Documente Academic
Documente Profesional
Documente Cultură
28
Crmid i aur
Brick and Gold
14
Intro
01
04
#2
10.2011
60
Hainele noi ale mpratului
sau a fost odat un arhitect...
The emperors new clothes
or once upon a time there was anarchitect
64
Valoare de schimb: pieele n aer liber
din Budapesta
44
Blocurile socialiste din Bucureti.
O privire de ansamblu
Socialist Housing estates in Bucharest.
An overview
52
Urbanitate auto-reglementat?
Self-regulated urbanity?
55
36
Wild City
ProcessMatter
88
Fabrica De Pensule
The Paintbrush Factory
Club Electroputere
76
80
Echipa
p Urban Report:
p
Urban Report
p
Team:
Ivan Kucina, Todor Atanasov,
Peter Torniov, Mikls Pterffy,
Samu Szemerey, tefan
Ghenciulescu, Cosmina Goagea,
Constantin Goagea
Instituii
p
partenere:
Partner insititutions:
BINA, SAW, ZEPPELIN, KEK,
Transformatori
Mulumiri
p
pentru contribuiile
la
UR Volumul #2:
Thanks for their contribution at
UR Volume #2:
Boris erjav, Milica Topalovi,
Archis Interventions,
Hackenbroich Architekten,
Space Syntax Romania, ATU,
Valeri Gyuriov, Levente Polyak,
Club Electroputere, Fabrica de
Pensule, LuminiaKlaraVeer,
STEALTH.unlimited
AnaDzokic & Marc Neelen,
SrdjanJovanoviWeiss
Mulumiri
p
pentru fotogra
g
i:
Thanks for their p
photo
contribution to:
Bas Princen, CosminDragomir,
tefan Tuchil,
AttilaMajorosi, norc.hu,
DragoLumpan, AllanSiegel,
GabBartha, DacianGroza,
LuminiaKlaraVeer, Galeria
Sabot, SzabolcsFeleki,
BriceGuillaume, ClaudiuIurescu,
Ana Dzokic & Marc Neelen
Redactor:
Editor:
Cosmin Caciuc
Design
g g
grac UR Volum #2:
Graphic
p
design
g UR Volume #2:
Radu Manelici
DTP:
Aurel Ardeleanu
Identitate vizual proiect:
p
Project
j
visual identity:
y
Alexe Popescu
Traduceri:
Translation:
Dana Radler, Avgustina Veleva,
Magda Teodorescu, Ana Gruia
Corectur:
Proof Reading:
g
Lorina Chian,
DuaUdrea-Boborea
Website,, DVD,, p
programare:
g
Website, DVD, p
programming:
g
g
Cristian Dorobnescu
Editat de:
Edited by:
y
Zeppelin Association
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p
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ROMANIAN CULTURAL INSTITUTE CANNOT BE HELD RESPONSIBLE FOR THE CONTENT OF THIS PUBLICATION.
Intro
Ideea acestui volum a plecat tocmai de la constatarea c suntem o zon cu un mare potenial urban,
de unde pot aprea noi idei de folosire a oraului.
Desigur, ceea ce a transformat regiunea ntr-un
laborator de experimente urbanistice i arhitecturale a venit n CONDIIILE unor situaii traumatice:
Text:
Cosmina Goagea
FOTO / PHOTO:
tefan Tuchil
01
02
#2
TRANSFORMATORI
TRANFORMATORI.NET
ORGANIZAIA TRANSFORMATORI ARE MISIUNEA DE A REALIZA PROIECTE
I INIIATIVE N DOMENIUL URBAN, INTERACIONEAZ CU UNIVERSITI,
CU ALTE INSTITUII CARE LUCREAZ CU ARHITECTURA I PROIECTAREA
URBAN, CU SCOPUL DE A CRETE NIVELUL DE CALITATE AL EDUCAIEI.
DE ASEMENEA, ORGANIZEAZ ACIUNI N DOMENIILE PROBLEMATICE ALE
ORAULUI I COLABOREAZ LA ORGANIZAREA DIFERITELOR EVENIMENTE
CULTURALE. ONG-UL A FOST NFIINAT LA SFRITUL ANULUI 2009.
TRANSFORMATORI ORGANIZATION ACKNOWLEDGES ITS MISSION TO
REALIZE PROJECTS AND INITIATIVES IN THE URBAN FIELD, INTERACTION
03
ZEPPELIN ASSOCIATION
WWW.ZEPPELIN-MAGAZINE.NET
Condiiile
urbanitii
auto-reglementate
04
#2
Conditions of
Self Regulated
Urbanity
05
06
of human habitation.
In
n the next twentyy yye
years,
self-regulated
g
urbanityy willl
become the dominating type
deveni tipul
p dominant
domin
al
locuiriiumane.
Big Cities
n urmtorii douz
douzeci
d ani,
de
i, urbanitatea
b i
auto-reglementat va
Marile orae
towards an bottom-up
p and
open-ended approach?
Self-regulated Urbanity
Urbanitatea auto-reglementat
Pot arhitectura i
urbanismul trece de la
reacia
p
punctual de sus n
08
FRAGMENTARE
FRAGMENTATION
LINIE CADRU
FRAME LINE
ACORD
CONCURRENCY
The divergent
g
p
pract
practices
of Western Balkan could
become a counter action
to the integrating
g
g and
homogenizing
g
g effects
effec
of globaliza
ofglobalization.
their patterns were fairly simple, the complexity arising from them maintained the time-based
character of the self regulated system and its heterogeneous and vivid structure. In nearly all urban
processes, pulsating and exible structures were
achieved, resembling profound symbiotic forms that
were often more sophisticated than conventionally
made ones. Their autonomous potential provided a
fruit full ground for the establishing of an alternative urban visions that is confronting utopian modernization as well as progressive globalization.
Self-regulated processes feature a remarkable
degree of building energy and innovation and therefore open possibilities for redening institutional
and professional participation in the creation of
urban space. Understanding city as a complex self
regulated system, questions whether architecture
and urban planning can be exible in interaction
with their changeable urban environment and shift
from the top-down, unilateral and project-based
response towards an bottom-up and open-ended
approach. An apparent direction for architects and
urban planners lies in inuencing, steering and
shifting the processes themselves which means
a change of focus from designing objects to designing instruments for navigating the processes.
For that reason a new methodology and a specic
practice to monitor, visualize and to a certain level
predict spatial and organizational changes have
tobedeveloped.
Practicile divergente
diverge
g
din Balcanii de Vest ar
putea deveni un model de
p
alternativ la integrarea
i omogenizarea
g
prin globalizare
pringlobalizare.
HIBRIDIZARE
HYBRIDIZATION
SPAIU COMUN
MINIM
MINIMAL
COMMONS
09
ELEMENTE
CONVERTIBILE
COMPENSARE
PARA-SURS
CONVERTIBLES
COMPENSATION
PARA SOURCE
IERARHIE
TEMPORAR
TEMPORARY
HIERARCHY
EXPANDARE
EXPANDABILITY
SCURTTURI
SHORTCUTTING
#2
REST
LEFTOVER
FINAL BRUT
N CURS DE
CONSTRUCIE
RAW END
UNDER
CONSTRUCTION
11
Construcii
informale
Text:
Boris erjav
12
Informal
Construction
in the world, in Serbia and Belgrade: facts, principles and challenges to planning.
Go to www.urbanreport.ro
p
and on the DVD for
a full-length English text
13
Crmid i aur
Urbanismul i arhitectura
Belgradului informal
14
Text:
Milica Topalovi
Foto/ Photo:
ETH Studio Basel &
Bas Princen
#2
Periferia
Periphery
O VIL
INFORMAL N
PADINA, BELGRAD,
2006
(FOTO: BASPRINCEN)
AN INFORMAL
VILLA IN PADINA,
BELGRADE, 2006
(PHOTO:
BASPRINCEN)
CENTRUL ORAULUI
CITY CENTRE
VECHI SUBURBII I
EXTINDERI
OLD SUBURBS AND
MODERN EXTENSIONS
MODERNE; AEZRI
INFORMALE I
ORAE-SATELIT
INFORMAL
SETTLEMENTS AND
SATELLITE TOWNS
DISTRIBUIA
CLDIRILOR ILEGALE
N BELGRAD.
SURSA: PLANUL
URBANISTIC AL
BELGRADULUI,2021
16
6
alienat, ciudat. La o a doua privire, diferenele ncep s apar de la sine i imaginea ncepe s
arate ca o subversiune orchestrat cu grij. Casele
sunt masive, exprimnd bogie. Par neterminate, chiar dac locul e n mod clar locuit de o bun
bucat de vreme. Volumele dau impresia omogenitii, asemnrii, dar o privire atent nu las loc
unei repetiii precise a detaliilor, a elementelor sau a
formelorgeometrice.
