонија (неизградена) Ground Floor Plan and Section of the Philharmonic Concert Hall of the Republic of Macedonia (unbuilt) Основа на приземје и пресек од зградата на Киното (неизградена) Ground Floor Plan and Section of the Cinema building (unbuilt) Пресеци на МОБ, зградата на Опера и балет од Македонскиот Национален Театар, Филхармониска концерта дворана на Република Македонија и Киното Sections of MOB, the Opera and Ballet Building, the Philharmonic Hall and the Cinema Hall 52 53

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29 Цртежи од конкурсниот проект на Културниот центар од Биро 71, 1967 на кои е прикажана зградата на Музичката академија која е поврзана со постоечката зграда, а со тоа затвора односно формира блок со внатрешна структура на двор. Цртежите се во сопственост на Богдан Спиндлер, Биро 71 Drawings of the Cultural Centre competition project by Biro , showing the building of the Music Academy which connects to an existing building, thereby closing or forming a city block with an internal courtyard structure. Drawings courtesy of Bogdan Spindler, Biro 71 Цртежи од конкурсниот проект за Културниот центар од Биро 71, 1967 на кои е прикажана зградата на Комерцијалната и инвестициона банка која е поврзана со постоечката зграда, а со тоа затвора односно формира блок со структура на внатрешен двор. Цртежите се во сопственост на Богдан Спиндлер, Биро 71 Drawings of the Cultural Centre competition project by Biro 71 from 1967, showing the building of the Commercial and Investment Bank, which connects to an existing building, thereby closing or forming a city block with an internal courtyard structure. Drawings courtesy of Bogdan Spindler, Biro 71 Фотографии на СИА галерија од каширани цртежи од изгледите на Музичката академија и Комерцијална и инвестициона банка од првичниот конкурсен проект за Културниот центар, од Биро 71 SIA Gallery s photographs of cardboard mounted drawings of the elevations of the Music Academy and the Commercial and Investment Bank, from the original competition project of the Cultural Center by Biro

30 Kаширани цртежи од првичниот конкурсен проект за Културниот центар, од Биро 71 Cardboard-mounted drawings from the competition project of the Cultural Center by Biro 71

31 Модел на СИА галерија од фоајето на МОБ, во размер 1:25 I SIA Gallery s model of the Foyer space of MOB, Scale 1:25

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33 Модел на СИА галерија од фоајето на МОБ, во размер 1:25 I SIA Gallery s model of the Foyer space of MOB, Scale 1:25 Две фотографии од ентериерот на фоајето во МОБ, по отворањето на зградата. Сопственост на Биро 71 (Богдан Спиндлер) Photographs. Two interior photographs of MOB s foyer ареа, shortly after the inauguration of the building. Courtesy of Bogdan Spindler, Biro

34 Нацрти од театарскиот амфитеатар на МОБ. Сопственост на Биро 71 (Богдан Спиндлер) Study sketches of the theater auditorium of MOB. Courtesy of Bogdan Spindler, Biro 71 Фотографии од завршениот амфитеатар на МОБ. Сопственост на Биро 71 (Богдан Спиндлер) Photographs of the newly completed auditorium of MOB. Courtesy of Bogdan Spindler, Biro 71 Фотографии од работни модели од амфитеатарот на МОБ. Сопственост на Богдан Спиндлер, Биро 71 Study models of the auditorium space of MOB. Courtesy of Bogdan Spindler, Biro

35 Модел од конкурсниот проект на Културниот центар и слика од ново-изградениот МОБ, со карактеристично осветлување. Сопственост на Биро 71 (Богдан Спиндлер) Photographs. Model of competition project of the Cultural Center, and image of the newly completed MOB, with characteristic uplighting of the volumes. Courtesy of Bogdan Spindler, Biro 71 Модел од 1/2 МОБ. Изглед и 5-та фасада изработена од студенти при архитектонскиот факултет во Скопје, под менторство на Проф. д-р Анета Христова Поповска Model of 1/2 MOB, Views of one elevation and the fifth facade; the model is by students of the Faculty of Architecture, Skopje, developed under supervision of Prof. Aneta Hristova Popovska 68 69

36 Оригинален модел на победничкиот проект на конкурсот, Биро 71 I Original model of the competition winning project by Biro

37 Цртеж: Конкурсен проект за Културен центар, Биро 71. Цртеж на Галерија СИА (2016), според цртежи на Биро 71 1:2500 Drawing: The Cultural Centre Competition Project, by Biro 71 redrawn by Gallery SIA (2016), based on the project drawings by Biro 71 1:2500 Цртеж: Недовршен Културен центар: Зграда на Македонската Опера и Балет ревидирани цртежи на Галерија СИА (2016), според цртежи на Биро 71 (и цртежи од Наоди, 2014) 1:2500 Drawing: The incomplete Cultural Centre: The Macedonian Opera and Ballet, redrawn and revised by Gallery SIA (2016), based on the project drawings by Biro 71 (and on drawings from Findings, 2014) 1:

38 Македонската Опера и Балет (изведен проект) и постоечка ситуација - ревидирани цртежи на Галерија СИА (2016), според теренски истражувања на постоечка ситуација, :2500 Drawing: The Macedonian Opera and Ballet Building (as built) and its current context - redrawn by Gallery SIA (2016), on the basis of on-site studies of current conditions 1:2500 Македонската Опера и Балет (изведен проект) и постоечка ситуација - ревидирани цртежи на Галерија СИА (2016), според теренски истражувања и планираните ново-градби :2500 Drawing: The Macedonian Opera and Ballet Building (as built) and its current context - redrawn by Gallery SIA (2016), on the basis of on-site studies and information about planned future buildings, :

39 Цртеж: МОБ, основа и изгледи, ревидирани цртежи на Галерија СИА (2016), 1:1000 Drawing: MOB, ground floor plan and elevations, redrawn/ revised by Gallery SIA (2016). 1:

40 Цртеж: МОБ, со рамна платформа Пресек, цртеж на Галерија СИА (2016), 1:1000 Drawing: MOB, with a flat platform; Section, redrawn/revised by Gallery SIA (2016). 1:1000 Пресек Модел од МОБ изработена од студенти при архитектонскиот факултет во Скопје, под менторство на Проф. д-р Анета Христова Поповска Model of 1/2 MOB, Section View; the model is by students of the Faculty of Architecture, Skopje, developed under supervision of Prof. Aneta Hristova Popovska 78 79

41 ФРАГМЕНТИ НА СЕЌАВАЊАТА: ЗА АРХИТЕКТУРАТА НА МАКЕДОНСКАТА ОПЕРА И БАЛЕТ Минас Бакалчев Виолета Бакалчев 80 81

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46 FRAGMENTS OF MEMORY: ON THE ARCHITECTURE OF THE MACEDONIAN OPERA AND BALLET Fig. 1 Model of the integral project of the Cultural Center (Macedonian opera and ballet), Skopje, 1979 Fig. 2 New areas: the Macedonian Opera and Ballet, Skopje, 1979 and the National Opera and Ballet, Oslo, 2008 Fig. 3 Placing the various landscapes: fragment of the orthogonal grid, Alvar Aalto, Model Institute of Technology in Otaniemi ( ), and reconstruction of orthogonal system, Millet Minas Bakalchev Violeta Bakalchev First published in Presing 18, 2014 Without doubt, the project for the Macedonian Opera and Ballet has opened a debate not only at a level of its content, but also at a level of its relation to the city. This project led us to various layers of thought and architecture creation. Skopje is perceived as an unfinished city, a blend of various started-off but unfinished projects, which tell their stories over and over again. Such stories are talking ruins which bring us back to different undefined times and spaces. These city pieces are usually objects of rejection, suppression and forgetting and can be related to what Paul Connerton observes as a specific form of forgetting. Repressive erasure as one of the types of forgetting addresses the historical breaks and ruptures which cause elimination and erasure of the remains from the past (Connerton, 2008). Repressive erasure is introduced to deny the fact of a historical rupture as well as to bring about a historical break. It is expressed both in political and artistic ruptures and turmoil. During the 20th century, the city of Skopje was exposed to a series of erasures of previous layers. Each new layer was presented as a new absolute truth in relation to the previous layer. However, we cannot erase the past, so its pieces can miraculously emerge, reveal and introduce us to unknown worlds, places and times. Macedonian Opera and Ballet is one of the unfinished pieces that dates from the post- earthquake period of the city. The project consists of four fractured forms that slide towards the banks of the Vardar river, creating specific artificial topography of the right bank; thus, causing opposing reactions from the very start. Only one fragment along with the corrugated platform that connects the whole area was finished. This fragment of the Macedonian Opera and Ballet may be one of the most controversial works dating from the post-earthquake reconstruction of Skopje. Many people considered it as evidence for the failure of the whole project aimed at reconstruction of the city, as well as for the unsuitable method of production and the product itself, for the obvious inconsistence with the social, cultural and physical image of the surrounding. But for others, it represented a masterpiece, a real, but insufficiently perceived authentic value in a peripheral surrounding. Rare architectural tendencies had polarized the opposing views on this work of architecture. The historical sentiment for the narrative representations of the envelope fully ignored this work and has never established a critical dialogue with it, similarly to the paradigm of Modernism it has rejected it before even trying to understand it. On the other hand, the avant-garde of the Macedonian architectural scene perceived this work as a key evidence that at this particular place, the antecedent of deconstuctivism in architecture, the lyrical suprematism typical of Zaha Hadid s style, the concept of artificial topography of the contemporary architecture, and the topographic forms of the Oslo Opera House can be found. What does all this mean exactly? How should we perceive and understand this original spatial configuration? Can we reconstruct its existence in the history of ideas in contemporary architecture? The aim of this research is twofold. Historically speaking, this research tries to explore the succession of architectural form in the context of history and theory of architecture while from a morphological perspective it tries to confirm the specific values in relation to the city. Through an inverted archeology we will try to discover the layers of this artifact as they emerge one from another moving through various topics in an inverted archeological order, from front to the back, penetrating deeper into the theoretical and practical layers of its possible sources. In this inverted review we will employ the periodization of the fragmentation by Robin Evans, but we will broaden the basic periods of the process of fragmentation in relation to the specific aspects of the work in focus (Evans, 1995, pp ). According to Evans, episodes of fragmentation in architecture can be divided in three main stages: , a period when fragmentation resulted from the artistic approach to representing pictorial images; 1940s or the post-war period when fragmentation emerged as a result of humanizing the Modernism; 1990s or the period when fragmentation became a symbol of the end of Humanism and Modernism. The building of the Macedonian Opera and Ballet seems to be uniting these different experiences of fragmentation in architecture. Chronologically, it is part of a process of post-earthquake reconstruction of the city in the 1970s. From the spatial aspect, it is one of the most radical experiments of redefining the language of architecture in the period of the reformation of the functional architectural praxis. Marjan Uršič, Štefan Kacin, Jurij Princes and Bogdan Spindler are Slovenian architects who created the project. This project can be perceived through the theoretical framework of the concept of collective form, which resulted from the texts by Fumihiko Maki in 1960s, as a segment of the city that cannot be seen as an isolated object, but belongs to those objects which enter a self-regulated interaction between each other and the whole (Maki, 1964). It consists of four parts with different programs (Philharmonic, Opera and Ballet, Cinema, Sales), which through gestures of body bending from its highest edges at the periphery slide down towards the integral platform in the middle. The platform segmented in various vertical plans leads us to the Vardar river (Picture 1). In such a generated collective form it is hard to distinguish specific architectural objects, such as a figure in contrast to the ground, nor distinctive architectural elements: wall, pillar, elevation, opening. The traditional spatial syntax of the space structure at an urban level, as well as at a level of any individual built-in unit is open to doubt. The classical ratio of the object and the ground is skewed, so the ground is not a stable, horizontal and determining system. The parts are connected with the ground in a continuum creating artificial topography, such as folding of the unique gesture. Picture 8 shows the real features of the composition, a surface with folding of various density (Picture 8). What contributes to the reshaping of our spatial experience is the absence of color and the homogenous material. The object creates a special monochromatic ambient, a white landscape of the urban city tissue. New Topography In the 1980s, the postmodern esthetics was altered with dominant return towards the historical principles of the architecture-city composition. Deconstructivism in architecture meant redramatization of the principles of the Modern movement. Deconstructivism called for reconsideration of the fundamental values of architecture based on the weaknesses and inconsistences of the speculative construction of the common background of the architecture in Humanism. The different interpretation of complexity seen not as contradiction but as a divergent set, not as subordination but as a beneficial contingent of potential divergences opened a new perspective on experiencing space. In this respect, we can paraphrase Peter Eisenman s motto stating that in order to understand a place you have to explode it, and you must look inside to find the seed of the new one (Eisenman, 1989 as cited in Rajhman, 1988) A plethora of new concepts emerged from the methods and theories of Deconstructivism. The ideas about artificial topography, land form, land-arch, landscapes, lands of superposition, land strategy resulted from the abandoning of a discrete architectural object and reexamining the basic relationship between the object and its ground (Gausa, Guallart, Muller, Soriano, Pooras, and Morales, 2003, pp ; p. 627). These 90 91