Suburbia slbatic nu reproduce sau nu evoc
nici un model urban sau suburban cunoscut: nu
este un ora-grdin sau o fundtur, nici un sat
nu copiaz altceva dect pe sine. Nu s-a investit n
nici o tem cultural predominant, nici mcar n
dorina pentru casa cuiva. Identitatea e generic,
conformat i chiar expresiile individualizate se
topesc rapid ntr-un murmur recognoscibil i destul
de predictibil al referinelor n care naraiunile
istorice locale i ruralul, temele etno sau neo-etno i
(spun unii) telenovelele domin.
DISTRIBUTION
OF ILLEGAL
BUILDINGS IN
BELGRADE. SOURCE:
MASTERPLAN OF
BELGRADE, 2021
#2
Terenul
onstrucia ilegal nu ncepe niciodat cu o
tabula rasa; exist ntotdeauna un pretext
sau alibi, de obicei drepturi de proprietate
neclaricate. Dei n Belgrad problemele de
proprietate a terenurilor sunt scuzabil plasate n
trecutul otoman i dominaia habsburgic, problemele actuale apar n principal ca urmare a naionalizrii socialiste din 1945 i demararea retrocedrilor
la nceputul anilor 90.
Dezvoltarea Padinei, localizat la periferia
Belgradului, este un exemplu perfect de natere a
unui cartier informal; ncepnd cu perioada dup
al Doilea Rzboi Mondial, terenul agricol a fost n
mod repetat vndut pentru locuine. Acest proces
s-a intensicat n ultimii ani, pn cnd tot terenul
agricol particular din ora se spune c a fost submprit n pseudoterenuri care au fost vndute
i circul acum pe piaa imobiliar neocial, dar
Land
nformal construction never starts from a tabula
rasa; there is always a pretext or alibi, usually unsettled land rights. Though in Belgrade troubles
with land ownership are apologetically backdated, even as far back as Ottoman and Hapsburg
rule, present problems are mainly connected to the
socialist land nationalization of 1945 and the start of
denationalization in the early 1990s.
The development of Padina, located on the outskirts of Belgrade, can serve as a perfect example of
the genesis of an informal quarter; ever since World
War II agricultural land has been steadily sold here
for housing. This habit has escalated in recent years,
to the point where all private agricultural land in
the city is said to be subdivided into pseudo-plots,
sold out, and now circulating in the informal land
market, only at far higher value. In Belgrade, such
construction of private houses on former agrarian
UN CARTIER
INFORMAL DIN SUDUL
BELGRADULUI, 2001
(FOTO: BASPRINCEN)
AN INFORMAL
NEIGHBOURHOOD
IN THE SOUTH
OF BELGRADE,
2001(PHOTO:
BASPRINCEN)
UN SENS
GIRATORIU PE
STRADA USTANIKA,
LA MARGINEA
CARTIERULUI
MODERN KONJARNIK,
CU POARTA ESTIC
A BELGRADULUI N
FUNDAL, 2001 (FOTO:
BASPRINCEN)
A ROUNDABOUT
AT USTANIKA
STREET ON THE EDGE
OF THE MODERN
NEIGHBOURHOOD
KONJARNIK, WITH
EASTERN GATE OF
BELGRADE IN THE
BACKGROUND,
2001 (PHOTO:
BASPRINCEN)
18
Coloanele vertebrale
Backbones
he conceptual gulf between the unstable
collectivism of the 1960s and the 70s and
the ethos of self-realization of the 1990s
corresponds to a physical demarcating space
that can be easily followed in Belgrade, even drawn
as a map. This divider attaching the red-brick belts
to the citys modern extensions is comprised strictly
of infrastructure. Built as fast boulevards, meant to
smoothly bring a socialist worker from the center
to his high-rise at on the periphery overlooking an
unspoiled landscape, they have now been overhauled as axes of provision; at once too ordinary and
too picturesque, lined up with improvised businesses under red roof tiles, concrete towers, and gypsum
villas. Along this inner frontier, end-of-the-line bus
stops surrounded by kiosk assemblages stand like
gates into the planned city.
#2
turnuri de beton i vile cu stucaturi. De-a lungul acestei frontiere interioare, capetele de linie de
autobuz nconjurate de ansambluri de chiocuri se
proleaz drept pori ale oraului sistematizat.
Infrastructurile
ra reelelor totale s-a terminat; infrastructurile devin extrem de locale. Privind deasupra
marginilor periferiei moderne a Belgradului,
pare doar un contrast previzibil: din ce n ce
mai multe ci de acces parazite ce se conecteaz la
oselele regionale i reelele stradale. Infrastructura
modern motenit din timpul socialismului a fost
tratat drept o surs de venit public, fenomen nsoit de o controversconsiderabil.
Punctele de ntlnire ale infrastructurii publice
i private sunt uor de recunoscut drept locuri n
care strzile se ngusteaz brusc, trotuarele dispar,
iar grmezile uriae de cabluri atrn n aer: aici,
dorina de a controla ntlnete dorina de autonomie, iar domeniul urban se descompune ntr-o lume
capsular. n ncercarea de a rectiga controlul,
guvernul srb a permis constructorilor neociali
s se conecteze la reeaua electric o aprobare
discret, ns cu caracter politic clar i pe la spatele
urbanitilor. n acelai timp, rezidenii cartierelor
neociale s-au organizat n ncercarea de a-i arma
independena local i au nceput s construiasc ei
nii infrastructurile care lipseau. Pe msur ce din
ce n ce mai multe conace ilegale se leag de reeaua
de canalizare comunal, infrastructurile improvizate ating punctul-limit, iar teama unei paralizii
complete este o alarm continu. n acest moment
ns criza se a la un orizont ndeprtat; locuitorii
neociali ai Belgradului se simt siguri n statusul
lor gri, parial legal, satisfcui de condiiile de trai
obinute, iar venitul din construciile ilegale a ajutat
la meninerea acestui status-quo.
Locuinele
xcedentul e un atribut de baz al construciilor informale. ntr-un ora n care speculaiile imobiliare sunt o cale atipic spre prot,
evaluarea nevoilor este o ntreprindere
riscant, iar oferta depete uor cererea. Serbia
(inclusiv Belgradul) are o rat demograc n scdere i o populaie n curs de mbtrnire. Aceasta se
combin cu un declin industrial. Nevoia previzionat pn n 2021 (elul prezentului plan urbanistic)
este de 50.000 de case aproximativ numrul unitilor de locuine ilegale i semilegale care exist
deja, construite prin iniiative speculative ntr-un
ora care acum stagneaz.
Poate aprea ca o surpriz faptul c aceast previziune nu a fost folosit drept argument mpotriva
construciilor ilegale; din contr, n mediul de tranziie, construciile informale, chiar dac redundante,
au devenit un factor de stabilitate social, economic i prin urmare politic. Locuinele informale ocup partea marginal a pieei imobilare de locuine,
formnd un segment stabil n sine. n acest caz,
legalitatea e mai degrab un instrument deliberat
Infrastructures
he time of totalizing networks has expired;
infrastructures are becoming extremely local. Looking across the edges of Belgrades
modern periphery, there is nothing but
predictable contrast: plugging into regional roads
and street grids, more and more parasitic swerves.
Inherited modern infrastructures have been treated
as a source of public revenue, accompanied by plenty
of controversy.
The meeting points of public and private infrastructure are easy to recognize, places where streets
suddenly shrink, pavements vanish, and massive
tangles of cables appear in the air: exact limits
where desire to control meets the desire for autonomy and the urban domain breaks up into a capsular
world. In attempts at control, governments supplied
informal builders with connections to the electricity network, with a silent if clearly political approval
given behind the urbanists backs. At the same time,
in attempts to capture local independence, residents
of informal neighborhoods self-organized to build
missing infrastructures themselves. As more and
more illegal mansions are plugging into communal plumbing, self-made infrastructures are being
stretched to their thresholds and fear of paralysis
is constantly looming. For the time being though,
such a crisis lies on a distant horizon; Belgrades informal settlers feel secure in their gray, partly lega
al
status, satised with the living conditions they have
e
achieved, and revenue from illegal construction has
helped maintain this statusquo.
Housing
19
Public
n timpul perioadei de extindere necontrolat, o
anumit calitate de jungl a dominat sectoarele comunicaiilor i telecomunicaiilor. n
anii 90, cu licene pariale sau temporare sau
ca posturi-pirat, se crede c au fost pn la 1.500 de
staii radio i TV care s-au btut pe prezena n aer
i pentru frecvene mai puternice n Serbia. Explozia
n volum a acestui spaiu public mediatizat a fost
direct proporional cu escaladarea obsesiei colective
media hrnite de fervoarea naionalist, tirile de
prim pagin i ritmurile turbo-etno hipnotice. Ca
ii cum ar urmat o o
operaie complementar trasat
cu
u precizie, domeniu
domeniul public zic al Belgradului a
implodat,
mplodat,
dat, autoritatea sa a sczut, locul su n ora
a fostt treptat acoperit de magazine improvizate i
cafenele
afenele
fenele cu covoare v
verzi i umbrele sponsorizate.
n aezrile informale
inform
ale oraului, spaiul public
este rarisim; cei civa actori care se a acolo,
printre ei ONG-uri i grupuri de ceteni, sunt mai
degrab ngrijorai de mbuntirea serviciilor i
infrastructurilor publice dect de spaiul public.
i totui zonelor neociale ale Belgradului nu le
lipsete spaiul: teren redundant, loturi blocate n
speculaii i investiii falite, muni de material de
construcie i carcase mprtiate ale fundaiilor de
beton, dale spaiul este pretutindeni, dar, n locul
spaiului public, cele neociale ale oraului par s e
dominate de o logic a rezidualului.
20
Planicarea
Being permanently unnished and continuously under construction are aesthetic keys to the
informal dwelling, and key features in its economic success. In Belgrade as elsewhere in Europe,
mass-production eagerly encounters a do-it-yourself
mentality in the housing market, developers deliver
apartments in a gray phase, and housing standards remain open for negotiation.
Public
hroughout the era of wild expansion, a related jungle quality dominated the broadcasting and telecommunication sectors. During
the 1990s, with partial or temporary licenses
or as pirate outposts, as many as 1.500 radio and TV
stations are believed to have battled for an on-air
presence and for stronger frequencies in Serbia. The
volume-explosion of this mediatized public space
was in direct proportion to an escalation of collective media obsession, exacerbated by nationalist fervor, frontline news, and hypnotic turbo-folk
rhythms. As if in a precise complementary operation, Belgrades actual physical public imploded, its
authority discharged, its place in the city progressively lled up with rough and ready shops and
grass-carpet cafes with sponsored umbrellas.
In the citys informal settlements, the public is
scarce; few actors including NGO and citizen groups
are active here, concerned with improvement of
public amenities and infrastructures, rather than
public space. Still, informal areas of Belgrade do not
lack space: redundant land, plots locked in speculation and failed investments, heaps of construction
material and scattered carcasses of concrete foundations, oor slabs the space is everywhere, but
instead of the public, the citys informal settlements
seem pervaded by the residual.
Planning
practice of making plans after the facts of
construction surfaced in Belgrade in the
mid 1990s, by when it had become evident
that informal construction was becoming a
mainstream. In place of ineffective and costly demolition, the focus shifted to improving infrastructure,
and providing services and public transport. But
the individual examples of post-factum planning
have revealed difficulties with that procedure. For
instance, Belgrades wild rich neighborhood of
Padina offers an almost satirical scenario. Between
1995 and 2005, the neighborhood boomed, with an
arrival of approximately 1,500 wealthy families. The
peculiar prole of Padinas case points to a situation
in which the newcomers have been able to operate
both bottom-up and top-down, having control
of the land as well as considerable political inuence. As a result, a near-absurd negotiating process
unfolded between the frantic-building reality and
a plan that lagged behind. The builders operated
tactically, keeping close to provisional outlines of
their future legality (building height and distances,
and street positions dened by the plan), while
#2
Legalizarea
rocesul de legalizare petrecut n Belgrad n
ultimul deceniu nu a fost ecient. A reprezentat, mai degrab, un exemplu tipic de
strategie politic populist, crendu-se de
exemplu o situaie n care era mai puin costisitor s
legalizezi construciile ilegale dect s construieti
legal de la bun nceput. Existnd cam 200.000
300.000 constructori ilegali n Belgrad i mai mult
de 150.000 de cereri de legalizare n ora, rezult c
statutul legal a constituit un compromis politic. n
locul beneciilor rezultate cum ar claritatea, taxa
pe venit, furnizarea datelor, securitate i planicare,
procedura de legalizare a fost slbit de proprietatea
neclar, lipsa documentelor i instituiile ncrcate. (ex: procesul de legalizare a cerut deintorilor
ilegali s angajeze arhiteci care s furnizeze documentarea retroactiv a cldirilor. Un calcul rapid
al timpului necesar pentru a furniza documentele
a 200.000 de cldiri ilegale sugereaz c aceasta
ar da de lucru permanent unei generaii ntregi a
Facultii de Arhitectur din Belgrad, aproximativ
100 de arhiteci, de-a lungul vieii lorprofesionale.)
Subevalund calitile darwiniene ale oraului
informal, majoritatea structurilor mai mici locuine de familie care intenionau s parcurg
legalizarea au fost prinse n blocajul birocratic, n
timp ce dezvoltatorii neociali mai puternici au
reuit s depeasc toate reglementrile. Legislaia
relevant din 2003 urmrea s aduc sfritul
construciei ilegale; n loc de asta, a deschis un
ntreg set de posibiliti pentru producia de cldiri
noi ilegale, dar nu mai puin realizabile. Au existat
proteste ale investitorilor din structurile legale care
s-au simit discriminai pe msur ce construcia
necontrolat din suburbii continua s noreasc
sub acoperiul aplicrii legalizrii. ntreaga procedur de obinere a unei autorizaii de construcie a
devenit inutil n contextul licenelor de construcie post-factum care ofereau o cale uoar pentru o
construciemultmaiieftin.
Legalization
uring the past decade in Belgrade legalization process has been ineffective. Instead, it
represented a typical example of a populist
political strategy, for example creating a
situation in which it was far more cost-friendly
to legalize illegal constructions than build legally
from the start. With the 200,000 300,000 informal builders in Belgrade, and 150,000 requests for
legalization in the city, it appears that legal status
has been a political trade off. Instead of bringing
its theoretical benets (clarity, tax income, supply
of data, security, planning) the legalization procedure has been hampered by unclear land ownership,
missing documentation, and overloaded institutions. (For instance, one premise of legalization wa
as
that illegal homeowners would have to hire architects to produce retroactive building documentation. A quick calculation of the time needed to docu
ument Belgrades 200,000 illegal buildings suggestss
this would provide full employment for an entire
generation of the Belgrade Faculty of Architecture
(roughly 100 architects) over the course of their
professional life.)
Underscoring the informal citys Darwinian
qualities, most of the smaller structures the family
houses meant to undergo legalization have been
caught in bureaucratic deadlock while the stronger
informal developers managed to exceed all regulations. The relevant legislation of 2003 was supposed
to bring about a general end to illegal construction; instead it has opened a eld of possibilities for
new illegal but nonetheless realizable building
production. Even protests broke out in Belgrade by
investors in legal structures who felt discriminated
against: wild construction in the suburbs has continued to ourish under the cover of applications
for legalization. The entire process of obtaining a
building permit has become senseless in the context
of post-factum building licenses that created easy
route to vastly cheaper construction.
21
22
MODURI DE LEGALIZARE LA BELGRAD.
CONSTRUCIILE ILEGALE DIN ORA CONTINU
NTR-UN CADRU STRATEGIC: RMNND
APROAPE DE LEGE SAU ANTICIPND
VIITOARELE REGLEMENTRI PENTRU
CONSTRUCII, CONSTRUCTORII SE ATEAPT
LA O LEGALIZARE RAPID. ACESTE TRASEE
PRIN PROCESUL DE CONSTRUCIE NEOFICIAL
I CTRE LEGALIZARE AU APRUT DATORIT
LEGII PLANIFICRII I CONSTRUCIEI DIN
2003. PENTRU MOMENT SE MENINE ACEST
STATU-QUO, DEOARECE NOUA LEGE DIN 2009
NU A INTRAT NC N VIGOARE.
Eciena
omparativ cu procesele de construcie foarte
bine organizate dup standardele europene, care sunt caracterizate de implicarea
investitorilor, urbanitilor, arhitecilor/
designerilor, bancherilor, edililor, benciarilor i
dezvoltatorilor, schemele de dezvoltare neocial
simplicate ale Belgradului n care reglementrile
sunt temporare, iar designul, creditele i construcia
profesionist inutile, sunt, surprinztor, mai eciente. Ele s-au stabilizat asemenea unei bule n interiorul pieei, al procesului urbanistic i al cadrului
legal, iar eciena procesului se bazeaz pe raiuni
Efciency
n contrast to highly organized building procedures following European standards marked
by participation of investors, urban planners,
architect-designers, bankers, city authorities, users and developers Belgrades simplied informal-development scheme, in which regulations are
provisional and design, credits, and professional
construction unnecessary, is surprisingly more efcient and stabilized as a bubble inside the market,
planning process, and legal framework. The efficiency of the informal development process is based
on economic rationality: Belgrades illegal building
#2
LEGAL
ILEGAL / ILLEGAL
23
2
3
EFICIENA
PROCESELOR DE
CONSTRUCIE
LEGAL I ILEGAL.
EFFICIENCY
OF LEGAL AND
ILLEGAL BUILDING
PROCESSES.
PROCESUL DE CONSTRUCIE
LEGAL: DUP CE UN
TEREN E CUMPRAT LEGAL,
DEZVOLTATORUL TREBUIE S
ATEPTE AUTORIZAIA DE
CONSTRUCIE TIMP DE DOI ANI.