47 Fig. 4 Figure of the auditoriums of Institute of Technology in Otaniemi ( ) and the Macedonian Opera and Ballet in Skopje, 1979 Fig. 5 The entry sequence of the Macedonian Opera and Ballet, Skopje, 1979 Fig. 7 View from the right bank of the river Vardar Fig. 8 Quest for patterns of nature Hans Sharun, Philharmonic, Berlin, external appearance; pattern of the amphitheater, Available at: designboom.com/snapshots/venice04/cencertshall.html (Accessed 19 January 2014) Fig. 9 Artificial mountains in Pergamon, Available at wiki/file:philharmonie_1a. jpg (Accessed 19 January 2014); Hans Sharun, sketch of a section of the Philharmonic in Berlin Fig. 10 Breaking the buildings: Pablo Picasso, Still Life with a canvas chair, 1912 Available at tagpicasso/ [Accessed 19 January 2014), working model of the Macedonian Opera and Ballet, 1979 Fig. 10 Breaking the buildings: Pablo Picasso, Still Life with a canvas chair, 1912 Available at tagpicasso/[accessed 19 January 2014), working model of the Macedonian Opera and Ballet, 1979 new concepts shaped the perceptions of the new generation of architects between 1990s and 2000s, as well as their reaction to landscape and the ratio between the architectural object and the ground. What used to be a particularized object as a composition of a series of architectural elements became a continuous configuration in the dialectic of the object and the ground. The classical ratio between the object and the ground or the conventional definition of ground as a limiting, stable, determining, horizontal and homogenous was reshaped towards a mutual topographic action system. The two elements, the object and the background, instead of being distinctive elements of one classical composition, they entered into a dynamic interplay. Architecture is not an active, vertical, distinctive entity constructed above a passive horizontal ground any longer, but the ground itself plays the role of an active base for the fluctuating figure of architecture. This particular aspect can be recognized in the architecture of the Macedonian Opera and Ballet. The building has never been perceived as one object only, but as an area, a configuration in which specific programs have been embedded as fractured volumes sliding down to the Vardar river and continuing towards the plateau. I remember the first direct experiences with this area. Not only the object but the configuration of the surrounding itself inspired new spatial experiences. The continuity of the façade folding was vivid through the monochromatic treatment of the material. The white color, white landscape, its voluminosity caused a nonphysical experience (Bakalchev, V., 2011). Various associations are possible, one of which is Oslo Opera House by Snohetta (Norwegian National Opera and Ballet, Oslo, Norway, ), a metaphor with natural formations which emerge from the water and resembles the gesture of the initial project for the Macedonia Opera and Ballet (Picture 2). Between Humanization and Heterotopy of Architecture The post-war period promoted the fragmentation praxis typical of the dominant monolithic form of the Modern movement. Fragmentation first appeared as a resistance towards functionalism of the 1940s and then, as deflection towards humanization and socialization of architecture. Sigfried Giedion interpreted this phase of modern architecture as a reflection of artistic praxis connected with the organic and the irrational, as an essential leap from the rational and functional to the irrational and organic. In his book Space, Time and Architecture, Giedion stated that technical education, the meaning of the continuum and standardization are not abandoned, but, on the contrary, they can be used with full freedom for the further development from a human perspective (Giedion, p. 377). According to Giedion, this deflection from rationality typical of the Modern movement is the result of the connection between technical and ancient powers, where primitive man emerges from the forsaken layers of subconsciousness while simultaneously a unity of present development is achieved. The assumption that social life form is identified with the architectural form was accepted by the postwar critics through a plethora of interpretations such as the dialectic of fragmentation and continuity, a sign of the political pluralism or the architecture of democracy (Evans, p. 73). The work of Alvar Aalto presents this modern architecture fragmentation. Alvar Aalto has humanized architecture through introducing irregular incidents in a regular fence/grid. In the 1970s, Demetri Porphyrios provided a new interpretation of Aalto s work fragmentation. Contrary to homotopy as a common method of spatial organization of modernism, he recognized the concept of heterotopy in Aalto s work (Porphyrios, 1978). Porphyrios pointed out the concept of heterotopy in its literal sense as a condition of items whose state is so different that it is impossible to define a common locus covering all single items. In other words, if the aim of homotopy is to establish an uninterrupted continuum, heterotopy tries to destroy the predictable model of the homogenous grid. In the analysis of the spatial syntax of Finlandia, Helsinki (1962), heterotopy is presented as an inconsistent set of loose fragments with a changing state unified in a common envelope. On the other hand, in the Institute of Technology in Otaniemi ( ), the juxtaposition of different spatial elements, the orthogonal and circular segments of the amphitheater does not present the morphological difference only, but its geographic juxtaposition of the architectural material and the chosen place. One of the principles of heterotopy, as described by Foucault (Michel Foucault, 1984), emphasizes the ability of juxtaposition of one place at several spaces which are incompatible with one another. Heterotopy presents itself as a transgeographic archeology of fragments in Mediterranean antique in the archipelago of the local Finnish context (Picture 3). In the broader sense, heterotopy is defined as discrimination of matters, distinguishing between and connecting dissimilar matters. Similarly, the fragmentation of the spatial configuration of the Macedonian Opera and Ballet shall be described by the ambivalent relation between the concept of heterotopy and humanization of architecture. Diverse features of places, the connection between the rational matrix of the utilitarian segment of the theater and the irregular configuration of the space for the audience simultaneously creates homotopic and heterotopic experience. Inserting the white landscape on the banks of the Vardar river creates a transgeographic juxtaposition of northern landscapes into the hilly regions in the Balkans. On the other hand, the expressive figurativity meets the needs of audience s movements and perceptions, in and out of the theater. Walking through the theater one can feel its folding, deflection and direction as a dialogue with our own presence (Picture 5). Patterns of Nature Expressionist tradition in modern architecture is the real antecedent to the architecture of the Macedonian Opera and Ballet. Berlin Opera by Hans Scharoun is one of the most significant works of architecture in the 20th century, a paradigm for deflection from the rational architectural construct. Hans Scharoun acted upon all three stages of defragmentation (Evans, 1995, p. 94). From the cubist composition of the drawing titled Church as a Mountain (Kirche aus Fels) in 1910 to a unique form of the Concert Hall in Berlin, built between 1956 and Not a single explanation can be given for the irregularity of Scharoun s architecture. His architecture lies in the dialogue of geometry and nature. The fragmented volume of the Philharmonic supports the section of a mountain from the outside, but from the inside, it creates a complex inner topography. The Philharmonic develops from inside to outside. The basic typology develops from a centralized plan, in whose center the orchestra and the conductor are placed. In order for the sound to be unified at particular points of reception, the initial geometry was fragmented. In this way, architecture is brought back to its natural state meaning that the auditorium is not only an artificial fact, but also a natural terraced landscape. Berlin Philharmonic emerges from the ambivalence between a centralized, hierarchical plan and polymorphic configuration of the auditorium. Macedonian Opera and Ballet is an example of an architectural object presented as a series of landscapes shaped from the event itself. The inclination and the bending of the auditorium, and its landscape-like nature bring us back to the elementarity of natural terrains, on the one hand, while on the other, to the creation of a polymorphic organization of the stage experience. In this way, we are connected both with the extreme configuration of historical examples as the amphitheater in Pergamon and the essence of the terraced areas of the Berlin Philharmonic (Picture 8; Picture 9). Breaking the Object One of the earliest challenges of a rationally organized space is performed through an explosive reformulation of the pictorial space, which originates from art movements at the beginning of the 20th century. Cubism is a source of fragmentation in modern art (Picasso s and Brack s painting styles between 1907 and 1912). Cubism acted through disruption of the individual spatial unity to show, simultaneously, the wholeness of an object. The idea is to present the unity through totality of a simultaneous image presentation. The wish to present the whole led to decomposition of the form. In many aspects, the method of work fragmentation or composing a work from fragments through a series of points of perception, overlapping plans, or through collaged materials became a challenging artistic practice in the 1920 and 1930s. Picasso and 92 93

48 Fig. 11 Landscapes: Caspar David Friedrich, the shipwreck of the ship hope (Sea of Ice), (Janson, N. W., Istorija umetnosti. Beograd: Izdavacki zavod Jugoslavija ); horizon of the Macedonian Opera and Ballet Fig. 12 Interior compartments: Jean Batista Piranesi, Carceri Plate XIV - The Gothic Arch, (Ficacci, L Giovanni Battista Piranesi, The Complete Etchings. Taschen. p. 150); foyer of the Macedonian Opera and Ballet Fig. 13 Sequences from the plateau of the Macedonian Opera and Ballet References: Brack created the first works of Cubism in which many plans are shown simultaneously on one surface. Kurt Schwitters assembled his installations called Merzbau, which presented collages of abandoned and found objects. In both cases, the whole represented an accumulation of various perceptions or examples from reality. It is true that the spatial configuration of the Macedonian Opera and Ballet challenges us to understand it as a simultaneous presence of different perceptions, different structures, as breaking of the homogenous shape in order to show the whole. Similarly to Cubism, where instead of the object to be perceived from one point of view, it is fragmented into numerous plans consisting of a set of perceptions, Macedonian Opera and Ballet s body is fragmented into abstract plans (Picture 10). Looking at each side, one can see many plans simultaneously the façade and the profile, the elevation and the roof, the ground and the section or the folding of various plans, horizontal and vertical. The building is deconstructed spatially to support its conceptual wholeness in the specific context. The Sea on Ice The image of the figure presenting the Macedonian Opera and Ballet reminds a person of Caspar David Friedrich s painting The Wreck of Hope (also known as The Sea on Ice), To explain the project, one should understand this painting from the Romantic period. Casper David Friedrich s painting The Wreck of Hope (also known as The Sea on Ice), is a paradigm of the romantic perception of landscape (Janson, 1982, pp ). The landscape perceived not as a representation of reality, its document, but as an allegoric image: close your eyes to be able to see the image of your spiritual eyes. The Sea on Ice can be understood as an analogy of the artificial landscape of the Skopje Cultural Center s architectural composition (Picture 9). Two lines serving as a metaphor of the relationship between man and nature can be seen in this painting: first, a crystal topography of the landscape as a basic experience of nature s material features in which common attributes are missing and second, a dramatic episode of the wreck and the ship as a magnificent human artifacts that was nailed and returned to the natural landscape of the icy area (Picture 11). Several acting strategies of the landscape can be distinguished in the painting: landscape seen as art on a surface that is not only a horizontal, but also an active topographic fact; landscape surface seen as a material performing feature; landscape seen as a strategy for overcoming the division between the figure and its background, as a new integration, border fusion, in which once separated objects are assimilated into fractal gestures of the surrounding; landscape separated from its meaning, origin, destiny serving as a primary organizational feature of the form. The Piranesi Effect A powerful deflection from a given order is significantly expressed in Piranesi s work. It is an epistemological disconnection between late Baroque and the Modern. His interpretation and representation of the classical archeological fragments, his corpus of copper etchings work from the archeological views on Rome to the fantastic prison atmospheres (Le Carceri d Invenzione) give a radically new spatial construct (Ficacci, 2000). The history-related material is the motive for a new spatial syntax by which the usual order of elements is replaced with an indirect aggregation. As the relation between the full and the empty, figure-background in the city morphology is redirected towards juxtaposition of figure-figure, in the same way, the emptiness of the inner presentation of prisons is presented as an infinite, boundless interior of the empty-empty. In the collection of copper etchings titled as Le Carceri d Invenzione (The imaginary prisons), , 1761, one can follow the phantasmagoric vision of an infinite space. Space fragmentation is a metaphor of an infinite wondering through a cave-like interior. The archetypical image of the beginning of architecture can be recognized in the platform branching out and in the sequenced openings in the entrance hall of the Theater. The Piranesi Effect is a reflection of the diverse centricity and the shift in the way the interior of the Macedonian Opera and Ballet is experienced (Picture 12). The Voice of Talking Ruins Piranesi opened a new discourse in architecture a fragment through time. While describing fragments from the past, tension is felt between past fame and present degradation, and the difference between past and present gives a contemplating effect of the romantic sentiment. The discovery of fragments from the past does not only bring us back to the past but it also becomes a basis for overcoming the past and the different interpretations of the same, a way of incorporating the practice from the past into the present time. As the fragment is connected with different layers of memory, at the same time it serves as a basis for new perceptions and activities in the present. Without doubt, the project for the Macedonian Opera and Ballet has opened a debate not only at a level of its content, but also at a level of its relation with the city. This project helped us penetrate through different layers of thought and architecture creation. From recent tendencies in architecture through various stages of the Modernism, up to the roots of modernity, one could follow the fragmentation as a shap lso as an unintentional value that gains significance over and over again in relation to popular perceptions. It is the architectural discourse seen as a fragment though time which opens new possible interpretations. Similarly to the way new imaginative art installations at the beginning of the 20th century are made by recomposing of the pictorial presentation of an object or by assembling abandoned and found items, it is possible, from the fragments of the past, to create a new authentic vision of the city of the future at the beginning of the 21st century. In this way, individual fragments become important not only as records from the past for the future, but also as elements through which a city is recreated. Бакалчев, В., 2011, Белиот пејзаж, истражување на бојата во архитектурата на примерот на зградата на Македонска опера и балет, Пресинг бр. 6, 1 декември Connerton, P., Sevan Types of Forgetting. Memory Studies, [online] Available at:< history.ucsb.edu/faculty/ marcuse/classes/201/arti- cles/08connerton7types- Forgetting.pdf > [Accessed 22 January 2014]. Evans, R., The Projective Cast. Massachusets Institute of Technology. Ficacci, L., Giovani Battista Piranesi, The Complete Etchings. Taschen. Foucault, M., Of Other Spaces: Utopias and Heterotopias. Translated from the French by Jay Miskowiec, Des Espace Autres, Architecture / Mouvement/ Continuité October,1984. Avilable at: allanmc/www/foucault1. pdf [Accessed 12january 2014] Gausa, M., Guallart, V., Muller, W., Soriano, M., Pooras, F. and Morales, J.,2003. The Metapolis Dictionary of Advanced Architecture. Barcelona: Actar. Гидеон,С., Простор, време и архитектура. Београд: Граѓевинска књига. Janson,H. W.,1982. Istorija umetnosti. Beograd: Izdavacki zavod Jugoslavija. Maki, F., 1964, Investigations in Collective Form. A Special Publication Number 2. St.Luis: The School of Architecture. Washington University. Avilable at: wustl.edu/units/spec/ archives/photos/maki/maki-part1.pdf [Accessed 12 january 2014]. Porphyrios, D., Heterotopia: A Study in the Ordering Sensibility of Work of Alvar Aalto. In: Christian Dupeyron, ed Alvar Aalto, Architectural Monographs 4, London: Academy Editions: pp Rajchman, J., Perplications. In: Andrew Benjamin, ed Re:Working Eisenman, London: Academy Editions: pp

49 Иван Блажев Ivan Blazhev Фотографии на МОБ MOB photographs серија на фотографии series of photographs

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53 MNT, BETWEEN FANTASY AND REALITY I am leaving Sarajevo forever. Soon after my departure the war begins and I would never go back there again. Those who know me know best know that my friends are the most important thing in my life. First one outside, last one at home. In my new home, Skopje, I have no friends. But I have my skateboard with fluorescent plastic brakes, like Josh Brolin s from the movie Thrashin and the famous fluorescent 80 s. I m rushing along the streets of a city that is unknown and new for me, though Skopje is the city of my ancestors. The first thing I notice, while I m grating the asphalt is the endless plain of Skopje, its large boulevards and bicycle paths that allow me smooth and long, long drives. That is quite unusual for someone born in Sarajevo and used to the steep hills and the narrow streets. My lonely rides through Skopje on the skateboard or my BMX bike coated with stickers lead me from Debar Maalo, along the quay, across the Stone Bridge to Kultura in the building of the Music School. The child that loved people, becomes a boy that loves books. I spend hours and hours in the big bookstore Kultura and its big dark hall, while the old ladies behind the counters and the ficus plants besides the bookshelves, stare silently at me. My bike waits for me outside and then, with a new book in my backpack, I head for MNT and its curved surfaces - excellent for rushing in and jumping off, and the countless stairways that break the plane and introduce me to new adventures. In Sarajevo, the long, large stairs leading from my street to the former Hajduk Veljkova were a challenge to any good BMX rider. Immediately afterwards, we would head down to the Music Academy and the Catholic Cathedral and end at the Bazaar where we used to go past people skillfully. In my new city, the stairways in front of the MNT offer the same excitement, but this time without my best friend besides me with a smile, with an ice cream and a Coca-Cola at the local grocery store in that post-olympic New friends enter my life, reducing the pain for the new situation in my former city,at least for a while, but the metal rains, bangs and cries, without any information about the fate of my former friends. With my new friends, Timur and Vlado, we constantly challenge and prove ourselves - who is the bravest, the strongest and the best. Whether we re on Vodno and race to the top, or we overcome our fears by entering the shelters through the center of Skopje or, behind the City Zoo, we climb the wall around the sty of the wild boars, with a plan to hunt them with spears, just as Rambo did in the eponymous movie of In front of MNT again. Who is going first? I m asking. Timur is the tallest, we ll climb up over him, and then we will help pull him up, Vlado is suggesting. Soon we are on the roof of the MNT and we are heading up. Those who know me, know best that I have had a fear of heights since I was a child, but Timur and Vlado still do not know me well enough and I have to hide my fear. We are on the top and we lie down next to the edge. As I look down, my legs are quivering. However, soon I begin to relax and enjoy the view from the height of my new city, pleased with myself for having overcome fear and for having achieved the mission. With a childlike innocence, we imagine that when winter comes, we will take my plastic skis, which every member of my former group of friends had in the cold and snowy Sarajevo, and we will head down from the roof of MNT below... and then when we get to the edge...nobody knows. But, there is one thing I do know that the sky is our limit! Bert Stein 2016 Skopje again, its endless flat spaces, the old Stone Bridge, the Kultura bookstore, the plateau of MNT and then a new discovery Tabernakul the new bookstore in the premises of MNT, and inside - a new world of alternative literature, comics and art, my first Margina no. 2, a magazine that changed my world view forever. Андријана Тилиќ Anrijana Tilic Фотографии на МОБ MOB photographs серија на фотографии series of photographs