CONSTRUCIA E PROFESIONIST
FCUT I TERMINAT NTR-UN
AN. APARTAMENTELE SE VND
LA 1.000 /M2, ADUCND UN
PROFIT SUBSTANIAL. NTREGUL
PROCES DE LA ACHIZIIONAREA
TERENULUI LA LIVRARE CTRE
CUMPRTOR DUREAZ TREI ANI.
PADINA, 2006.
PROCESUL DE CONSTRUCIE
ILEGAL: SE CUMPR UN
TEREN ILEGAL DE LA UN
FERMIER I E DEZVOLTAT DE
O FAMILIE, CARE DE MULTE
ORI LUCREAZ CU PRIETENII.
PREUL CASEI AJUNGE LA
450 /M2, IAR LEGALIZAREA E
ATEPTAT N VIITOR, LA UN
COST DE 30 /M2. CONEXIUNILE
LA INFRASTRUCTUR SUNT
OBINUTE LEGAL. PROCESUL
DUREAZ 1,5 ANI NAINTE DE
MUTARE; VENITUL ATEPTAT
ESTE DE 200300%. PADINA, 2006.
Construcia
Building
ei exist poate precedente estetice pentru acumularea heterogen a construciilor ilegale acum indigene n Belgrad, ce
formeaz un contrast seductiv cu orice ora
european, tratarea sa ca fenomen architectural pare
gratuit. Arhitectura neocial e populist, urt
la modul suprem i prin urmare plcut de fapt,
ocup un domeniu cultural mai degrab dect unul
arhitectural. Servete aproape exclusiv pentru a
satisface nevoile i dorinele individuale, cum ar
expunerea bogiei i evaziunea legii. Valorile designului arhitectural i miestriei au fost rsturnate
de dependena de utilizare a unei game limitate de
elemente de construcie industrial i de planurile
tipice larg rspndite. Fora de munc necalicat
i tehnicile de construcie improvizat au produs rezultate personalizate indiferent de scara proiectelor.
Dac la startul exploziei neociale arhitecii au fost
ndeprtai din proces de contingentele transformrii sociale i economice, ei au revenit semiincognito ceva mai trziu, angajai de marii afaceriti ai
epociide tranziie.
Creativitatea arhitecturii neociale a Belgradului
rezid n principal n manipularea tactic a cadrului legal, calculat n termenii depirii limitelor.
Tehnicile sunt numeroase i generatoare de form.
Formele anticipeaz legile i reglementrile urmtoare,
oare,
are, au un efect inhibitor
inhi
in
asupra ambelor (prin
imaginea
maginea puterii mul
mulimii),
m
li se conformeaz (printr-un
r-un aspect marcat normal),
n
camueaz excesul
(ex:
ex: numeroase etaje
etaj n
plus) i caut alibiuri (extinzndu-se
ndu-se
ndu-se n toate dire
direciile n jurul elementelor de
structur
tructur care au autorizaie),
auto
au
dar rmn ntotdeauna aproape de ceea ce este sau poate devenilegal.
Tipologia
Typology
n ciuda idiosincraziilor sale, arhitectura neocial a Belgradului apare n forme i tipologii urbane distincte. Tipologiile sunt simple, ndrznee;
depind de program (aproape exclusiv locuine
sau comer), mrimea relativ a investiiei, prezena
arhitecilor i contextul de baz (urbanizat sau nu).
Cea mai marcant diferen fa de mprejurrile
obinuite ale produciei arhitecturale este absena
complet a tipurilor de cldire care i implic pe
arhiteci la un nivel minim al investiiei, cum ar
locuinele; n schimb, relaia arhitect-client prosper
este o constant. Tipologiile arhitecturii neociale
a Belgradului au intrat n vernacular, ntr-un mod
care cuprinde calitile sale zice i etice: crmida
roie, ciuperca, chiocul, turbo ipcatul.
Arhitectura crmizii roii locuinele de
standard mai cobort din Belgrad sunt cele mai
apropiate de nelegerea clasic a ilegalitii, de
exemplu construcia locuinei de seara pn dimineaa pe terenuri apropiate oraului, cu o proporie semnicativ bazat pe uxurile migratorii.
Proprietarii sunt de obicei cruciali pentru nalizarea
unei case de crmid roie, putnd nsuit n
sensul tradiional i construit s dureze, ecare
etaj ind rezervat uneia dintre generaiile familiei.
24
#2
Arhitectura ciuperc dei expansiunea spontan a proprietii prin extinderi a fost una dintre
metodele cele mai comune prin care Belgradul a
crescut n trecut, distinctiva cas peste cas a fost
introdus de-abia la mijlocul anilor 90. De data
aceasta, o reglementare de ntreinere a proprietii
a fost adoptat, permind investitorilor particulari
s adauge metri ptrai deasupra unor cldiri existente dac, n schimb, renovau faadele, lifturile sau
spaiile comune. Exinderile rezultate arat ca plria unei ciuperci, deoarece dimensiunile le depesc
de obicei pe cele de la baza cldirii; forma lor pare
s rezulte dintr-o pur maximizare pragmatic a
volumului, dar, de fapt, exprim i un tip de politic
a acoperiului nclinat (mai ales acolo unde arpante
baroce se aaz deasupra unei prisme socialiste); o
autocritic postsocialist a modernismului conform
creia orice rezisten fa de acoperiurile n pant
devine antidemocratic.
CAS DE
CRMID ROIE
RED-BRICK HOUSE
ARHITECTURA
CHIOC
KIOSK
ARCHITEC
ARCHITECTURE
25
CASA CIUPERC
MUSHROOM
HOUSE
ARHITECTURA
TURBO
TURBO
ARCHITECTURE
HOUSE
SIN CITY
ORAUL PCATULUI
Methaphor
26
Metafor
rivind de la Belgrad ctre Europa occidental
post-social-democrat, e clar c paralelele
ntre avntul informal al oraului i denaionalizarea neoliberal au fost mascate mult
timp. n stadiile mai timpurii ale crizei din Belgrad
i Serbia, percepia general era c slbticia reprezenta o reacie specic local, patologic fa de
rzboi i embargouri; dar n cele din urm legturile cu dereglementarea occidental au devenit mai
evidente. Totui, forele motrice n spatele acestor
procese convergente au pornit de la motive complet diferite. n Belgradul de la mijlocul anilor 90,
locuinele necontrolate au fost o reacie la colapsul
planicrii i construciei de stat. n Vest, n acelai
timp, o dezlnuire mai moderat, de dorit, a fost
promovat conform unei pretenii neoromantice a
individualizrii. Acest nou ideal de locuire a fost privit drept o oportunitate aprut datorit liberalizrii
n curs a pieei de locuine o oportunitate pentru
mai puine reguli i mai mare libertate individual
n care oamenii pot ei nii s-i construiasc sau
s-i compun casele.
#2
BOGIA
SLBATIC A
CARTIERULUI
PADINA, BELGRAD,
2001 (FOTO:
BASPRINCEN)
THE WILD RICH
NEIGHBORHOOD OF
PADINA, BELGRADE,
2001 (PHOTO:
BASPRINCEN)
Suburbia 2.0.
28
#2
Date ind strzile nguste din zon i supraaglomerarea de maini parcate, reprezentanii marilor
rme din vecintate au ncercat s stabileasc un
orar de veniri i plecri, decalndu-i programele
29
astfel nct s se atenueze ambuteiajele monstruoase la intrare. O companie dintr-o zon ceva
mai ndeprtat a pus la dispoziia angajailor care
vin fr main un serviciu de autobuze nchiriate,
care fac legtura dimineaa i seara ntre sediu i cea
mai apropiat staie de metrou.
Nu cred c se poate vorbi astzi despre suburbii
postsocialiste fr s te referi i la ultimul episod
al acestei evoluii, i anume, invazia cldirilor de
birouri i a ansamblurilor de apartamente pe teritorii care pn acum civa ani erau supuse doar
ngrmdelii de vile. Poate mai mult dect orice fel
de statistici sau analize teritoriale, cele povestite
mai sus dau msura dezvoltrii haotice a periferiei i a modului non-urban de producere a oraului
postsocialist. Poate c aceste evoluii indic ns i
o posibil schimbare de paradigm, i trecerea de
la suburbie slbatic la un anumit fel de ora, ce-i
drept, cel puin la fel de slbatic.