54 Иван Блажев Ivan Blazhev Балетско школо Ballet school серија на фотографии series of photographs 2008, x 42 цм сm Добиено со љубезна согласност на уметникот Courtesy of The Artist

55 МОРЕ ОД МРАЗ THE SEA OF ICE Зоран Петровски Zoran Petrovski Како и за многу други мои сограѓани, мојот однос кон зградата на Македонската опера и балет долго беше сосема амбивалентен и без појасно формирано мислење за архитектонските вредности на ова здание. Не бев меѓу оние што веднаш со жестина или со подбивање ја отфрлуваа таа необична фигура ниту, пак, бев цврсто подготвен да застанам аргументирано во нејзина одбрана. Но, од друга страна, моето физичко доживување на зградата и амбиентот на МОБ никогаш не ме оставаше индиферентен. Големото плато на МОБ, кое беше редовна станица во мојата дневна пешачка маршрута кон или од Музејот на современата уметност, ретко можеше да ме остави рамнодушен кон доживувањето на блескавата и во сончевите денови заслепувачка светлина која ја ширеше и речиси ги дематеријализираше просторот и објектите околу него, исто како што ја користев секоја пригода кога се наоѓав во внатрешноста на зградата да се препуштам на водењето на таа заводлива прекршена геометрија со постојано нови визури од форми и сенки. Рецензијата на арх. Вангел Божиновски, до која дојдов случајно во 2002 година и во која тој зборува за познатата слика на К.Д. Фридрих, Море од мраз (1824) како за директна инспирација и историска референција во создавањето на проектот, ми отвори една сосема нова и интересна димензија во моето бавно откривање и доживување на архитетонските квалитети на МОБ. Споредбата на силуетата и конфигурацијата на платото на МОБ со драматичниот судир на ледените санти недвосмислено ја потврдуваше таа аналогија. Рецензијата е пишувана како спротивставување на една иницијатива во 2000-та година за уривање на зградата на МОБ, привидно поради тешкотиите во нејзиното оддржување, но всушност поради отпорот кон нејзината архитектура. Петнаесет години подоцна, иако зградата на МОБ е сè уште на истото место, сите нејзини основни архитектонски обележја се девастирани. Отсечена од реката и притисната, зградата на МОБ денес прилега единствено на археолошки остаток на една идеја. Реално и симболично, таа ја доживеа судбината на потопениот мал и немоќен кораб во морето од мраз. Like many of my fellow citizens, my attitude towards the building of the Macedonian Opera and Ballet, has long been quite ambivalent, without a clearly established opinion about the architectural values of this building. I was not amongst those who, with vigor and mockery, immediately discarded this unusual figure; nor was I able to stand firmly grounded in its defense, with wellprepared points of view. On the other hand, my physical experience of the building and the ambiance of MOB (the Macedonian Opera and Ballet, Skopje), never leaves me indifferent. The building s vast plateaux - which was a regular place of pause along my daily walking route to or from the Museum of Contemporary Art - rarely left me indifferent to the experience of witnessing on sunny days, the sparkling, almost blinding light that seemed to expand and virtually dematerialize the space around it, together with the surrounding buildings. Likewise, I have enjoyed every opportunity, whenever I was inside the building, to allow myself to be guided by the seductive lines of its broken geometry, with its everchanging scenery of forms and shadows. A review of the building written by architect Vangel Bozinovski, which I by chance obtained in 2002, and in which he refers to Kasper David Friedrich s famous painting Sea of Ice (1824) as a historical reference and as a direct inspiration in the creation of the project, opened an interesting and entirely new dimension to my gradual discovery and experience of the architectural qualities of MOB. The visual comparison of the silhouette and formal configuration of the plateaux around MOB, with the dramatic collision of icebergs in Kasper David Friedrich s painting, unequivocally affirmed that analogy. Bozinovski s review was written in opposition to the initiative, in 2000, to demolish the MOB building - apparently because of the challenging task of its technical maintenance, but actually because of the general resistance to its architecture. Fifteen years later, although the MOB building remains in the same place, its main architectural features and qualities have been devastated. Cut off from the river and surrounded, today the building of MOB resembles nothing more than an archaeological relic of a particular idea. Both symbolically and in reality, the building has suffered the fate of a small and powerless ship sunken in the sea of ice

56 Слика 1 Каспар Дејвид Фридрих, Море од Мраз ( ) / правата на Wikimedia / Јавен пристап Image 1 Caspar David Friedrich, The Sea of Ice ( ) / Wikimedia Commons / Public Domain Слика 2 Иван Блажев Фотографии од МОБ 2008 Image 2 Ivan Blazhev Photographs of MOB

57 КАСПАР ДАВИД ФРИДРИХ ПРОЕКТАНТ НА СКОПСКАТА ОПЕРА Вангел Божиновски Овој есеј е дел од проектот на Зоран Петровски Текстот беше прв пат објавен во Пулс (1991) 1. Групата првично работела под назив Студио 7 потоа како Биро мал е бројот на градовите во светот кои можат да се пофалат со неолитска старост како што е тоа Скопје. Последното темелно размислување за Скопје започна во 1063 година, со кристализација како професионален документ во 1968 година, по основ на архитектонска логика но не без метафизичко влијание на историјата на овој простор, донесе извонредно решение за локацијата на културниот центар. Веднаш до Јустинијановиот мост, во зградата на третиот ѕид на среденовековно Скопје, помеѓу Горниот Град (центарот на феудалното владеење) и ридот на Невиноста (центарот на теолошкото управување и посветеноста) и секако укотвен на левиот брег на антички славната река оска Вардар. Вредно е да се напомене дека на последниот херојски период на скопското градителство во 20 век (сличностите можат да се најдат само во зафатите на Јустинијан Велики од 6. век), Културниот центар ја доби заслужената почит и приоритет. Беше постапено по сите светски архитектонски стандарди за ваков комплекс и по демократските принципи на натпревар беше одбрано решението за културното средиште во Скопје. Дали оценувачката комисија од минатиот век имала предвид дека вдахновението со кое се роди Скопје е со неолитска старост? Може да се тврди дека членовите на комисијата свесно не го разгледале тој факт. Но изборот на решението покажува дека биле опчинети од вдахновието на авторите на првопласираниот труд, Цизеј Кацин, Кршеван, Принцес Шпиндлер, Уршич и Зупанич со соработниците \Јурчиќ \Пишкориќ Хагар, кои во тоа време беа млади и неопитни архитекти, а скопската награда им беше прв вистински успех... Критиката во најпочитуваното професионално гласило од тој период Човјек и простор ласкаво го оцени овој потфат. Во архитектурата вдахновениетo (како и кај секоја уметност) доаѓа по патишта кои не се објаснуваат со логичките механизми. Може да се одбрани ставот дека младата група на Студио 7 1 го должи својот успех пред се на силната експресија на формата, која во нивната свест се всадила преку некој архетип кој низ заедничка работа сe кристализирал низ комплицирана геометрија. Сепак со довршување на градбата на првиот од трите (за жал и единствениот) клучни објекти (опера, балет, драма) фрапираше синонимијата со тектониката на гренландските пејзажи. Имено, судирот на масите од партерот до највисоката точка на зградата на операта прилега на судир на ледени санти... Маслото со наслов Море од мраз, подоцна именувана од некои критичари како Бродолом на коработ Надеж, ја надминува сета експресивност со која се карактеризираат делата на Каспар Давид Фридрих за јасно дефиниран квалитет. Кревкиот дрвен кораб пукна како јајце под \моќта на непроѕирните ледени брегови кои, во прекрасен судир, и не го забележале технолошкиот производ на луѓето. Невина закана. Без омраза. Без освета. Судбина. Како бетонски блокови по тектонска катаклизма, како инстант урвина која мже да се огледа во множеството фотографии по земјотресот 1963 во Скопје. Возможно ли е сепак Каспар Давид да патувал кон Југ? Биографите велат не и не треба да се сомневаме во германската прецизност. Сепак, возможно ли е по најновите патишта на созерцирањето, германскиот романтичар да согледал дел од медитеранскиот амбиент на Скопје и пророчки во двегодишно сликање на Морето од мраз да предвидел дел од судбината на скопското искуство или неговата најекспресивна слика е само глетка од ртот Архона на митскиот Рујен кон северното ледено море? Колку и да е неверојана приказната, приказната за метафизичкото доаѓање на аџилак кон ЈУГ од романтичарот Каспар Давид Фридрих има своја потврда во неверојатниот леден брег што изникна веднаш по земјотресот на левата страна на Вардар, веднаш до мостот на Јустинијан. Судбинската тектоника на раздвиженото море на нашето минато, уште еднаш не вџаши со совојата разновидност и неочекуваност. Уште колку пати треба да се изненадуваме пред чудесата што постојано ни се одигруваат низ просторот преполн со паралелни простори од нашето непосебено минато?! Нè посети Ле Корбизје и ни го остави на одгледување Музејот на бесконечната уметност... Нè посетија и многу лицем светци, срцем влци и се напија од крвта, градејќи неоромантични урвини по нашите градови и души... Неверојатна е сличноста на Скопската опера со ова големо сликарско дело. Ова забелешка е важна за разрешување на настаните и последиците кои до денес ја вознемируваат секојдневноста на Скопје... Во изборот на приоритетите за изградба токму на објектот за операта учествуваа многу логични фактори. Проблемите со неопитните проектанти и оригиналноста на зафатот, финансиски и во друга смисла придонесоа градбата да ги пречекорува роковите. Депласираната идеја за штедење сè сповеќе го руинираше изворното градителско вјерују за вечна вредност. Кон сето ова се надоврза природната повредена суета на архитектите кои не стасаа на трката на конкурсот, снага доби фолклорната машина на озборувањата поткрепена со реалните проблеми на вистинските луѓе кои мораа да работат во хибридот (Скопската опера стана и балет и театар и опера) и конечно врз објектот предаден во употреба почнаа да се калемат прекари со потсмев. Омаловажувањата и негрижата продолжија да го оштетуваат лошиот градителски почеток на една сјајна и навистина вдаховена замисла.... За тоа како приоритетите се во безредие Проблемите со кои се соочува генералниот директор на МНТ (покрај сите други) поврзани со објектот, се во реалните македонски услови проблеми од можноста на мандатот... Архитектонската професија освен на ниво на озборувања не се изјаснила за објектот на МНТ ни на ниво на архитектонска критика (освен Македонското радио) ни на ниво на рекогнисцирање на проблемот со сите професионални параметри. Се појавија некои решенија на ниво на размисла за потврдување и збогатување на културниот центар во списанието Пулс. Во тек е реви(зи)ја на ДУП за културниот центар. Неславно заврши конкурсот за покривање на театарот најмногу поради лошата подготовка на тендерот Лажната слика според која: за да има култура мора прво да функционира тешката индустрија го помести приоритетот на културата, кој цивилизациски се појавува како прв, на позицијата меѓу вечно благодарни корисници на буџетот... Во оваа сегашност, овде сега, состојбата е критична... За тоа што да се стори во две варијанти... ако се појави нерешлив проблем, тогаш уништи го проблемот! Преведено во нашиот случај значи УРИВАЊЕ НА КУЛТУРНИОТ ЦЕНТАР! Дали со тоа го решаваме новокомпонираниот однос на општеството спрема сопствената култура? Не! Дали КУЛТУРНИОТ ЦЕНТАР НА МАКЕДОНИЈА има архитектонски вредности за почит кои налагаат напор за возобнова? Да без сомнение! КУЛТУРНИОТ ЦЕНТАР во Скопје е извонредно архитектонско дело со ретка вдахновеност во светски рамки и за тоа треба да се борат граѓаните на Македонија. Овој комплекс и во сета негова недовршеност, а недовршен е од моментот на неговото предавање во употреба како проект и објект, останува како естетски висока категорија во урбаното ткаење на Скопје... највпечатлива поединост на секоја авионска снимка на градот... симбол на вистинска уметност: еден уметник од граничниот осврт Руен по неизвесните патишта на вдахновението, преку колективното сеќавање на седумнина неопитни градители кристализира токму во нашиот град вистинско провидение... факт: и самата оценувачка комисија изненадена од изборот... Дали КУЛТУРНИОТ ЦЕНТАР има недостатоци? Да... Комплексот ги има сите недостатоци на недовршеноста. Дали има економско оправдување за уривање на комплексот? Не. Конструктивниот систем на објектот е направен со сите стандарди и вештини на Македонското градителство, а тоа значи дека секоја авантура со уривање е поскапа во однос на довршување на комплексот. Дали на Македонија и треба посебна зграда за Театар, посебна за Балет и посебна за Опера? Без сомнение да. Македонија е една од најстарите култури во светот. Обврска на Македнците е да не го заборават тој факт.... Ние немаме право да речеме дека НЕ МОЖЕ. Немаме право да ја загрозуваме иднината на нацијата. Уметноста се развива како и богатството на Животот. Овие три објекта во времето ќе ја примат својата функција во играта на уметноста можеби под други имиња... Решавањето на најприоритетниот проблем на објектот покривната конструкција да се прогласи месец на ВОЗОБНОВА НА КУЛТУРНИОТ ЦЕНТАР