Desigur, nici o suburbie din lumea asta nu e coerent; iar n comparaie cu scara de cretere a metropolelor din sus-estul Europei (Atena sau Istanbul)
care nu au cunoscut comunismul, fenomenul romnesc poate prea chiar benign. Ce frapeaz nu doar
n Romnia, ci n toate fostele ri balcanice ex-socialiste este caracterul extrem-autarhic al tuturor
interveniilor, decuplarea de orice planicare sau
proiect
roiect de infrastructur,
infrastruct
infrastruc
precum i (sau mai ales)
arderea etapelor i discrepana
di
total i absurd dintre
re investiia
nvestiia maxim n visul individual i cea cvasinul n
n tot ce ine de public ori comunitar sau mcar
de o coordonare pragmatic.
prag
Preluarea pasional a
modelelor occidenta
occidentale
occidental intr ntr-o contradicie de
principiu cu o punere n practic profund non-occidental i, de fapt, n mod esenialnon-urban.
30
#2
32
ntr-o astfel de logic i, tiind c speculaia
nanciar combinat cu slbiciunea i corupia autoritilor face imposibil orice limitare de densitate
sau regim de nlime, poate c ar trebui s-i lsm
pe investitori s construiasc, s umple goluri, s
aduc oameni i activiti. Evident, trebuie gndite
reguli; s lai totul n grija pieei, ca pn acum, ar
complet iresponsabil. ns m gndesc c, mai
ales ntr-un context precum cel romnesc, reglementri care nu doar limiteaz, ci i permit lucruri
ar putea funciona ceva mai bine. S-ar putea deni
cteva zone intangibile, o rezerv urban format
din resturile de natur care nc supravieuiesc sau
pur i simplu din terenuri libere rmase n proprietate public. Acolo i vor putea gsi loc, atunci
cnd autoritile i vor permite, echipamentele
publicei spaiile verzi la scara zonei sau metropolitan; s-ar reui astfel poate garantarea unei minime
sustenabiliti nu numai ecologice, ci i sociale.
inhabitants of the suburbia ended up surrounded by the blocks of ats they wanted to run
away from, now not as a form of politically imposed
habitation, but as a product of the market.
Of course, nobody planned buildings with adjacent functions such as shops, schools, kindergartens
and churches, and these started to be built strictly
as a result of peoples demands.
The raising of land prices and the acquisition of
most plots inside the city (which were, in any case,
even more expensive) were the main reasons for the
erection of isolated buildings and office complexes.
The primary nancial efficiency, probably doubled
by the prestige of the spot (in the end, a luxurious
area of the city) surpassed all other considerations;
obviously, the promoters or tenants of those areas
were well aware of the accessibility, and in fact,
actual functionality problems. One can only suspect
that all the people count, just like the inhabitants,
on the fact that in the end the local and central
administration will solve the infrastructure problems the continuous waiting and troubles being
a small price to pay in comparison to the expected
increase of value.
The result for now? I mentioned before the continuity of developments logics, leading to segregation
and collisions, the destruction of natural environment, pollution and severe traffic problems, non-existing urban and architectural coherence and, an
extremely troubling aspect, the total absence of real
public space.
In the same time, though, the wild liberalism
brought a type of development that does not exist in
western-type suburbia: rst of all, a mix and sometimes overlapping of functions, and secondly, an
increasing density. Either way we look at it these are
elements typical for the city and not the periphery.
Maybe the explosion of the scale and the sudden
creation of new functions during the last years indicate not only a galloping deterioration of a territory,
but also the tendency to city production, aberrantly
but authentically. True, it is a city lacking an urban
character, a city that does not deserve to be thus
called. But instead of accepting passively what is
happening or, on the contrary, of trying to control it
(a thing proven impossible), why dont we try to see
the potential of the situation, to guide the process
and introduce a minimal (thus more efficient) order
in the way people are building?
According to such a perspective and knowing
that the combination of nancial speculation and
the weakness and corruption of the authorities
makes any limitation of density and height level
impossible, maybe we should allow investors to
build, to ll in gaps, to bring in people and activities.
Obviously, rules should be set; leaving everything
to the market, as was the case until now, would
be completely irresponsible. But I am thinking
that, especially in contexts such as the Romanian
one, regulations that not only limit but also allow
things might work better. We could identify some
#2
intangible areas, an urban reserve containing the still surviving parts of nature, or just empty
lands still in public property. Such areas might host,
when the authorities will afford it, the public equipments and green spaces on local or metropolitan
scale. This might guarantee a minimal sustenance,
not only from an ecological perspective but also
from a social point of view. Besides such reserves,
one might encourage an increase in building density, making the investors happy, but imposing on
them some simple rules that will allow the creation
of an urban character: continuous street fronts instead of blocks and office buildings in the middle of
ridiculous courtyards, and ground oors with public
functions, opened to the street.
Nobody can control the periphery, at least not
through ample urban projects and gestures; but
maybe we could get used to thinking in terms of
positive shifting of unstoppable developments, a
pragmatic reconciliation of individual dreams and
public interest.
33
De la inginerie
social la piaa
imobiliar
Cartierele socialiste astzi
34
#2
From social
engineering to
real estate
Socialist neighborhoods today
35
36
Dincolo de oraele-dormitor
artierul rezidenial jpalota este unul dintre
primele proiecte din Ungaria reprezentnd
o intervenie pe un teren viran. Proiectul a
fost realizat de o echip condus de Tibor
Tenke, n cadrul Institutului de planicare urban,
i a nceput n 1964, iar construcia propriu-zis a
demarat n 1969. Planurile respectau principiile programului de locuine pe o perioad de 15 ani i indicau numrul apartamentelor i serviciile oferite, cu
implicarea Fabricii de locuine din prefabricate nr. 3
din Budapesta. Concomitent, exista un scop precis,
i anume de a demonstra c tehnologiile de realizare
a locuinelor din prefabricate pot crea un mediu urban divers i viu colorat. Aceast problem devenea
important, probabil, datorit naturii periferice i
izolate a amplasamentului (iniial, n PUG aprea ca
zon mpdurit), dar i datorit arhitecturii rigide a
locuinelor (altfel populare) din decada anterioar.
Generaia
Generaia
car
care
re crete
re
aici
aic va ,
,
f ndoial,
fr
d i l legat
l g d
de j
jpalota.
jp l
Ei vor avea am
mintiri. Generaiei
noastre din aceast zon
rezidenial ns
ns i lipsesc.
lipsesc
TAMS LIPP, CUCERIRE N
N JPALOTA
The
The generatio
g
on who grow up here
on
h
will surelyy have
havve bonds to jpalota.
j
jp
Th y will
They
ill have
h e memories.
i
Our
generation of this housing
g
g estate
is yet without memories.
TAM
MS LIPP, CONQUEST
ONQUEST IN
N JPALOTA
JPALO
#2
Planurile de ansamblu realizate sub conducerea lui Tibor Tenke i a lui rpd Mester demonstreaz inuena criticii contextuale a grupului
Team 10 privind modelul modernist de planicare.
Serviciile i zona comercial sunt organizate de-a
lungul axelor pietonale cu benzi separate de circulaie i tipuri i dimensiuni multiple de locuine
ce creeaz un ansamblu diversicat i n acelai
timp o form unitar general. ntr-un interviu
realizat dup nalizarea proiectului n 1977, Tams
Lipp i-a pus cteva ntrebri arhitectului Tibor
Tenke, nu numai referitor la ideile sale originale, ci
i cu privire la realizarea i evoluia ulterioar ale
acestora. Promenadele situate de-a lungul axelor
au suferit modicri importante proiectul iniial
al benzilor de circulaie separate pe vertical a fost
anulat, iar zonele comerciale de la nivelul strzii au
fost de asemenea nlocuite cu apartamente. colile
i cldirile publice din zonele cu construcii joase,
de numai cteva etaje, din spatele promenadelor cu
multe benzi, precum i cldirile nalte erau numai parial construite, n timp ce casa de cultur i
centrul comunitar care reprezentau efectiv centrul
cartierului erau inexistente. Singura construcie din
centru era un bloc-turn cu 18 etaje, n vrful cruia
era amplasat un turn de ap i care, datorit nlimii sale i siluetei insolite, la antipodul blocurilor
din prefabricate, a devenit imediat un fel de simbol
al cartierului.
Replicile lui Tibor Tenke transpun concepiile lui despre planicarea urban i fac referire la
compromisurile construirii cartierului jpalota,
ind totodat reecii asupra propriului su rol.
Cunoscuta carte a lui Gyrgy Konrd i Ivn Szelnyi
n care se aduc critici la adresa programului de
construciii industrializate de locuine fusese deja
publicat la momentul interviului, iar majoritatea
profesionitilor occidentali ncepuser s critice modernismul postbelic. Tenke (referindu-se la modelul
descris n text) i-a rearmat ncrederea n caracterul urban al zonei rezideniale, evideniind natura
ambivalent a perspectivelor proiectanilor i locuitorilor: perfeciunea modelelor nu se va putea niciodat substitui realitii. Cu toate acestea, considera
c arhitecii aveau un rol destul de limitat n vitalitatea spaiilor i propunea ca locuitorii s aib rbdare, cci, pe msura trecerii timpului, nsei vieile
lor aveau s umple structurile respective. Similar,
viziunile lui cu privire la absena cldirilor publice
i a zonelor comerciale erau ambivalente: admitea
lipsa acestora i recunotea eforturile depuse pentru
nalizarea lor, ns se declara adversarul oricror
iniiative de utilizare a spaiilor nefolosite pentru
a satisface nevoile tot mai stringente ale diferitelor
cluburi i comuniti. ntr-o perioad n care era necesar construirea a sute de mii de noi apartamente,
el considera drept inadmisibil redistribuirea unor
resurse limitate doar pentru a satisface plusul de
cerine exprimate de cei ce se bucurau deja de o
nou via urban privilegiat. Aceast abordare
surprinztor de rigid ar putea ilustra efortul de a
proteja o viziune cu origini moderniste i tehnocratice mpotriva atacurilor simultane n direcii opuse,
venite din partea industriei i a utilizatorilor dup
37
Povestiri spaiale
tilizarea i mbogirea mediului urban
virgin prin intermediul instrumentelor
lingvistice i al amintirilor ncep odat
cu strmutarea n spaiul respectiv, att
pentru indivizi, ct i pentru comunitate. Cuvntul
cucerire care apare n titlul sociograei din 1978
simbolizeaz actul de natere al comunitilor primei generaii, amintit n multe interviuri, de altfel.
ncepnd cu 1971, simul apartenenei i al experienei mprtite n rndul nomazilor din cartierul
rezidenial, incomplet att zic, ct i metaforic, era
ntruchipat de aciunea mutrii i de mbuntirea
apartamentelor ctre un nivel acceptabil.
Absena spaiilor destinate vieii comunitare a avut nc de la nceput anumite consecine.
Dat ind c viaa cultural trebuia s e fondat
pe aciuni locale individuale, normele de organizare cultural au pus n eviden n mod curent
unused spaces to accommodate the increasingly pressing needs of various clubs and communities. According to his comments, at the time when
hundreds of thousands of new apartments need to
be constructed one cannot allow the redistribution
of scarce resources to satisfy additional requests of
those who enjoy an already privileged new urban
life. This surprisingly rigid approach might show
an effort to protect a vision with modernist and
technocratic roots from symultaneous attacks in
opposing directions by the industry and by the users as Ferenc Callmayer, a member of the design
team noted, the hopeless struggle to complete the
housing estate probably played a role in the death of
Tibor Tenke.
Spatial stories
he use and enrichment of the tabula rasa
urban environment through linguistic tools
and imprints of memories starts with moving in, for individuals and communities
alike. The word conquest showing up in the title of
the 1978 sociography symbolizes the founding act of
the rst generation communities, also remembered
BALZS BETHY:
N CUTAREA
SPIRALEI, 2006
BALZS BETHY:
IN SEARCH OF THE
SPIRAL, 2006
#2
tensiunile dintre iniiativele civice i naraiunea autoritilor. Pe de alt parte, aceste evenimente
au conferit locurilor noi semnicaii i interpretri,
consacrnd, n consecin, instrumente de exprimare a identitilor individuale i colective n spaiul
public, acumulnd rapid o geograe mental local
a utilizatorilor, n afara perspectivei de ansamblu a
proiectanilor.
Acelai mecanism poate remarcat i n nuvelele
de tineree ale lui Mihly Padisk, a cror aciune se
desfoar n jpalota, unde copiii proaspt mutai
devin exploratori ai triburilor indiene, iar spaiile
publice i antierele de construcie, teritoriile lor de
vntoare, necucerite nc. Autenticitatea acestor jocuri se relev n lucrrile lui Balzs Bethy.
Pictorul care i-a petrecut anii copilriei n cartierul
jpalota reconstruia straturile de semnicaii asociate zonei, ntr-o instalaie din 2006, n cutarea
spiralei. Piesa l include i pe prietenul su din copilrie, partener la jocurile de-a indienii, suprapunnd experienele preluate din lme i povestiri cu
textele despre teorie social critic, scrise acas de
tatl su, i cu contextul cartierului rezidenial care
inspira, dar i coninea ambele activiti. O instalaie foto mai timpurie intitulat Acest cntec nu
nseamn nimic creeaz un mediu audiovizual n
care romantismul Vestului Slbatic din lmele americane ntlnete Estul slbatic al cartierului de locuine est-european, iar povestirile despre eroism i
semnele indicatoare din slbticie rescriu peisajul ce
se deschide n faa ochilor din vrful acoperiurilor
blocurilor-turn.
Lupta teritorial pentru spaii publice se reect
n relaia puterii politice i a serviciilor fr sediu,
ce i descentralizau funcionarea. n timp ce n
jpalota locuiau 60.000 de oameni, n momentul su de vrf demograc, cteva servicii de baz,
precum uniti medicale sau de ngrijire a copilului, trebuiau s gseasc soluii neociale pentru
a funciona (de ex. n apartamente). Grupurile de
tineri crora le lipseau cluburile i care-i petreceau
timpul pe strzi i n piee s-au transformat rapid n
surse ale unor numeroase conicte care au escaladat
problemele de poliie i politic social, de asemenea
afectnd dinamica aciunii de cucerire n formarea
identitii jpalota.
Motivul crerii Centrului recreaional jpalota a
fost n parte i de a media aceast situaie, umplnd
golul cu programe. Cei treizeci de ani de funcionare
pot de asemenea descrii ca o continu reinterpretare a spaiilor din cartierul de locuine: programele organizate pentru primul eveniment Zilele
jpalota, n 1978, constituie elementul-cheie al folclorului local pn n momentul de fa. Un concert
al formaiei Piramis organizat pe acoperiul grdiniei, muzic n turn, precum i concerte de muzic de
camer i un patinoar anual n aer liber, cu intrare
liber, au funcionat drept deturnri deschiznd nu
numai spaii publice, dar i cldiri i interioare pentru o asociere liber atta timp ct se menineau
n limitele politicii culturale prestabilite.
Centrul a funcionat simultan ca un catalizator
i ca reea de control, reunind i organiznd diferite
grupuri civice de protestatari care cereau dezvoltri,
CONCERTUL DE PE
ACOPERI AL TRUPEI
PIRAMIS, ZILELE
JPALOTA, 1978
FOTO:
ATTILAMAJOROSI,
FROM KELEMEN
(2010)
PIRAMIS ROOFTOP
CONCERT, JPALOTA
DAYS, 1978
FOTO:
ATTILAMAJOROSI,
FROM KELEMEN
(20
(2010)
39
40
CENTRUL
JPALOTA CU
BLOCUL-TURN, 2011
JPALOTA CENTER
WITH TOWER BLOCK,
2011
PIAA
PRINCIPAL, 2011
MAIN SQUARE,
2011
#2
dramatic, avnd legtur cu construirea cartierului rezidenial, a disprut de curnd din pia.
Blocul de locuine de pe partea strzii Nyrpalota
era de asemenea cunoscut drept blocul cu cornia
neagr, dat ind c panourile sale unicat cu margine
neagr din vrf erau amplasate n memoria unui
tnr muncitor constructor care, n tura de noapte
ind, czuse de pe schel. ns cldirea nou izolat
a fost decorat cu modele geometrice abstracte fr
vreo legtur cu locul, rolul lor principal constnd n
a fractura dimensiunea faadei n mai multe uniti
mai mici dup ce grila originar a panourilor original va disprut.
Apartament cu apartament
mbuntirea condiiei apartamentelor neterminate i cu defecte, ca o for ce creeaz comunitile, reprezint elementul-cheie al ctorva
reminiscene, asemenea ocului schimbrii
stilului de via n cazul maselor de muncitori.
Pentru aceia strmutai din locuine de tranziie,
subnchiriate i aate n ruin, locuine modeste
cu ieire direct n strad sau apartamente locuite la
comun, experienele spaiului larg, confortabil sunt
imediat urmate de provocrile emoionale i culturale extreme ale instalrii, mobilrii i ntreinerii
locului devenit acas. Apartamentele ceva mai
spaioase erau frecvent locuite de familii compuse
din mai multe generaii, traiul n comun determinnd astfel conicte inevitabile. Noua scar a inuenat, probabil, mrimea comunitilor i structurile
spaiale i dincolo de mediul personal: unii foti
vecini mutndu-se mpreun au constatat o rcire
a relaiilor i un fenomen de izolare, pe msur ce,
treptat, familiile au nceput s se centreze mai mult
pe viaa lor interioar. Acest proces a fost amplicat
nu numai de adesea remarcata lips sau inutilitate a
zonelor semiprivate, dar i de factori sociali precum
jena de a trebui s se descale nainte de a pi pe
suprafeele acoperite cu covoare.
Modelele alienrii erau diferite de la o cldire i
scar la alta copiii mai mici crescui n aceste blocuri i aminteau scrile ca ind elementele fundamentale ale vieii comunitii cu apartamente
deschise i traversabile, mai degrab de copii dect
de aduli, ce-i drept.