58 Од Богдан Спиндлер //////////////////// Дата 2014 / 06 / 09 16/04 гмт 20/00 Наслов Проектант на МНТ, СКопје За Зоран Петревски //////////////////// From Bogdan Spindler ////////////////// Date 2014 / 06 / 09 16/04 gmt 20/00 Title The architect of MOB, Skopje For Zoran Petrovski ////////////////// Почитуван г-дине Зоран Петровски, Ви благодарам за Вашето писмо и приложениот текст на архитектот Вангел Божиновски, коешто го проследив до колегите Јуриј Принцес и Штефан Кацин, со коишто сè уште работиме заедно. Нè фасцинира споредбата на нашиот проект за операта во Скопје со сликата Замрзнато море на сликарот Фридрих Каспар Давид, како и неговиот извонредно убаво напишан текст и чувствителното размислување за нашиот проект. Мора да признаеме дека таа слика не ни беше позната и не влијаеше врз нашиот концепт, но насилната и катастрофалната ерупција на земјотресот беше присутна во нашето размислување и во решението. Сакавме да покажеме дека е совладана и дека следуваат насочувања кон нови аспирации и сили, како експлозија на енергијата на новото создавање. Динамичната форма на ѕидовите и покривите кои незапирливо се искачуваат во височините требаше да ја искажат таа енергија. Од друга страна, со спуштањето до вековниот Вардар, сакавме комплексот да се доближи и да го допре вечниот и непресушен извор, да се помири со земјата. Секако, ние сме благодарни на тогашниот ентузијазам на тамошните еминентни личности, кои овозможија во реализацијата целосно да се почитува решението од конкурсот и дека нашиот труд се појави до Вардар во таква форма, како што беше предложен и усвоен. Ни беше жал што не се реализираа и објектите на филхармонијата и киното за да се презентира комплексот во целиот обем. Новите еклектични објекти на бреговите на Вардар, за жал, ги уништија нашата идеја за спуштањето на Културниот центар кон реката и вклопувањето во градските случувања на шеталиштето. Цениме дека секоја генерација архитекти треба да ги почитува реализациите на претходните, особено ако овие решенија биле избрани како квалитетни од стручни жирија. Ви благодариме за Вашата посветеност и Ви посакуваме многу успех во Вашата работа. Со почит, Богдан Спиндлер Dear Mr. Zoran Petrovski Thank you for your letter and the attached text of the architect Vangel Bozinovski, which I forwarded to my colleagues Jurij Princes and Stefan Kacin, with whom I still work together. We were really fascinated by the comparison of our project for the Skopje opera to the painting of «The Sea of Ice by the painter Caspar David Friedrich, and also by his extraordinarily good written text and sensitive thinking about our project. We have to admit that we weren t aware of the painting and that it did not affect our concept, but the violent and devastating eruption of the earthquake was present in our thoughts and in our solution. We wanted to show that it has been overcome and that directions towards new aspirations and forces should be expected, as well as the explosion of energy of the new creation. The dynamic form of the walls and roofs that unstoppably climb to the heights were to express this energy. On the other hand, lowering to the timeless Vardar we wanted the complex to be closer to and touch the eternal and inexhaustible source, to be reconciled with the earth. Certainly we are grateful to the enthusiasm of the eminent personalities at the time, who made possible that the competition solution was fully respected in the realization and that our work appeared next to Vardar in such form, as was proposed and adopted. We were sorry that the buildings of the Philharmonics and the Cinema were not realized, to present the complex in full size. The new eclectic buildings on the banks of the Vardar unfortunately destroyed our idea of lowering the Cultural Centre to the river and its incorporation in the city events on the boardwalk. We believe that each generation of architects should respect the realizations of the previous ones, especially if these solutions were chosen as quality-ones from expert juries. Thank you for your commitment and we wish you grat success in your work. Yours faithfully, Bogdan Spindler Ова писмо е дел од проектот на Зоран Петровски This letter is part of Zoran Petrevski s project

59 Јане Чаловски Yane Calovski Компресиран минимум Compressed Minimum 2016 Синтетичка гума и метал Synthentic rubber and meta 4 елементи, секоj апрохимативно 27,5 x 21 cm цм 4 elements, each approximately 27,5 x 21 cm cm Добиено со љубезна согласност на уметникот и ZAK BRANICKA Courtesy of The Artist and ZAK BRANICKA

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61 Душан Перчинков Dushan Perchinkov Teст Test Серија од шест графики А series of six prints 1992 Ситопечат Silk-screen print 35 x 50 цм сm Добиено со љубезна согласност на уметникот Courtesy of The Artist

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63 Никола Узуновски Nikola Uzunovski Туѓинецот The Alien Kомбинирана техника Сombined technique 2016 Променливи димензии Variable dimensions Добиено со љубезна согласност на уметникот Courtesy of The Artist

64 УК ИМ / НА М АР КО М УШ ИЧ / UK IM / BY MA RK O MU ŠI Č / МОБ M УКИМ O B U K ПМФ I M PMF

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66 УКИМ ХРОНОЛОГИЈА UKIM CHRONOLOGY / Ректоратот на Универзитетот во Скопје, заедно со Сојузот на архитектите на Македонија (САМ) распишува општ анонимен урбанистичкоархитектонски конкурс за изработка на идејно решение за универзитетски кампус во Скопје; The rectorate of the University of Skopje, together with the Association of the Architects of Macedonia, (SAM) announces a general anonymous urban-architectural competition for a project for the University Campus in Skopje. Предавање на проектите; Deadline for the submission of the proprojects; Од вкупно пристигнатите 13 трудови, комисијата ја доделува првата награда на трудот АТЕНА на авторите: Марко Мушич (водач на тимот), Мета Хочевар, Јернеј Крајгер и соработниците Борут Бучар, Марјан Мушич и Катја Репич, архитекти од Љубљана; From the total of 13 submitted projects, the committee gives the first reward to the project entitled ATENA, of the authors: Marko Mušič (leader of the team), Meta Hocevar, Jernej Krajger and the collaborators Borut Bucar, Marjan Mušič and Katja Repic, all of whom are architects from Ljulbljana; Во просториите на Архитектонскоградежниот факултет во Скопје, САМ организира изложба на сите конкурсни трудови, отворена во присуство на највисоките градски и републички власти, културните и јавните работници; On the premises of the Faculty of Architecture in Skopje, SAM organizes an exhibition of all of the competition projects; the event is attended by the highest city and republic authorities and by the cultural and public workers; Авторот, во соработка со проектанти од Македонијапроект, ги изработува идејниот и главниот проект за објектот. Целокупната изградба на комплексот е предвидена во фази; In collaboration with a team of designers from Makedonia-Proekt, the author prepares both the preliminary and the main project for the building. The overall construction of the building is planned in stages; Започнува изградбата на комплексот која, според првичните предвидувања, треба да заврши до почетокот на учебната 1972/73 г. Изведбата на објектите на Универзитетот трае од 1970 до 1974 г. Следната етапа, изградба на придружни спортски центри, аула максима, покриен базен и сл., до денес не е реализирана; The construction of the building begins which, according to initial projections, was expected to be completed by the beginning of the academic year 1972/73. The construction of the buildings of the University lasts from 1970 to The next stage, the construction of the sports centers, a formal lecture hall (Aula Magna), the covered swimming pool, etc - still remain unbuilt; Свечено е отворен Универзитетскиот кампус; The opening ceremony of the University Campus; Во февруари 1975 г. започнува вселувањето во просториите на Економскиот факултет. Наставата во новата зграда започнува на г. In February 1975 begins the moving in to the Faculty of Economics. The lectures in the new building begin on

67 UNIVERSITY SS. CYRIL AND METHODIUS Response to Urban Context The University Campus «Ss. Cyril and Methodius» is situated on the left bank of the river Vardar; for the purposes of its construction, part of the residential settlement Krnjevo was cleared, below the Sultan Murad Mosque and the Clock Tower - urban tissue defined by narrow, winding streets and single family houses. This process of clearing the area was never completed, so part of the settlement is still present in the immediate vicinity of the University. 1 Ana Ivanovska - Deskova The university complex is concieved as a separate entity with its own particular urbanity, situated on a wide location and blended into the greenery. At the time, there was the intention to build both outdoor and inddor sports halls in the immediate vicinity, as well as halls with other, campus related functions - however, these were never built. Space and Structure The university centre consists of the monumental structures of the three faculties (Faculty of Philosophy, Faculty of Economics and Faculty of Law) and the administrative building of the Rector Office. The general urban composition also includes libraries with reading rooms as independent structures. The campus is based on the concept of the Agora, as a common public space around which the individual buildings gravitate. The open public space in between is at the same time a square, an assembly point, a place for socialization and an external auditorium. The main axis of the complex connects the Faculty of Philosophy and the building of the Office of the Rector, and the double-height pedestrian passage under the building of the Office of the Rector is a symbolic entrance into the complex. 2 The building of the Office of the Rector is detached from the remaining structures which makes the Agora irregularly elongated in that direction. The facilities of the Faculty of Economics and the Faculty of Law are placed transversally to this axis. Mušić applies the same principle of spatial shaping of the buildings of the faculties. However, due to the segmentation and the complexity of the composition, we do not see it as a repetition at all. In spatial expression, the fragmented and branched mass structure of the complex results in striking spatial resolution which is on the border between architecture and sculpture. In the treatment of various masses, through a series of monumental volumes and dramatic shapes with accented expressiveness, the author shows a remarkable ability to create a powerful synthesis. The large central masses to the periphery of the complex are cut up, fractionally divided and as if they want to enter a finer measure, not for a moment making a compromise with the inherent structure surrounding them. This peripheral disintegration simultaneously gives the impression of openness of the structure and the possibility for smooth expansion (potential metabolic growth)

68 Program Distribution In terms of the program, the main functional complexes are the buildings of the three faculties, and the construction of the Rector s Office. The organization of the faculties constructions is based on the same principles: every faculty constitutes of an entrance with a vestibule, a central hall that unifies the space, four amphitheatres with a different size, the area where the lectures take place, and the area where the rooms for the teaching staff are located. Although certain principles of the organization of the interior area are repeated throughout the three constructions, each of them is recognizable by its own individual characteristics, and each of them creates a special relation with the surrounding space. You can access each of the constructions from the central agora, through the wide stairs, which introduce the visitor with what goes on in the interior. Naturally, at the entrance axis the administration room, the Dean s Office and the area for students necessities are located. The entrance hall at the ground floor is the main space for meeting and socialization; the students cafeteria is placed here, and the wide stairs that lead to the gallery are supplemented with sitting areas that form a kind of an informal amphitheatre. From the first-floor gallery, you can access the amphitheatres that dominate the entire space composition with their silhouette. Each faculty building has four amphitheatres, which are of different size, and are set around the central hall/lobby. The largest one, which has a capacity of 400 people, is located at the Faculty of Law. The buildings of the libraries of the Faculty of Law and the Faculty of Economy are placed opposite each other, and with their volume they elongate and shape the entrance square of the agora. On the inside, the libraries are connected with their home faculties, and their outside entrances secure their independent functioning. The library of the Faculty of Philosophy is planned within the frames of the faculty departments. The construction of the Rector s Office has a prominent position. Placed above the double-high passage, it is in fact designed to form a symbolic entrance into the complex. The building of the Rector s administration has two entrances, placed opposite each other, and separated by the public passageway; one is for the employees, and the other leads to the ceremony rooms on the floor. furthermore, in certain areas the surface has been ridged with vertical flutings of a regular profile. This type of reduction in terms of the materials used for the construction has been compensated by the author by the dynamic play of the monumental, absolute geometrical shapes. The repetition of certain groupings creates rhythmical convexities and concavities of the facade, which contributes furthermore to the dynamic of the general composition. In terms of the overall manifestation, the author makes use of contrast in a very skillful manner: he contrasts the powerful texture of the natural concrete with light glass surfaces; he contrasts the horizontal with vertical accents; the space is periodically narrowed and widened, the measurement is altered, as if the ground floor is moving so as to create expressive and very often dramatic spatial experiences. In addition, light is introduced to every area whereever it is possible. The aspect of natural lighting introduces a greater quality to the working areas of the students, and it furthermore creates spectacular effects in the interior. In addition to the large windows through which the working area is in constant contact with the exterior and the greenery in the park, daily light enters through the cuts in the roof construction, the glass surfaces between the bearms, the roof windows etc. The complexity of this architectural-urban entity does not permit a onedimensional classification of the architectural language and the architectural influences that define it. Undoubtedly brutalist in terms of its materiality, it is also strongly influenced by the architecture of Louis Kahn, who was visited by Mušič in 1968/1969. At the same time, the construction is dissected in a structuralist manner, consisting of numerous equal/similar, repetitive motifs. Although viewed as a whole, it seems completed; certain parts suggest that there remains a possibility for enlargement or reduction of its size, depending on what is to be required (in fact, the construction has not been fully finished in some of its parts). All things considered, none of the aforementioned architectural languages explains the expressive volume and the extraordinary play with the light in terms of its exterior and the interior areas of the building. This type of individual expressionism is present in other projects, competitive examination works and realized projects which came in that period from Ljubljana. Structure, Materiality, Shape, Color The powerful spatial structure of the University Campus is yet another confirmation of the wide acceptance and affinity towards the brutalist sculptural forms in the 1960s and 1970s. The exclusive use of natural concrete that revokes the classic structurecoating relationship leads to an ascetic reduction in terms of materials and colors for the construction. The surfaces of the concrete are shown in a straight-forward manner, with visible signs of the wooden panels;

69 КОНКУРСЕН ПРОЕКТ THE COMPETITION PROJECT

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71 фотографија од модел на оригиналниот проект за конкурс, вклучувајќи ги и неколкуте планирани објекти во близина на Универзитетот центар - кои останаа неизградени. Добиено со љубезна согласност на Ректоратот на УКИМ / Model photograph of original competition project, including the various additional planned facilities in the vicinity of the University Centre - which remained unbuilt. Courtesy of the Rectorate of UKIM Оригиналниот архитектонски модел на УКИМ универзитетски центар, како што првично беа наменети за изградба. Добиено со љубезна согласност на Ректоратот на УКИМ. Original architectural model of UKIM University Centre, as originally intended for construction. Courtesy of the Rectorate of UKIM. Архитектонски модел на Универзитет Св. Кирил и Методиј, како што е изведен, Моделот е направен од страна на студентите на проф. др. Минас Бакалчев, раководител на студио 2007/2008 година Architectural model of UKIM, as built. The model was made by students in prof. Dr. Bakalcev Minas studio at the Faculty of Architure in Skopje, in 2007/08. Model Photograph by SIA Gallery,

72 Архитектонски модел на УКИМ, како што бил изграден. Моделот е направен од страна на студентите на проф. Д-р Минас Бакалчев, студио при Архитектонскиот факултет во Скопје, во 2007/08. Фотографија на моделот СИА Галерија, 2016 Architectural model of UKIM, as built. The model was made by students in prof. Dr p Bakalcev Minas studio at the Faculty of Architure in Skopje, in 2007/08. Model Photograph by SIA Gallery,

73 Архитектонски модел на УКИМ, како што бил изграден. Фотографии на моделот (Галерија СИА, 2016), со цел да го нагласи градот-како структура на ансамбли од зграда. / Architectural model of UKIM, as built in The model photographs (by SIA Gallery, 2016), emphasize the city-like structure of the building ensembles

74 Архивски слики на градското подрачје околу УКИМ во различни фази на процесот на изградба. Подарок од архивата УКИМ. - Archival Images of the city area around UKIM in different stages of the construction process. Courtesy of the UKIM archive

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76 Основа и секција од аудиториумот и пресек на централната сала, од главниот проект (Македонија-проект). Подарок од архивата на УКИМ. Plan and section drawings of the auditorium area and section drawing of the central hall area, from the detailed design project (Makedonija-proekt). Courtesy of the archive at UKIM. Skopje

77 Фасади - цртежи на Факултетот за филозофија и филологија, од главниот проект (Македонијапроект). Подарок од архивата на УКИМ. Elevation drawings of the Faculty of Philosophy and Philology, from the detailed design project (Makedonija-proekt). Courtesy of the archive at UKIM.