Spaiile private apar n viaa comunitii i prin
nii proprietarii acestora. Dei jpalota nu a fost
niciodat considerat o zon rezidenial a elitelor,
persoanele publice sau notabile care s-au mutat aici
au devenit elemente importante pe harta cultural
a cartierului. Apartamentele-ateliere pentru artiti,
de exemplu, construite n vrful blocului-turn, ca
urmare a unui lobby local susinut, efectuat prin
intermediul relaiilor politice, i utilizau n mod
explicit pe artitii care locuiau acolo i relaiile lor cu
comunitatea drept instrument de comunicare.
Cu toate acestea, n volumul de istorie local
realizat de Erika Szepes sunt vehement criticate
opiniile conform crora alienarea i disoluia comunitilor apar ca tendine dominante, autoarea
opunnd acestora n mod explicit impactul puternic
al relaiilor de vecintate de lung durat. Aceeai
41
Apartment by apartment
orking to improve unnished, decient apartments as a force that creates communities is a key element of
several reminiscences, just as the shock
of change in lifestyle for the workers who arrived in
masses for the rst time. For those moving in from
transitional housing, dilapidated sublets, storefront
apartments or shared units the rst experiences
of spaciousness are instantly followed by the often
emotionally and culturally extreme challenges of
settling in, furnishing and maintaining a place
called home. Apartments of relatively larger sizes
were often inhabited by multi-generation families
where high occupation densities led to inevitable
conicts. The shifting scales probably affected the
scales of communities and spatial structures as
well beyond the personal environment as several
Concluzie
rezentul eseu a urmrit istoria generaiilor
care au alctuit o societate prin umplerea
spaiilor comune ale unei utopii moderniste
neterminate, cu poveti i amintiri, transformnd nevoile n oportuniti, i, de aici, devenind cuceritori adevrai sau percepui. Imaginea
unui fond de locuine construite, n cazul nostru
cartierul rezidenial jpalota, este denit nu numai de cldiri (sau de lipsa acestora) i de evidenta
via nou oferit de arhiteci, ci mai curnd de
o serie de posibiliti i constrngeri, precum i
de semnicaii codicate integrate n planurile i
vieile locuitorilor zonei. Aceast situaie, fragil i
nesigur n comparaie cu oraul istoric, a generat o serie de imagini negative asociate cartierelor
rezideniale, orizonturilor nguste pe care acestea le
ofer locuirii, stilurilor de via ale locuitorilor cu o
educaie precar sau limbajului arhitectural asociat
regimurilortotalitare.
n cazul cartierului jpalota, sesizez un amalgam
de concepte
ncepte cu mult m
mai deschise i utilizabile dect
oriunde
nde n alt parte, viziuni asupra posibilitii
de schimbare i de realizare,
re
precum i un mediu
presupunnd
resupunnd serioase
serioa constrngeri impuse spiritului
ui antreprenoria
antreprenorial. Co
Comparativ cu oraul tradiional,
tinereea
inereea
ea cartierelor rezideniale,
r
bogia spaiilor
oferite i zonele de verdea distruse ofer premisele unei mult mai radicale transformri dincolo de
nevoia imediat de rennoire.
Un nou program de dezvoltare lansat n 2011 n
competiii i intervenii determin prin obiective
de stabilitate, mai curnd dect de temporalitate, traiectorii ale carierei n locul supravieuirii i
cooperrii cu societatea civil, n scopul rennoirii
spaiilor publice din jpalota i a comunitilor
sale. Broura care adapteaz politicile oraelor verzi
la nevoile speciale ale cartierelor rezideniale ofer
o imagine a acestor structuri, ca laboratoare ale
inovaiilor verzi i ale stilurilor de via bazate pe
activitiexibile.
n scopul evitrii unei noi situaii de tip tabula
rasa, ar extrem de important s se descopere potenialele lsate acum deoparte, precum optimismul
mprtit al perioadei de ntemeiere sau al amintirilor personale i al vestigiilor celor patruzeci de ani,
i s se considere zona rezidenial ca o suprafa
unde acestea pot aprea i deveni instrumente ale
continuitii ce constituie fundamentul oricrei
istorii urbane.
42
BLOCUL CU
CORNIA NEAGR
NAINTE DE
RENOVARE, 2010
FOTO: NORC.HU
BLACK ATTIC
BLOCK BEFORE
RENOVATION, 2010
PHOTO: NORC.HU
Conclusion
his essay followed the story of generations
who formed a society by lling the shared
spaces of an unnished modernist utopia
with stories and memories, transforming
needs into opportunities and thereby becoming true
or perceived conquerors. The image of a housing
estate, in this case jpalota, is created not only by
the buildings (or the lack thereof ) and the seemingly
clear slate provided by the architects, but rather
by the set of possibilities and constraints as well
as coded meanings embedded in the plans and the
#2
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T
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M IAI KI
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KR
S UZS
UZSA
A NA
NAGY
GY MR
MRTA,
TA,
TA AZ
Z EU
EUR
EURPA
U PA
PAII S
S A MA
M A GYA
MAGYA
GYAR T ELE
LE
E PSZ
S ER
LAKS
LAK
K S
SPT
S
PTS
PT
T S TR
TRTN
TNETE
TN
ETE
T 19
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LN
NAP
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A NK
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LIP
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P P TAM
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K IV
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V TEL
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TAII
SZA
A BAD
D ID
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000
evolving lives of their inhabitants. This situation, fragile and uncertain compared to the historical city, has spawned a set of negative images about
housing estates, the narrow horizons they offer for
living, the lifestyles of poorly educated inhabitants
or the architectural language associated with totalitarian regimes.
In the case of jpalota I see a mixture of concepts
much more open and traversable than elsewhere, visions on the possibility of change and getting things
done, and an environment with tight constraints
for entrepreneurial spirit. The young age of housing
estates, their abundance of spaces and dilapidated
greenery hold the promise of much more radical
transformation beyond the immediate need for
renewal than the traditional city.
A new development program launched in 2011
through competitions and interventions sets out
with goals of stability instead of temporality, career
paths instead of survival and cooperation with civil
society to renew the public spaces of jpalota and its
communities. The bochure which adapts green city
policies to the special needs to housing estates offers
a vision of these structures as laboratories of green
innovation and lifestyles based on exible work.
In order to avoid another tabula rasa situation, it would be of critical importance to uncover
potentials now relegated to the background like the
shared optimism of the founding period or the personal memories
i and traces off forty
f
years and treatt
the housing estate as a surface where these can
appear and become tools of continuity which is th
he
basis of all urban history.
BLOCUL CU
CORNIA NEAGR
DUP RENOVARE,
2011
BLACK ATTIC
BLOCK AFTER
RENOVATION, 2011
43
44
#2
45
nlime, de ssistemul
iste
is
temu
te
mull co
mu
cons
constructiv,
nstr
ns
trruc
ucti
tiv,
ti
v de
v,
de densid nsside
i
tate. Localizarea, tiip
ipol
olog
o ia u
og
urb
rban
rb
an
an
ii arh
hit
i ec
ctu
tura
ra
al
sau vrsta (deci gra
adu
dull de
e uzu
zur
r
a
all co
cons
nstr
ns
truc
uci
ei
i
e i al
a
echipamentelor, grrad
a ul
u de re
r zi
z st
s en
n la cu
cutr
t em
tr
emur
u e)
ur
e
determin discrepa
an
n e en
enor
orme
or
me..
me
La o privire oric
t de rap
apid
id
d as
asup
u ra Buc
up
ucur
u eti
ur
tiul
ului
ui,
i,
aceste discrepane ap
pa
ar dr
drep
eptt ev
ep
vid
den
nte
e. Bl
B oc
ocur
urii
ur
socialiste sunt cvarrta
t lu
luri
rile
ri
le
e ssta
ta
ali
lini
n st
ni
ste
e i marril
ile
e ca
artiere funcionaliste
e, un
uneo
eori
eo
rii de 20
200.
0.00
0.
000
00
040
400.
40
0..00
000
0
de locuitori (Balta A
Allb
b,, Dr
Drum
umul
um
ull Tab
ber
erei
e etc
ei
c.)), i ansamblurile delirantte din
n cen
ntrru ssa
au ex
e ti
tind
nd
der
e il
ile
e di
dn
Ferentari, Militari i
i Avi
v aiei
ieii n
ie
ns
ns
s cu greu
greu
gr
u le ma
maii
poi include astzi n ace
ceea
eai
ea
ii categ
atteg
egor
o ie
or
e.