78 Цртеж: Филозофски и Филолошки факултет во Универзитетскиот центар основа и изгледи/пресеци, ревидиран цртеж на Галерија СИА (2016) 1:750 Drawing: Faculty of Philosophy and Philology at the University Centre - ground plan and elevations/sections, redrawn/revised by SIA (2016), on the basis of Makedonija-proekt drawings (courtesy of UKIM archive) 1:

79 Цртеж: Конкурсен проект за Универзитетски центар, Ателје Марко Мушич цртеж на Галерија СИА (2016), според цртежи од Георги Константиновски (2013) и цртежи од основниот проект на Македонијапроект 1:1500 Drawing 8: The University Centre Competiton Project, by Atelier Mušič redrawn/revised by SIA (2016), on the basis of drawings by Georgi Konstantinovski (2013) and the detailed design project drawings by Makedonijaproekt 1:1500 Цртеж: Недовршениот Универзитетски центар (изведен проект) ревидиран цртеж на Галерија СИА (2016) според цртежи од Георги Константиновски (2013) и цртежи од основниот проект на Македонијапроект 1:1500 Drawing: The incomplete University Centre (as built) redrawn/revised by SIA (2016), on the basis of drawings by Georgi Konstantinovski (2013) and the detailed design project drawings by Makedonijaproekt 1:1500 on the basis of Makedonija-proekt drawings (courtesy of UKIM archive) on the basis of Makedoni

80 Цртеж: Универзитетски центар (со доградба) ревидиран од Галерија СИА, според цртежи од основниот проект на Македонијапроект, и теренски истражувања на постоечка ситуација, со доградба на Филозофски/Филолошки факултет од архитектите Минас Бакалчев и Митко Хаџи-Пуља (2008) 1:1500 Drawing: The University Centre (with extension / additon) - revised by Gallery SIA, on the basis of the detailed design project drawings by MakedonijaProekt, on-site studies of the current condition, including the recent addition to the Faculty of Philosophy/Philology by architects Minas Bakalcev, Mitko Hadzi-Pulja (2008) 1:1500 Цртеж: Универзитетски центар во постоечка ситуација - ревидирани цртежи на Галерија СИА (2016), според планирани ново-градби, :1500 Drawing: The University Centre in its current context - redrawn/revised by Gallery SIA (2016), on the basis of planned buildings, :

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97 АРХИТЕКТУРА ВО МЕЃУ-ТО ARCHITECTURE IN-BETWEEN Минас Бакалчев Митко Хаџи - Пуља Minas Bakalcev, Mitko Hadzi-Pulja Локација: Универзитет Св. Кирил и Методиј, Филолошки факултет - Скопје Автори: МБМХП (Минас Бакалчев, Митко Хаџи-Пуља) Соработници: Бетим Зеќири, Виолета Бакалчев Архитектонски проект: МБМХП + ДСЦ Дизајн (одговорен проектант: Ѕвонко Тасевски, проект и разработка: Борче Стојковски) Yvonko Tasevski, proekt i razrabotka: Bor~e Stojkovski) Донатор: Влада на Република Италија, Агенција за имплементација: IMG (раководител на мисијата: Паоло Леони, службеници за проекти: Арѓент Караи, Томислав Стефановски, Александар Димшков) Изведба: Бетон АД Скопје (проектен менаџер: Блага Поп Иванова, раководител на објект: Славица Георгиевска, метална конструкција: Ванимекс, Скопје (Горан Тодоровски) Надзор: Метапроект архитекти, Скопје (Виолета Бакалчев) Година: 2008 Location: University St. Cyril and Methodius, Faculty of Philology - Skopje Authors: MBMHP (Minas Bakalcev Mitko Hadzi - Puglia) Associates: Betim Zeqiri, Violeta Bakalchev Architectural project: MBMHP + DSC Design (project architect: Y.Tasevski, proekt i razrabotka: Borche Stojkovski) Donor: Government of Italy Implementing agency: IMG (Head of mission: Paolo Leoni, project assistants: Tomislav Stefanovski Alexander Dimshkov) Construction: Concrete Inc., Skopje (project manager: Blaga Pop Ivanova; Structures: Slavica Georgievska Metal construction: Vanimeks Skopje (Goran Todorovski) Site supervision: Metaproekt Architects (Violeta Bekalchev) Year: 2008 Како да се гради помеѓу авангардата на минатото и обичното на секојдневното? Бездруго, фрагментарната реалност на Скопје го повторува ова прашање и во истовреме повикува на надминување на конфликтната исклучивост. Случајот на Македонско- италјанскиот едукативен центар е речиси парадигматичен за оваа состојба. Универзитетскиот комплекс Свети Кирил и Методиј е еден од херојските зафати на поземјотресната реконструкција на градот (Марко Мушич, 1974). Ова архитектонско дело ја надминува функционалистичката просторна синтакса воведувајќи структуралистичко расчленување на просторот и бруталистичка искреност во материјализацијата. На тој начин е дел од европскиот бран на ревизија на модерната од 70- тите. Но, од друга страна, оваа просторно расчленета конфигурација од натур-бетон никогаш не воспоставува дијалектичка релација со контекстот. Урбаната текстура на контекстот остана пасивна позадина на која се суперпонираа новите фигури. Така, латентната тензија помеѓу новите ексклузивни фигури и маргинализираната позадина никогаш не е надмината. Во 90 -тите овие дистинктивни просторни структури се доведени до нова поларизација, живеат како два паралелна света, како артефакт од минатото кој физички постепено пропаѓа и како динамичка околина која доживува дивергентни спекулативни трансформации. Дали интеракцијата е возможна? Екстензијата на универзитетскиот комплекс повторно го поставува тоа прашање. За нас предизвикот беше не да се конфронтира авангардата на минатото и обичното на секојдневното, модерното и традиционалното, туку да се работи помеѓу. Да се дејствува помеѓу системите, на ексклузивната интелектуална скулптуралност на модерната и инклузивната спекулативност, на колажирањето на обичното. Во таа смисла, новиот објект не ги повторува просторната синтакса и материјалноста на универзитетскиот комплекс, ниту се одрекува од неа. Тој тргнува од тактиката на самоградбите на околината. Прво да се зафати во дадениот габарит што е можно повеќе простор (м3). Второ, целиот просторен/програмски систем да се диференцира преку материјалната постапка на фолдирање (диплење). Во таа смисла почетниот габарит, примарната форма, е неутрален, призма, еден вид контејнер, кој понатаму во дистрибуцијата, еволуцијата на програмата, се диференцира. На тој начин се диференцират двата просторни програмски домена: зелениот свет (аудиториум + кабинети); црвениот свет (коридор/галерија + библиотека/повеќенаменска платформа). Така објектот е двојно кодиран, како инклузивен просторен квантитет (контејнер) и како ексклузивен просторен квалитет(дипла). Материјализацијата ја следи неговата двојна природа. Поцинкуван лим на надворешноста: од една страна како неутрална облога, од друга страна како посебен скулптурален ефект во контекстот на натурбетон на Универзитетот. Интезивната колористичка завршница во внатрешноста ги следи просторните, програмските зони, кои се диференцирани со примарниот просторен гест на диплење, како внатрешна (зелена) и надворешна (црвена) страна на диплата. Полните бои истовремено даваат еден изразен идентитет кој е нужен за новите просторни конфигурации на учењето. How to build between the avantgarde of the past and the ordniary of the everyday?without a doubt (without question), the fragmented reality of Skopje repeats this question (issue) while simultaneously aiming to transcend (go beyond) the conflictual singularity. The case of the Macedonian-Italian educational centre is praxtically paradigmatic of this condition (situation). The University complex Ss. Cyril and Methodius is one of the heroic attempts/ventures (zafati)of the post-earthquake reconstruction of the city of Skopje (Marko Mušič) 1974). This architecural work surpasses the functionalist spatial syntax, introducing a structuralist decomposition/dismemeberment (расчленување) of the space and the brutalistic sincerity/honesty of its materialisation/realisation. IN thi way, it is part of the European wave of revisio of the modernism of the 1970 s. On the other hand, however, this spatially fragmented spatial configuration in beton brut never establishes a dialectical relation with its context. The urban texture of the context remained a passive background onto which the new figures were superimposed. This kind of latent tension between the new exclusive figures and the marginalised background was never surpassed/overcome. In the 1990 s, these disctinctive spatial strucures/figures were brought to a new polarisation, existing.living as two parallel worlds, as an artifact of the past whose physical condition is in a gradual state of decomposition, and the dynamic surroundings which experiences diverging, speculative transformations. Is interaction between the two possible? The existence of the University complex repeats this question. For us, the challenge was not to confront the avantguard of the past and the ordinary of the everyday, the modern and the traditional, but to work in between. To act between systems, on the exclusivity and intellectual sculpturality of the modern and the inclusive and speculative nature of the collage of the ordinary. In this sense, the new facility does not simply reiterate the spatial syntax and materiality of the campus, yet neither does it deny it. It begins with the tactics of the self-built quality of the environment. The first step in the process was to provide, within the confines of the site, Secondly, to define/differentiate the whole spatial / programmatic system through the material process of folding. In this sense, the site and the building s primary volume, forms a neutral prism, a sort of container which becomes further defined and differentiated through the evolution of the program.thus are differentiated the two spatial and functional domains: that of the green world (+ auditorium and spaces for the teaching staff); the red world (corridor/gallery + library/ multi-functional platform). In this way, the object-building is doubly coded, as an inclusive spatial entity (the container) and as an exclusive spatial quantity (the fold). The building s materiality is a reflection of its dual nature. The galvanized steel exterior, on the one hand, provides a neutral coating while on the other, it provides a specifically sculptural effect in the context of the exposed concrete surfaces of the University centre surroundings. The intense colour scheme of the interior spaces reflect the differentiated spatial and programmatic zones, which are differentiated through the primary spatial gesture of folding as the internal (green) and the external (red) side so the fold. The bold colors at the same time provide a pronounced identity, necessary for the new spatial configurations of learning. Knowledge and spaces for learnging, are becoming essential parts of any modern society. In that sense, their spatial concepts need to be redefined, to become not only indifferent backgrounds for educational processes, but more attractive, open, innovative places and environments capable of inducing a series of new social situations. Знаењето и просторите за образование стануваат суштествени делови на секое современо општество. Во таа смисла, неговите просторни концепти треба да се пресоздадат, да се направат не само индиферентни позадини за образовните процеси, туку привлечни, отворени, иновативни места кои ќе потикнат низа нови социјални ситуации. 192 the maximum possible amount of space (m3). 193

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100 FOREWORD FOR THE BOOK UNIVERSITY CENTRE IN SKOPJE Skopje, the capital city of Macedonia, was a place of intense construction between 1970 and 1980, when the city was rebuilt after the devastating earthquake of In that decade, many landmark buildings were realised, of which the most important were: the High School Orce Nikolov, the Natural History Museum; the building of the Government of Republic Macedonia, the Catholic church Kliment Ohridski, the Museum of Modern Art, a Military Hospital, the National and University Library, the student dormitory Goce Delchev, the Skopje Fair; the City Shopping Center Mall, the hotel Continental, the University Centre Ss. Cyril and Methodius, the Telecommunications Center, the complex of Museums of Macedonian, the Macedonian Academy of Arts and Sciences, the Cultural Center ensemble of buildings, the Institute of Earthquake Engineering and Seismology, and finally, various residential and administrative buildings. This is the renaissance period of Macedonian architecture, which was undoubtedly under the influence of modern architecture, dominated at the time by the international style with its purity of forms and materials, and unencumbered by decorative elements. This period of architectural history was under the influence of both the organic architecture of Frank Lloyd Wright and the strict Miesian style, which became deeply embedded in the work of architects internationally. Although the big four (Frank Lloyd Wright, Walter Gropius, Mies van der Rohe and Le Corbusier) were no longer among the living, their ideas were heavily engrained in the work of architects from around the world. Among them, the most significant names were Renzo Piano and Richard Rogers, with their Centre Pompidou in Paris ( ), Hans Hollein with the City Museum Abteiberg ( ), Richard Meier with his Athenium in New Harmony, Indiana ( ), Philip Johnson with the AT & T building in New York ( ), Norman Foster with the Bank in Hong Kong ( ), Richard Rogers Lloyds building in London ( ), as well as the buildings of Robert Venturi, Victor Gruen, Caesar Pelli, Robert Stern, Todao Ando, James Stirling, James Vine (SITE) and finally Aldo Rossi. The works of these internationally renowned architects, played a significant role in influencing the architecture, here in Macedonia. This was the time when modern architecture triumphed - a time when the various architectural styles, that appeared in abundance during the second half of the last century, were rejected. It can safely be said that the works of our domestic architects of the period, who followed the events on the world architectural scene with great awareness, have had a huge influence also on the younger generation of architects, whose honor it was to become responsible for the further development of Macedonian architecture. Georgi Kostantinovski The full version of this text was first published in Konstantinovski s book University center in Skopje [architect Marko Mušič] Published by: Slovenian Academy of Sciences and Arts / Macedonian Academy of Science and Arts, Ljubljana, 2013 ISBN This excerpt of the introductory text from the book has been reproduced here with the author s permission. In the context of these developments, once should not bypass the brutalist architecture, which was accepted and well regarded by ordinary people, while architects, designers, critics and historians openly expressed their appreciation of the scultural forms of brutalism. The new brutalists accepted the uncompromised architecture of Mies van der Rohe and Le Corbusier - its intellectual clarity and rigour, visibly expressing the elements of construction and the materiality. Furthermore, they sensed that 198 in the works of these masters, there existed a tradition that lies beyond 199

101 style and the emergence of various fashions. The purist spirit of the architects contributed towards their reliance on simplicity and the use of elegant constructions. The notion of concealment was entirely denied: the materials and elements of construction were exposed, and even all of the installations were arranged to remain visible. According to him, an architecturally designed space is one which clearly exresses its composition and mode of construction. In this sense, brutalist architecture represented an architectural direction which relied more on ethical, rather than aesthetic concepts, remaining thereby a coherent style, becoming one of the most significant modes of expression through architectural forms, in the period of the 1970 s. That Brutalism was essentially more of an ethical rather than an aesthetic concept, can be seen from the fact that the idea of honest architecture, that it promotes, was not related to the use of a single material. The principles of construction can easily be seen from the use of brick and wood, or steel and glass. However, under the influence of Le Corbusier, concrete became the most appropriate material at the time, a material which played a leading role in the design approach of so-called brutalist buildings. Although the supporters of Brutalism were rarely able to apply the high theoretical ideals in their buildings, their works indicated a certain association with traditional architecture, as well as with rational architecture, whose construction programmes were very strict. Besides a certain agressiveness and a lack of compromise, the Brutalist movement did not essentially move away from traditional thought in architecture and appeared as a strong reform movement within modern architectural theory. The Brutalists were trying to implement the moral imperatives of the 20th century pioneers, who had influenced them to work within the tradition of modern architecture. The main objective of the Brutalists, was to define a concept which would define a building s construction, spatial qualities, layout and materiality, as being necessary. THE UNIVERSITY CENTRE IN SKOPJE Precisely in such a dramatic period within the local and global constellation of architectural developments, the young Slovenian architect Marko Mušič appears on the architectural scene in Macedonia, with his major and majestic work, the University Centre in Skopje, which comprised of three faculties and the administrative building of the University s Rectorate. (It was the winning competition project at a general, anonymous pan-yugoslav architectural competition (1973). The project s spatial conception is based on the formation of an agora leading to the main entrances of the three faculties of Philosophy, Economics and Law. The building of the Rectorate is quite withdrawn, as a result of which the Agora, with its irregular geometric shapes, leads up to this building, thereby gaining a platform as a formal approach to its central part. The main pedestrian access takes place on this very platform, which continues beneath the rectorate building as a double height passage that symbolically suggests the entrance to the world of science and art. Apart from serving for movement and access to the university facilities, the Agora also serves as the surface, or place for ceremonial gatherings and celebrations. Marko Mušič approaches philosophically in his thinking. In a similar way that the Japanese resolve their religious complexes, Marko Mušič creates different areas, or zones in front of each separate faculty, from where the views of the surrounding environment is always different. The steps with their raised platforms emerge as a prelude to what actually takes place within the buildings. The drama of spatial volumes created by the three faculties does not leave the human spirit indifferent Here one feels as if one were in a world where something beyond one s conscience is happening/occuring. Who is capable of enticing such an intense emotion as one finds oneself within such an unusual, and highly exciting environment? Who can sense the greatness of the author who through the elements of an arena, enriches this space - which will certainly leave a deep mark within the soul of the young individuals who have come here to develop their minds and talent? And precisely herein lies his talent! Mušič does not lay the faculty buildings opposite each other in the same axis, and therein lies his mastery! Instead, he positions the building ensembles of the Faculties of Law and Economics perpendicular to the main axis (connecting the Faculty of Philosophy with the building of the Rectorate), arranging them with shifted positions in relation to each other. This is more than mastery! - heneby emphasizing Mušič s architectural skills as a deep thinker. Mušič deftly establishes the general urban measures and in particular the elements of the internal spaces, which are mutually compatible and complementary. Mushich reduces the volumes of the University Centre and thereby, from an urban spatial aspect, subtly adapts the buildings to the scale of the exisitng urban structure which surrounds the entire complex, but without compromising the architecture. Instead, what he achieves is a new interpretation of the existing urban context, in the spirit of modernity. The design concept of the three faculties is based almost on the same basis. Each faculty is composed of three main parts: the area of entry with a central gathering space, leading to four different sized auditoriums, and tracts of hallways with further classrooms and office spaces of the teaching staff (each tract is organised around the teaching of a particular subject, and therefore accomodates the assistants and professors dedicated to that particular subject). Within the entrance hall, and perpendicular to it, are located the administrative offices, the Dean s offices, and other facilities for the students, with a cafeteria on the ground floor level and other places to sit and talk. The amphitheaters are accessed from the first floor level, which acts as a gallery in relation to the ground floor. The Rector building has two entrances separated by a passage placed on opposite sides of one another. One is for the employees of the Rector, and the other is for teachers and guests that leads to the stately halls on the upper level. Even though the whole complex is based on the same design concept, the internal layout is never experienced as something that repeats itself! Each space has its own recognisable trademark and herein lies the author s rich inventiveness. Upon entering one of the faculty buildings, a real sense of drama unfolds. Mušič is a master who skillfully uses contradictions in his spatial sculpting. With the poetic narative and comfortable access from external staircase with Wrightian dimensions, the road leads to a small circular antechamber that psychologically presses the visitor into the vastness of the outer setting. But after leaving the narrow gap in front of you, an kind os spatial explosion occurs, in the central hall, which then provides acces to other parts of the building. It s hard to compare this spatial drama, that combines human dignity with light more than any other spatial drama in world architecture. Yes, Yo Ming Sing makes spatial drama, but within a museum dedicated to modern art. Instead this a building which shapes our future scientists. It is an object that belongs to education. And perhaps rightly so! In this way, Macedonia with full dignity has honoured the holy brothers, Cyril and Methodius - whose name the university Centre bears with dignity and pride

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103 НАЦРТ ЗА ИДНИНАТА Навраќање кон три урбани артефакти на словенечките архитекти во Ско Навраќање кон три урбани артефакти на словенечките архитекти во Ско Навраќање кон три урбани артефакти на словенечките архитекти во Ско Avtor Навраќање кон три урбани артефакти на словенечките архитекти во Ско

104 ПРИМЕРНА АРХИТЕКТУРА MODEL ARCHITECTURES Мартин Гулески Martin Guleski Архитектот Мартин Гулески често вели: Не може да проектираш зграда што не ја сакаш. За претходните изложби на галеријата SIA ( Тигрите, која зборуваше за колективот на полските архитекти што го имаат проектирано Музејот на современата уметност во Скопје и која беше оддржана во истоимениот музеј во декември, 2014 година, како и изложбата Тринаесет начини на ледање на градот во јуни, 2015 година), проф. Гулески создаде серија моделни цртежи и склопи модели на неколку сликовити модернистички згради во Скопје. Овие дела ја рефлектираат пасијата на архитектот за моделирање која започнала во неговото рано детство посетувајќи различни работилници за моделирање. Проф. Гулески продолжил да го негува таквиот интерес држејќи им предавања на студентите во архитектонските школи низ Скопје (УКИМ и UACS ), со сопствените проекти, но исто и како независна активност со која анализира и документира одредени градби, што ја прикажуваат неговата пасија за архитектурата. За изложбата Тринаесет начини на ледање на градот, во галеријата SIA во Скопје (јуни, 2015 година), Гулески изложи шест студии на модели: две јавни културни установи: Музејот на современата уметност (од колективот на полските архитекти Тигрите ); Уметнички павилјон (од Шекерински, кој повеќе не постои); и четири станбени згради од Л. Кубеш. Изложените цртежи и модели претставија вредна документација на еден специфичен период од архитектонското наследство на Скопје. The architect Martin Gulevski has often said: You can t model a building you don t love. For previous SIA exhibitions ( The Tigers, about the Collective of Polish architects, who designed the Museum of Modern Art in Skopje, held at MSU in December 2014 and Thirteen Ways of Looking at the City, June 2015), Prof. Guleski developed a series of model drawings and unfolded models of several iconic modernist buildings in Skopje. These works reflect the architect s passion for model making, which started in his early childhood, when he attended various modelmaking workshops in the local Modelling Club. Prof. Guleski has continued nurturing his interest in making models, instructing his students at the architecture schools in Skopje (UKIM and UACS), as well as through his own projects, but also as an independent activity and passion, through which he has been analyzing and documenting selected buildings. - which is a reflection of his passion for architecture. For the exhibition Thirteen Ways of Looking at the City, at SIA Gallery in Skopje (June 2015), Gulevski exhibited six models studies: two public cultural buildings, the Museum of Comteporary Art, MSU (by the Collective of Polish architects, The Tigers ); the Artists Pavillion (by Sekerinski - no longer in existence); and four housing buildings by L.Kubes. The exhibited drawings and models represented a valuable documentation of a specific period of the architectural heritage of Skopje. In collaboration with SIA, these Model Architectures have developed into a series of workshops with architecture students, as well as with younger children, as part of other parallel educational initiatives. For Heroes for One Day, Martin Gulevski developed similar model studies of selected fragments of Marko Music s University Centre UKIM, as the basis of model-making workshops, which through a playful approach, aim to raise the general awareness and interest in the qualities of modern architecture, with the wider public. Во соработка со галеријата SIA овие архитектонски модели прераснаа во низа работилници со студенти по архитектура, но исто и со помлади. За изложбата Херои за еден ден, Мартин Гулески испланира слични моделни студии од одредени фрагменти на УКИМ. Работилниците за моделирање имаат цел со еден игрив пристап да се крене општата свесност и интересот на пошироката јавност и публика за модернистичката архитектура

105 LUDUS XYYX Модно фотографирање Fashion shoot фотографии 6 photographs Марија Радосављевиќ Marija Radosavljevikj Добиено со љубезна согласност на дизајнерот Courtesy of The Designer XYYX

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107 ПМФ / НА ЕДВАРД РАВНИКАР / PMF / BY EDVARD RAVNIKAR / МОБ УКИМ ПМФ MOB UKIM PMF

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111 ПМФ ХРОНОЛОГИЈА PMF CHRONOLOGY Основан е Филозофскиот факултет, како прв факултет во (Н)РМ, со две одделенија хуманитарно (историскофилолошко) и природноматематичко 1. Веќе во април 1949 г. основан е и Универзитетот во Скопје; The Faculty of Philosophy was founded. It was the first faculty in the Republic of Macedonia and had two departments Humanist (historical-philological) and Natural Sciences1. In April, 1949 the University of Skopje was founded; 1948 Со Генералниот регулациски план за Скопје на Лудјек Кубеш се предвидува концентрација на факултетите и формирање Републички научен центар сместен во подножјето и на падините на паркшумата Гази Баба 2 ; Наставничкиот совет и Министерството за просвета ќе донесат одлука за изградба на нова зграда за природноматематичкиот оддел. За таа цел, продеканот Франц Петре ќе го повика архитектот Едвард Равникар, професор на Универзитетот во Љубљана и најзначаен автор во повоената словенечка архитектура, да изработи проект за новата факултетска зграда; 1948 With the general regulatory plan for Skopje, Ludjek Kubesh proposes a concentration of the faculties and establishment of Republican Scientific Center located at the foot of the slopes of the Park Forest Gazi Baba 2 The School Board and the Ministry of Education decided to construct a new building for the Natural Sciences and Mathematics Department. For this purpose the vice-chancellor Franz Peter invited the architect Edvard Ravnikar, a professor at the University of Ljubljana and the most important writer in postwar Slovenian architecture, to elaborate the design of the new building; 1949 Изготвен е главниот проект за зградата на Природноматематичкиот факултет, за групите: математика, физика, биологија и географија 3 ; The main project for the Faculty of Natural Sciences was prepared and that was for the groups of: mathematics, physics, biology and geography 3 ; КРАЈОТ НА 1951 Кон крајот на годината градежните работи во објектот се завршени, а истата учебна 1951/52 година факултетот се сели во новоизградениот објект; By the end of the year the construction work has been completed and the same academic year, the Faculty moved to the newly built facilities; 1955 Автомобилската и пешачката пристапна патека до зградата се завршени дури во 1955 г.; The car and pedestrian access paths to the building were completed; 1963 По земјотресот од 1963 г., објектот е саниран, а неодамна од северната страна е додаден нов дел 4 ; After the earthquake of 1963, the building was renovated and a new section was added to the north side 4 ; 1 На почетокот Филозофскиот факултет бил сместен во зградата на Народната библиотека, покрај Вардар, зад Железниот мост. Некои групи од природнометематичкиот оддел биле сместени во зградата на Природо-научниот музеј, подоцна и во ОУ Браќа Миладинови. 1 In the beginning the Faculty of Philosophy was accommodated in the building of the library by the river Vardar, behind the Iron Bridge. Some of the natural mathematics departments were accommodated in the Natural Science Museum, and others in the elementary school Braka Miladinovci. 2 Во рамките на научниот центар се предвидува изградба на потребните факултетски згради, лаборатории, истражувачки центар, спортскорекреативни содржини и сл. Студентските интернати се распределени во подножјето на ридот, со јужна ориентација. Комплексот, соодветно на актуелната модернистичка парадигма, го составуваат слободностоечки ојекти комплетно втопени во зеленило. 3 За хемискиот институт од почетокот се предвидува посебен објект. 3 In the beginning, the Institute of Chemistry was planned to reside in a separate building. 4 Новиот дел, поставен нормално во однос на стариот објект, претставува програмска и просторна екстензија што остварува внатрешна врска со оригиналната зграда. Понатаму во текстот, предмет на разгледување ќе биде само старата зграда на арх. Равникар во нејзината автентичнo изградена состојба. 4 The new part represents special extension and interior connection with the main building. Further on in the text will be the subject of study will be only the old building of the architect Ravnikar in its authentically built form. 2 The Science Centre complex was planned to include the necessary faculty buildings, laboratories, research center, sports and recreational facilities. The dormitories were to be scattered in the foot of the hill, looking to the south. The complex, according to the actual modernization paradigm, consisted of the three standing objects, completely integrated in the green area

112 PMF BY EDVARD RAVNIKAR Одговор Response на to урбаниот the urban контекст context Ana Ivanovska - Објектот The building на ПМФ of the е сместен Faculty во of парк-шумата Natural-Mathematics Гази Баба, and веднаш Sciences над постојната is situated in Deskova населба the park-forest со ниска Gazi изградена Baba структура just above од the индивидуални settlement станбени of the same објекти. name, a lowrise city structure на повисока composed кота на теренот of individual и издвоен buildings. со појас Situated од зеленило, on a higher објектот ground не Сместен гради and separated релација со by затекнатиот a large area контекст of green и space, претставува the building прв реализиран does not објект seek од to автономната develop a relatinoship целина Универзитетски with its context. град The 5. building was the first built structure of 5 the first autonomous university campus in Skopje, known as the University City 5 From the present point of view, it is interesting to Локацијата на факултетот нема свои јасни граници; факултетската зграда е note the Faculty s position in The слободностоечки site of the Faculty објект, does сместен not во have поширок, clear boundaries: зелен, неизграден the building простор. is a Главниот free relation to the University, as a standing влез е ориентиран object, situated кон североисток, within a wider а спротивната green and страна undeveloped (на која се area. истакнуваат The main kind of Temple of Knowledge. According to the plan of Josif entrance волумените is на oriented амфитеатрите) towards е the завртена northeast кон while градот. the До opposite објектот има southwestern пешачки и side Mahajlovikj (1929), the intellectual center was planned to (on автомобилски which are пристап emphasized што почнува the volumes од бул. of Никола the auditoriums), Карев. faces the city.. The building has pedestrian and vehicular access from the boulevard Nikola Karev. be built on the Fortress Kale. Просторно-волуменска структура Kubesh changes its position to the park-forest Gazi Baba Spatial-volumetric Во својата просторна structure композиција, објектот на Природно-математичкиот факултет where education is again given In е едноставен. its spatial composition, Доминира издолжената the building правоаголна of the Faculty форма; of Mathematics централно, од and Natural a prominent position in relation Sciences североисточната is simple. страна The е elongated додаден нагласен rectangular влезен shape трем dominates: (над кој на in првото the central, ниво се to the city. northeast развива пространа side, an тераса) entrance додека porch на is спротивната, located (which југоисточна above it, страна on the на first основниот floor level, правоаголен creates a волумен spacious се terrace), додадени while волумените the protruding на амфитеатрите. volumes of Правоаголниот the auditoriums As can be seen from the orig- 6 волумен е завршен со едноставен четириводен покрив 6 inal planning documents of the are placed on the opposite part of the basic rectangular. Јасните volume. геометриски The building облици architect Ravnikar, the height volume и нагласената is completed симетрија with на a објектот simple му pitched даваат roof класичен. The clear израз geometric и монументалност, shapes and of the building was reduced - дополнително pronounced symmetry нагласен со of второстепената the building give пластика. it a classical expression and monumentality, according to the notes of pro- further highlighted by the secondary plastics. fessor Dimche Toshev because of the dominant silhouette of Програмска дистрибуција the building in relation to the Согласно Programmatic со актуелната Distribution функционалистичка парадигма, објектот на Природноматематичкиот city. According to the факултет current дава functionalist јасен функционален paradigm, одговор the building на зададените of the Faculty of програмски Natural-Mathematics барања. На and левата Sciences и на десната provides страна a clear од functional нагласената response влезна партија to the 7 The workshops and laboratories in the two subterranean се given развиваат programmatic две крила requirements. во кои кабинетите The each и лабораториите side of the accented се организирани entry porch, по are levels, are of a considerably должина two wings на of природно the building осветлен with централен offices and коридор laboratories, (двата organized коридора завршуваат along naturally со lower height, but with predominantly natural light, which is a мали lit central тераси). corridor На десната (two corridors страна на ending влезниот in small хол се terraces). наоѓаат главните The main комуникации, staircase is а на positioned крајот на on коридорите the right side се поместени of the entrance помошни hall, комуникации. while the auxiliary Ваквата vertical функционална communications particular quality. се развива are found низ три at ката the над end земја of the (П+2) corridor. и две This подземни functional нивоа. scheme develops шема through three floors above ground and two below ground levels. 8 According to conversations with the employees, the faculty Веднаш наспроти влезната партија на приземјето и на истата позиција на првиот кат furniture was predominantly се Just наоѓаат opposite големите the entrance амфитеатри on the интегрирани ground floor, во еден as well волумен, as in the силно same исфрлен position во on made in the workshops located однос the first на floor, основната are two правоаголна large auditoriums просторно-волуменска integrated into композиција. a single volume, strongly Сите protruding работни from простории the main имаат rectangular природно body осветлување of the building. и своевремено All work биле rooms високо have within the basement of the Faculty building. опремени natural lighting за специфичните and once were барања highly на природните equipped for науки the 7 specific. Оригинално requirements сите of 9 амфитеатри, natural sciences кабинети. Originally и лаборатории all auditoriums, се опремени work со rooms квалитетен and laboratories дрвен мебелwere 8 In the part of the building. below the level of the terrain, equipped with high-quality wooden furniture 8. the façade is flat, without Структура, материјалност, обликување, боја the vertical pilaster/ribs and Проектиран Structure, materiality, непосредно shape, по Втората color is defined by the series of светска војна, во својот архитектонски јазик, equidistant windows of smaller материјалност Designed just и after обликување, WWII, the објектот building, остварува in its architectural континуитет language, со предвоеното materiality dimensions. модернистичко and shape, achieves творештво. continuity Сè уште with симетричен the language во планот of prewar и општата modernism. композиција, Symmetrical силна in plan нагласена and in влезна its general партија, composition, тој изгледа with класично a strong и монументално. emphasis on Ваквиот the point со впечаток of entry, define е дополнително the building нагласен with a со classical рационалното and monumental повторување appearance. на идентични The прозорски impression отвори is further во рамномерн underlined ритам by the по rational должина repetition на двете of доминантни identical windows фасади in и a со gentle вертикалните rhythm along ребра the во two улога dominant на брисолеи, facades кои and континуирано the vertical се ribs протегаат in the role низ of brisoleil приземјето that и extend двата ката. continuously Поставени across помеѓу the прозорските ground floors отвори, and исфрлени the two upper во однос floors. на Set фасадната between рамнина, the window тие openings, дополнително protruding ги засилуваат from façade принципот plane, на these ред и 222 впечатокот further reinforce на дисциплинираност the sense of discipline и доследност and consistency во изразот 9. in its expression

113 Цртеж: Природно-математички факултет (планиран како Филозофски Факултет) - ревидирани цртежи на Галерија СИА (2016) според скенирани цртежи од Едвард Равникар (1949), цртежи од Наоди (2014) Drawing: The Faculty of Mathematics and Natural Sciences (Originally intended as the Faculty of Philosophy) redrawn by Gallery SIA (2016), on the basis of scans of original drawings by Edvard Ravnikar (1949), drawings from Findings (2014) Цртеж: Природно-математички факултет (изведен проект, со доградба, 2002) - ревидирани цртежи на Галерија СИА (2016) според скенирани цртежи од Едвард Равникар (1949), цртежи од Наоди (2014), со доградба од Македонијапроект (2002) и теренски истражувања на постоечката ситуација Drawing: The Faculty of Mathematics and Natural Sciences (as built) revised by Gallery SIA (2016), on the basis of scans of original drawings by Edvard Ravnikar (1949), drawings from Findings (2014), including the addition by Makedonijaproekt (2002) and on-site survey of current conditions

114 Цртеж: ПМФ проектот на Е.Равникар, основа и изгледи, ревидирани цртежи на Галерија СИА (2016) 1:500 Drawing: PMF - original project by E.Ravnikar, ground plan and elevations, redrawn by Gallery SIA (2016) on basis of archival drawings 1:

115 Цртеж: ПМФ (изведен проект) основа и изгледи, ревидирани цртежи на Галерија СИА (2016) 1: 500 Drawing: The Faculty of Mathematics and Natural Sciences (as built) - ground plan and elevations, redrawn/revised by Gallery SIA (2016)

116 Цртеж: ПМФ (изведен проект) попречен пресек, ревидиран цртеж на Галерија СИА (2016) според скенирани цртежи од Едвард Равникар (1949), цртежи од Наоди (2014), и цртежи на доградбата од Македонијапроект (2002), и теренски истражувања на постоечка ситуација 1:500 Drawing: The Faculty of Mathematics and Natural Sciences (as built) - cross section, redrawn/revised by Gallery SIA (2016) on the basis of scans of original drawings by Edvard Ravnikar (1949), drawings from Findings (2014), анд драњингс by Makedonijaproekt (2002) and on-site survey of current conditions 1:

117 ПМФ - скенирани цртежи од Едвард Равникар (1949), од архивот на ПМФ I Scans of original drawings by Edvard Ravnikar (1949), courtesy of PMF archive

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133 Мартин Гулески Расклопена шема за макета ПМФ 2016 Martin Guleski Unfolded drawing for Model of PMF 2016

134 Илија Прокопиев Ilija Prokopiev Вазни Vases Серија на цртежи Series of drawings 2015 Јаглен на хартија Coal on paper 60 x 42 цм сm Добиено со љубезна согласност на уметникот Courtesy of The Artist

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136 BIOGRAPHIES OF COLLABORATORS AND CONTRIBUTORS Violeta Bakalchev Minas Bakalchev Ivan Blazhev is an architect and Assistant Professor who obtained her MSc in the field of Architecture and Design from the University American College Skopje, School of Architecture and Design. She is currently holding the position of Assistant Professor at University American College Skopje, where she teaches subjects related to architectural design. She has worked on a number of design projects and research projects in Macedonia and in the neighbouring countries. Her research interests are primarily related to different aspects of modernist residential projects - and their role as a reference point for the research of the permanence and variability of the spatial and programmatic basis of modernity. is an architect and professor at the University Ss. Cyril and Methodius, Faculty of Architecture, Skopje, where he is also currently the Dean of the Architecture Faculty. He graduated as dip.ing. Arch from Faculty of Architecture, University Ss. Cyril and Methodius in Skopje; holds an MSc from the Faculty of Architecture, University in Beograd, and is a Dr. in technical science at the University Ss. Cyril and Methodius, Skopje. He was co-curator of the Macedonian national pavilion in the Venice Biennale of Architecture 2006, recieving a special mention for the project City of Possible Worlds. Under the acronym MBMHP, he works together with Mitko Hadzi Pulja on architectural projects, workshops and exhibitions. They have recieved numerous city and national awards for many of their works. He believes that architecture can change the world in a way that the world can change us. is a photographer. He has graduated from Brooklyn College (New York City, USA) with BA in Filmmaking and holds a MFA degree in Photography from the Academy of Arts of Novi Sad (Serbia). Teaches photography and video courses at various academic and alternative educational institutions. Works as freelance photographer and filmmaker. He has exhibited his work at national and international museum and gallery venues. In 2008 his project Macedonia Dreaming was part of Beyond Walls Eastern Europe after 1989 program at the Noorderlicht Photo Festival in the Netherlands. In 2011 he was featured in the exhibition Fragments: Macedonian art scene at the Museum of Contemporary Art Skopje. Blazhev published five photographic books. is an architect, graduated from the Faculty of Architecture of the University Ss. Cyril and Methodius in Skopje in Since 2007 he is a teaching assistant at the School of Architecture and Design at the University American College Skopje. His research interest focuses on the city of Skopje and its architecture, as well as the influence of economic, political and social transformations of society on the way in which the city changes, and their impact on architecture. As a co-founder and member of the architectural group Studio for Contemporary Architecture Skopje (SCArS) he has participated in and won a number of awards at international and local architectural competitions. He was one of the authors representing Macedonia at the 2008 and 2014 Venice Biennale of architecture. He is currently a PhD candidate at the Faculty of Architecture in Zagreb. is an architect; works as Assistant Professor at the Faculty of Architecture at Ss. Cyril and Methodius University in Skopje, where he teaches Architectural Design and Architecture Studio. He holds a Diploma in architecture from the Faculty of Architecture in Skopje and a Master of Architecture from the Dessau Institute of Architecture in Germany. He practiced architecture at offices in Germany and Switzerland. His main research interest is the transformation of the post-socialist cities and their architecture, which was topic of his doctoral dissertation. He is co-founder and member of the Studio for Contemporary Architecture Skopje (SCArS), within which he has participated on numerous architectural competitions of local and international character, gaining several awards. He was curator of the Macedonian pavilion at the 2014 Venice Biennale of Architecture. is an architect; works as Assistant Professor at the Faculty of Architecture - Ss. Cyril and Methodius University in Skopje, teaching courses in History of Architecture and Protection of Cultural Heritage. She graduated on the Faculty of Architecture in Skopje in 2002, where she had her Master and PhD studies. Her research interest is mainly focused on the modern architecture, especially the post-earthquake period in the city of Skopje. As a cofounder and member of Studio for Contemporary Architecture Skopje (SCArS), she participated numerous architectural competitions of local and international character, gaining several awards. At the 2008 and 2014 Venice Biennale of Architecture, she was one of the authors that represented Macedonia. Vladimir Deskov Jovan Ivanovski Ana Ivanovska Deskova Martin Guleski is an architect and professor. He studied architecture ( ) at the Polytechnic of Lviv, Ukraine, followed by a year at MARCHI in Moscow ( ), is an architect, writer and educator, currently a retired professor from the Design Georgi Konstantinovski an MA from the University of Belgrade ( ), recieving his PHD from the Department of the Architectural Faculty in Skopje. He graduated from the Faculty Faculty of Architecture of the University Ss. Cyril and Methodius in Skopje, of Architecture in Skopje in In 1965, he received his Master of Architecture (1992). He was a longtime professor at the Faculty of Architecture of the Degree from Yale University, under the leadership of Paul Rudolph and Serge University Ss. Cyril and Methodius in Skopje (teaching primarily within the Chermayeff. His early works are stylistically considered brutalist. In New York, he Department of Design of Public Buildings, at the Institute of Architectural worked and collaborated with Jo Ming Pei, Henry Cobb, Jr. and Araldo Cossutta. Design), and was a longtime collaborator of Professors Zivko Popovski, Boris In his search for design features that reflect the individual philosophy, structure Čipan and Slavko Brezovski, as well as with the architectural practice AJVAR. and art of each building, Konstantinovski designed more than 450 architectural He is currently a professor at the Faculty of Architecture and Design (FAD) and urban projects. He was awarded the highest Macedonian and Yugoslav at UACS (American University College Skopje) of the University American architectural awards, such as the highest National Award for Art 11 Oktomvri for College in Skopje. Best Architectural Achievement in Skopje, in addition to three Grand Prix on the Architectural Biennale in Macedonia. He has further contributed to contemporary Macedonian architecture as an educator and writer. He was President of the 270 Council for Urban Planning and Dean of the Faculty of Architecture in Skopje. 271

137 Vlatko P. Korobar Maroje Mrduljash Dusan Percinkov is an architect. He graduated from the Faculty of Architecture in Skopje; MA in Planning at the Faculty of Geography in Skopje; PhD degree from the Faculty of Architecture in Skopje. Has followed academic programmes at the University of Liverpool, Department of Civic Design and at the University of Cambridge, School of Architecture and the Martin Centre for Architectural and Urban Studies. Works at the Faculty of Architecture as Professor of Urban Design and Planning. Has been external critic and has conducted workshops at the School of Architecture in Antwerpen, the Gazi University in Ankara, the School of Architecture Ion Mincu in Bucharest and at the University of Volos. Has organised and participated in numerous conferences at home and abroad and in numerous sessions of the International Summer School of Architecture St. Joachim Osogovski. Licenced Architect and Licenced Urban Planner and member of the Association of Architects of Macedonia and of the Chamber of Architects of Macedonia. Has won several Grand Prix awards for architecture from the Association of Architects of Macedonia. Has curated the Macedonian pavilion at the Venice Architecture Biennale 2004 and exhibited in the Macedonian pavilion in Has been on the editorial boards of national and international reviews for architecture and planning. Currently writes for A10. is an architectural critic, writer and editor of several books on contemporary architectural practice, including Contemporary Croatian Architecture - Testing Reality. Since 2005 he has worked at the Architectural Faculty of the University in Zagreb. He regularly lectures in Croatia and abroad. He serves on the editorial boards of various professional magazines from the field of architecture, design and art. Among others he is the editor of Oris magazine, published in Zagreb. He is an independent consultant to the European Prize for Architecture Mies van der Rohe. As curator Maroje Mrduljash has participated in several architectural exhibitions. In 2008 he was a member of the curatorial team that designed the exhibition Balkanology about architecture and urban phenomena in the former Yugoslavia. In 2010, together with Vladimir Kulić, he conceived the research platform Unfinished Modernisations, and for the past two years has coordinated the work of researchers in the project and curated the exhibition Unfinished Modernizations in Maribor. is an artist, print-maker and professor at the Academy of Fine Arts in Skopje. Born in Skopje (1939). Graduated from the Academy of Fine Arts, Department of Painting in Belgrade in He finished post graduate studies (Department of Painting) in 1966 at the same Academy. From 1966 to 1969 he worked as a freelance artist and a teacher in elementary schools. From 1972 he worked as an Assistant Professor at the Faculty of Architecture in Skopje, teaching drawing and painting. Since 1980 he was appointed Professor in drawing and painting at the Faculty of Fine Arts in Skopje. He has been working as a print-maker since He is an eminent representative of a genre of painting which relies on geometric compositions and is also one of the most authentic artists in Macedonia. He thoroughly researches the relations between urban reality and nature. The entire range of tonal values of colour are used in his paintings, prints and objects. is an art historian and curently a curator in the Museum of Contemporary Art in Skopje, Macedonia. He is co-founder and member of the editorial board of the magazine Golemoto staklo, published from 1995 until 2010 in Skopje. He is a member of the National section of AICA and was its president from 2006 until He has produced and participated in numerous exhibitionprojects in Macedonia and in several, larger international projects. In 1993 and 2004, he organized the Macedonian participation at the Venice Architectural Biennale, at the 23rd Sao Paolo Biennale in Brazil in 1996 and at the Biennale at Mar Del Plata in Argentina in was born in Sarajevo, Bosnia and Hercegovina. Lived in Skopje, Macedonia Since 1998 she lives and works in London, UK, and since 2014, lives between London and Skopje. She received an MPhil research degree from the Royal College of Arts, London, after graduating from the Academy of Fine Arts in Skopje, Macedonia (and previously from the National High School of Fine Art in Skopje). Prlja has taken part in the following Biennials: Bienal Del Fin Del Mundo, Argentina (2015), 5th Moscow Biennale, Moscow (film program) (2013), 7th Berlin Biennale, Berlin (2012), Manifesta 8, Murcia (2010), International Printmaking Biennale, Ljubljana (2009) and her work was presented in numerous solo and group exhibitions. Since her return to Skopje (2014), she has been intensely engaged with curatorial work, through numerous and varied projects, most of which are related to and produced though SIA Gallery, a newly established, independent cultural agency and contemporary art and architecture gallery in Skopje. She is one of the founding partners of SIA, Serious Interests Agency. is a visual artist and a culturologist. His works have been shown in many exhibitions in Macedonia and abroad, including the 15th BJCEM in Thessaloniki and 42nd Osten Biennial of Drawing in Skopje. His professional practice also involves book illustration, public art projects, writing and publishing. In 2011 he won the award DENES Young Visual Artist Award, for the work Studies of Very Large Drawings. In 2016 he cofounds Private Print, publishing house of art books and related publications. is a writer and a designer; born in Sarajevo in 1977, he lives and works in Skopje since He has published several biographical novels that deal with the music and film scene in our region and the world, such as 3 minutes and 53 seconds (2015, Goten) and 1 hour and 30 minutes. (2016, Goten). His work, 3 minutes and 53 seconds was a finalist of the national literary competition Novel of the Year 2015 for Utrinski vesnik. In the area of visual arts, he deals with graphic design, making collages and illustrations. Zoran Petrovski is an architect and educator. Born in Denmark, he has lived in Copenhagen, Daniel Serafimovski Venice and Edinburgh, and since 1997 he lives and works in London, where he teaches architectural history and theory and runs an architecture design studio at Postgraduate level at London Metropolitan University. Since 2014 he lives between Skopje and London. After studying at the University in Edinburgh and at Istituto Universitario d Architettura in Venice, he completed his postgraduate studies at the Royal Danish Academy of Art, Architecture and Design in Copenhagen. Daniel Serafimovski has lectured widely at 272 numerous architecture schools in the UK, at the Royal Danish Academy of 273 Nada Prlja Ilija Prokopiev Bert Stein

138 Andrijana Tilikj Nikola Uzunovski Art and as a visiting professor at KNUA in Seoul, Korea. He has won several awards for his architectural projects, most recently in 2014, winning the Nordic Prize in an internatinoal competition, in collaboration with Adam Khan Architects. Since 2014, he has been living between London and Skopje, where he was visiting professor at the Faculty of Architecture of the University Ss. Cyril and Methodius and at the American University College Skopje. In Skopje, he has been intensely engaged with curatorial and research work, through numerous and varied projects, most of which are related to and produced though SIA Gallery, a newly established, independent cultural agency and contemporary art & architecture gallery in Skopje. He is one of the founding partners of SIA, Serious Interests Agency. is a graduate of the Faculty of Architecture in Skopje. Her occupation is architectural photography, primarily focused on interiors and modern architecture objects. The keen sense for detail and composition in her photographs has been honed through her architecture education and background. She actively collaborates with many architecture studios in Macedonia. Her work has been published in numerous magazines for architecture and design is and artist; born in Zemun, Belgrade, Serbia in Exhibited in more than a hundred shows around the world. In 2005 participates at the 53 Biennale di Venezia, in the project Floating Sites, in 2007 wins the prize Young European Artist Trieste Contemporanea where he start his project My Sunshine which he continues during the residence at Pollinaria, Abruzzi, 2008, and then develops it further in for Macedonian pavilion at the 53 Biennale di Venezia, (2009). Solo shows to be mentioned, Snow, and My sunshine at Federico Luger galley Milan. Major group group exhibitions, White and other, in any case art, Palazzo Cavour, Turin, Italy, (2005) Greenwashing at Fondazione Sandretto Re Rebaudengo, Turin, Italy (2008), Green Platform, Fondazione Strozzi, Florence, Italy (2009), Spaceship Earth, Centre of Contemporary Art Znaki Czasu, Torun, Poland (2011) clients according to their momentary feelings. Based on emotions, often melancholic and sad, the collections walk the line between wearable and sleek avant-garde. Silks and natural sheer fabrics make the looks mostly monochromatic and minimal and the silhouettes sculptural. Inspired by film and contemporary music, Ludus presentations are events set in unexpected locations contributing to the intellectual character of the label. is an interdisciplinary visual artist. Calovski s practice is concerned with tradition of research and translation, relating empirical ideas to art historical reference analysis leading in work situated in the site-specificity of a new cultural and political geography. He studied at the Pennsylvania Academy of the Fine Arts and Bennington College, and holds Masters of Art degree from Linköpings Universitet in Sweden. He participated in the post-graduate studio programs at the CCA Kitakyushu and the Jan van Eyck Academy. Calovski has a significant international carrier, exhibiting his work at art institutions such as Bunkier Sztuki Gallery of Modern Art in Krakow, Bauhaus Foundation Dessau, Kunsthalle Baden-Baden, Bunkier Sztuki Gallery of Modern Art (2016), Bauhaus Foundation Dessau (2015), Kunsthalle Baden-Baden (2014), Kunshaus Bregenz (2013), Tate Britain (2010), European Kunsthalle (2010), Konshallen Brandts (2006), Contemporary Art Center Vilnius (2004), Philadelphia Museum of Art (1999) и The Drawing Center (1999). He has also exhibited at the 56th Venice Biennial (2015, with Hristina Ivanoska), The Jerusalem Show (2014), Helsinki Photography Biennial (2014), 2nd Biennial D-0 ARK Underground (Konjic, 2012), Manifesta 7 (2008), PR 04 (Puerto Rico, 2004) and Manifesta 3 (Ljubljana, 2000). For his practice, he has been awarded ORTung 2012 Fellowship, Allianz Kulturstiftung 2004 Fellowship, Pew Fellowship in the Arts 2001, among other recognitions. In 2004 he co-founded press to exit project space in Skopje together with Hristina Ivanoska. He lives and works in Skopje. Yane Calovski Mitko Hadzi-Pulja is professor at the Ss. Cyril & Methodius University in Skopje, Faculty of Architecture, Institute for Architectural design, teaching the following courses: Interior Architecture, Architectural Design, Theory of Form, Architectural Composition. Education: he graduated from the Faculty of Architecture at Ss. Cyril and Methodius University, Skopje (1982); Specialization at the Faculty of Architecture, Belgrade University (1990); Master of Architecture, Faculty of Architecture, University of Belgrade, (1996); Ph.D. at the Faculty of Architecture at Ss. Cyril and Methodius University in Skopje, (theme: On the phenomenology of architectural space - biocultural approach ). Teaching and educational activities: In a series of projects within the educational activity, projects are defined as a research tool, reviewing and stimulating architectural discourse, probing for new approaches and expanding the field of architectural research in relation to learning and design. Особена благодарност Special thanks Aтелје Марко Мушич Atelier Marko Mušič, Димче Ангеловски Dimche Angelovski, Мери Батакоја Meri Batakoja, Минас Бакалчев Minas Bakalchev, Ицко Ѓоргоски Icko Gjorgoski, Горан Кочишки Goran Kochishki, Мира Лесјак Mira Lesjak, Марое Мрдуљаш Maroje Mrduljash, Бранко Раковец Branko Rakovec, Блашка Миева Blaska Mieva, Богдан Спиндлер (Биро 71) Bogdan Spindler (Biro 71), Сашо Смилевски Sasho Smilevski, Mарко Соер Marko Sauer, Игор Спировски Igor Spirovski, Мирко Стефаноски Mirko Stefanovski, Валентина Трајкоска Valentina Trajkoska, Анета Христова Aneta Hristova, Митко Хаџи-Пуља Mitko Hadzi-Pulja, Катарина Шобер Katharina Dragan Hristov is co-founder and owner of Ludus fashion label. He is contemporary art graduate from the Academy of Fine Arts - Brera in Milan. His Ludus store was opened in 2006 and by 2008 it was already a platform for exciting and fresh Macedonian fashion design, supporting and launching new young 274 designers and labels. The brand is conceptually driven, aims to dress the Schober 275

139 Уредници на книгата Book editors Куратори на изложбата Curators of the accompanying exhibition Даниел Серафимовски Daniel Serafimovski / Нада Прља Nada Prlja Издавач Publisher Готен Goten Раководител на истражување Head of research Даниел Серафимовски Daniel Serafimovski Дизајн на изложбата Exhibition design Нада Прља Nada Prlja / Даниел Серафимовски Daniel Serafimovski Графички дизајн Graphic design Галерија SIA и Бранко Прља SIA Gallery and Branko Prlja Подготовка на информации Preparation of the information Владо Данаилов Vlado Danailov Мила Димитровска Mila Dimitrovska Уметничка дирекција на фотографија Artistic direction of photography Даниел Серафимовски Daniel Serafimovski Фотографија Photogrphy Андријана Тилиќ Andrijana Tilikj Со исклучок на фотографии на With the exception of photographs by Иван Блажев (стр ) Ivan Blazhev (pp ) Фотографии од МОБ (Адријан Гејл, сопственост на Богдан Спиндлер (стр ) Photographs of MOB (Adrian Gale, courtesy of Bogdan Spindler Богдан Спиндлер (pp ) Васе Петровски (124) Vase Petrovski (124) Мерење и изработка на технички цртежи Surveying and production of technical drawings Координатор Coordinator Ана Велиновска Аna Velinovska Владо Данаилов Vlado Danailov Мила Димитровска Mila Dimitrovska Барбара Иракоска Barbara Irakoska Моника Новковиќ Monika Novkovikj Силвија Шалева Silvija Shaleva Техничка кординација на изложбата Technical cordination of the exhibition Силвија Шалева Silvija Shaleva Односи со јавност Press and public relations Горјана Јордановска Gorjana Jordanovska Лектор за македонски јазик Proof-reading for macedonian language Кирил Ангелов Kiril Angelov Лектор за англиски јазик Proof-reading for english language Даниел Серафимовски Daniel Serafimovski Превод од македонски на англиски Translation from Macedonian to English Мира Беќар Mira Bekjar (Fragments of Memory: On the Architecture of the Macedonian Opera and Ballet) Јован Ивановски Jovan Ivanovski ( Findings for future) Влатко П. Коробар Vlatko P. Korobar ( Cities Within the City) Вера Кандикјан Vera Kandikjan (Re-assessing the Post-Earthquake Renewal of Skopje) Биљана Николовска Прља Biljana Nikolovska Prlja (Heterogeneity and Egalitarianism: Architectural and Urbanism in Socialist Yugoslavia - An Overview, The Sea of Ice, MOB introduction) Нада Серафимовски Nada Serafimovski (PMF introduction) Николо Серафимовски Niccolo Serafimovski (Sea of Ice) Превод од хрватски на македонски Translation from Croatian to Macedonian Биљана Прља Biljana Prlja (Хетерогеност и рамноправност: Архитектурата и урбанизмот во социјалистичка Југославија синоптички преглед) Изработка на модели за изложбата и реставрација Model preparation for the exhibition and restauration Игор Спировски, Мартин Гулески и ЛОТУС ДООЕЛ Igor Spirovski, Martin Guleski and LOTUS DOOEL Книгата е заедничко издание на The book is co-published by Готен, Галерија SIA галерија и Амбасада на Словенија во Р. Македонија Goten, SIA Gallery and the Embassy of Slovenia in the Republic of Macedonia Печат Print DataPons Grafika Тираж Distributed copies 500 Year Година 2016 CIP Каталогизација во публикација Национална и универзитетска библиотека Св. Климент Охридски, Скопје :378( )( ) :792( )( ) ХЕРОИ за еден ден : навраќање кон три урбани артефакти на словенечките архитекти во Скопје : МОБ 27 јуни 20ч. / [уредници Нада Прља, Даниел Серафимовски] = Heroes for one day : revisiting three urban artefacts in Skopje by Slovenian architects : MOB 27 June 8pm / [editors Nada Prlja, Daniel Serafimovski]. - Скопје : Готен, 2016 (Скопје : Дата понс) стр. : илустр. ; 24 см Текст напоредно на мак. и англ. јазик ISBN a) МОБ (Скопје) - Архитектонски проекти Изложби б) УКИМ (Скопје) - Архитектонски проекти Изложби в) ПМФ (Скопје) - Архитектонски проекти Изложби г) Архитектонски проекти - Скопје Изложби 276 COBISS.MK-ID

140 ОРГАНИЗАТОРИ ORGANISERS Изложбата и публикацијата сe создадени и организирани од: The exhibition and publication are concieved and organised by: СОНЗОРИ SPONSORS Проектот е овозможeн со срдечната поддршка од: This project has been made possible with the kind support of: Авторите ги задржуваат сите права врз сликите и текстовите All images and text are copyright of the authors 278