Aceast realitate
e a di
dife
ife
fere
renel
re
e or
o urb
rban
ane
an
e i arh
rhit
itec
it
tec
cturale majore
j
impl
plic
ic
ne
evo
v i ii priior
orit
iti di
it
d fe
feri
eri
rite
te
te
d
de
e
la rezolvarea ruptu
p ur
uril
ilor
orr n ce
o
cent
ent
ntru
ru
ul issto
tori
ric,
ri
c,, la p
po
oli
liti
t cii
ti
urbane pentru
p
marri
rile
ile car
arti
tier
ti
ere.
er
e Ori
e.
r ce
e strratteg
egie
egie
ie d
de
e
intervenie
ar trebu
ui s
cal
ali
i
ce ca
cate
te
eg
gori
go
riii p
ri
prin
pr
in
inci
ncipa
ciip
pale
e,
prin suprapunerea
p
p p
a crrit
i er
e iiilo
lorr ur
urba
bani
ba
n st
ni
stic
ic
ce,
e, arh
rhit
ittec
ec-turale,, tehnice,, soc
cia
i le i ec
econ
onom
on
omic
om
ice
ic
e ii pro
r g
gram
gr
ame de
ame
am
aciune
n cadrul ac
aces
e to
torr ca
cate
tego
te
gori
g
rii.
i
i.
ziii a investiiilor
in
nvest
ve
est
s i
iii
iiiilo
lorr no
noi
oi i
i a u
unei
neii
ne
cereri
ri intense, pre
preur
preurile au crescut n mod fabulos.
Prezenta
ezenta criz a dus lla o scdere brusc (considerabil
mai mare dect cea n cazul investiiilor noi), ceea ce
atrage atenia asupra unor probleme pe care creterea
ea de pn acum le ocultase.
o
Exist o tendin foarte puternic de difereniere
ntre cartiere mai bogate i altele din ce n ce mai
srace. Din pcate, datele statistice actuale nu furnizeaz informaii clare n acest sens. ns preurile n
funcie de zon i corelarea acestora cu accesibilitatea zonelor respective ne pot da o imagine destul de
precis a fenomenului. Creterea, respectiv scderea
preurilor ntr-o zon i, mai ales, compararea lor ne
dau o imagine destul de bun a diferenelor sociale.
E foarte interesant s analizezi mpreun o
hart a gradului de accesibilitate a diferitelor zone
socialiste din ora i o hart din 2007, comparnd
preurile pe zone (exprimate aici prin diferena de
intensitate a culorii). Cele dou hri se suprapun
aproape perfect. Accesibilitatea se exprim direct
prin atractivitate, deci pre, aadar, pe o perioad
mai lung de timp, prin compoziia social a locuitorilor. Mixitatea existent se transform ncet-ncet ntr-o mprire n care n blocurile din centru
ncep s locuiasc oameni din ce n ce mai nstrii,
iar zonele de margine sau mcar mai izolate ncep
s decad. O hart din 2009, deci n plin criz, arat
c aceast tendin continu.
Suntem nc foarte departe de cartierele-problem, strict denite social i chiar etnic, de la marginea metropolelor europene, ns, dac tendina
actual va continua, ghettoizarea unor pri uriae
din ora, ce-i drept, ntr-un sistem privat, nu va
putea evitat.
46
And
An
d ye
yet,
t, dwe
w ll
llin
iin
ing
g du
duri
ring
ing the soc
ciia
iali
list
li
ist era was
f r fr
fa
from
om
mu
uni
n ffo
ni
orm
rm.. A su
supe
perp
r os
rp
osit
itio
io
on of
o differe
renc
nc
n
ces
resu
re
su
ultts in
n fea
eatu
ture
tu
es th
that
a var
at
ary
ry gr
g ea
eatl
tly,
tl
y, acc
ccor
o di
or
ding
n tto
ng
o
loca
lo
ca
ali
liza
z ti
za
t on
n, ag
a e,
e,th
t e pe
th
peri
riod
ri
od whe
en th
hey wer
ere
e pu
putt in
nto
o
prac
pr
acti
ac
t ce
ti
ce,, urrba
ban
n an
and
d ar
arch
chit
ch
itec
e tu
ec
tura
ra
al ty
typo
olo
logi
gies
es, heig
he
eig
i ht
regu
re
gula
la
ati
tion
on
ns, bui
uild
ld
din
ing
g sy
syst
stem
ems,
s, den
nsiity
ty.
In B
Buc
ucha
ha
are
rest
st, so
soci
cial
alis
istt bl
bloc
ocks
ks o
off at
a s ma
m y be Sta
ali
lini
n stt
inte
in
terv
te
rven
rv
enti
tion
on
ns,, iimm
mm
men
e se fun
u ct
ctio
iona
nalist
liistt nei
e gh
ghbo
bo
our
u hood
ho
odss wh
whic
i h ca
ic
can
n co
coun
untt as
un
a man
ny as 3300
00
0,0
,000
000
0 inh
nhab
ab
bittan
nts (Ba
Balt
lta Al
lta
Alb
b , Drum
b
Drrum
um
mul
ul Tab
aber
ereii, et
etc
etc.
c..),
), the
e de
ellirrio
ious
uss
cent
ce
ntra
rall op
perrat
a io
ions
ns of th
t e Ce
eaue
au
uesc
e
esc
cu erra
a,, city
ity ex
it
exte
xte
tenn
nsion
si
o s (tthe
on
he Mil
ilit
liittar
ari;
i; Feren
erren
enta
ta
ari
r , Av
A ia
iati
attiieii n
nei
eigh
ei
gh
hbo
bour
our
u hood
ho
odss etc.
od
ettc.
c.).
).
The
Th
e re
real
alit
al
ity
it
y of
of ma
ajjor urb
rban
an and
nd a
arc
rchi
rc
h te
hi
tect
ctur
ctur
ct
ural
al
differ
di
eren
ence
en
ce
c
es im
mp
plie
pl
iess diiff
ie
ffer
eren
er
en
nt n
ne
eeds
ed
ds an
and
nd p
prrio
iori
riti
ri
ties
ti
e
es
wh
hic
ch ra
rang
nge ffrrom bri
ridg
dg
d
gin
ing
g frrac
ctu
t re
es in the
h his
isto
to
ori
riricall olld ce
ca
cent
ent
n re tto
o de
deve
ve
v
elo
lopi
ping
p
g urb
rban
an p
an
pol
olic
ol
ic
cie
iess fo
forr th
the
e
city
ci
tys big
ty
igg
gest
ge
st nei
eigh
gh
g
hbo
bour
u ho
ur
hood
od
dss.. Eve
very
ry singl
ry
in
ng
gle in
inte
terte
r
rve
ent
n ion
io
on st
stra
r te
ra
egy
gy sho
houl
u d de
de
n
ne
e the
h mai
a n ca
c tego
teg
te
go
ori
ries
e
es
i a
it
add
ddre
dd
re
ress
essses by su
supe
up
perp
pe
erp
rpos
possin
ng ur
u ba
an p
pllan
a ni
n ng
g, ar
arch
ch
hiitect
te
ctur
ct
u al
ur
al,, te
tech
chni
ch
nica
ni
cal,
ca
l,, ssoc
oc
cial
ia
al an
nd econ
ec
con
onom
omic
om
iic
c cri
r te
eri
ria an
a d
by
y sset
etti
et
tiing
ng u
up
p ac
a ti
to
on
n plans
la
ans for
o all of th
thes
e e ca
es
c tego
te
eg
go
ori
r ess.
CARTIERUL
TITAN BALTA ALB:
FUNCIONALISM DE
ANII 60 I SUTE DE
MII DE LOCUITORI
TITAN BALTA
ALB NEIGHBORHOOD:
60S FUNCTIONALOSIM
AND HUNDERTS
OF THOUSANDS OF
INHABITANTS
#2
Creterea
a strategiilor
g
i interveniilor
de reabilitare. n condiiile
crizei i
deci a scderii dramatice a resurselor,, aciunea
BULEVARDUL
UNIRII: OPERAIA
MEGALOMAN
DEVENIND ADRES
DE PRESTIGIU
UNIRII
BOULEVARD:
MEGALOMANIA
EVOLVING NOW INTO
A PRESTIGIOUS
DOWNTOWN
47
asupra
p
acestui teritoriu ar trebui s fac obiectul unor
proiecte urbane i
p
nu s devin rezultatul unor
aciunidisparate.
48
48
#2
O CARTARE A
ACCESIBILITII
CARTIERELOR
SOCIALISTE DIN
BUCURETI.
INTENSITATEA
CULORII CORESPUNDE
GRADULUI DE
ACCESIBILITATE
FIZIC
A MAPPING OF
THE ACCESSIBILITY
OF SOCIALIST
NEIGHBORHOODS
IN BUCHAREST. THE
COLOUR INTENSITY
CORRESPONDS
TO THE DEGREE
OF PHYSICAL
ACCESSIBILITY
49
COMPARAREA PREURILOR PE ARII DUP
2009, DUP PRIMELE REZULTATE ALE CRIZEI
(ESTIMARE PRELIMINAR). SE INTENSIFIC
DIFERENIEREA I, DEI TOATE PREURILE AU
SCZUT DRAMATIC, CARTIERELE SOCIALISTE
DIN CENTRU I PSTREAZ N CEA MAI MARE
PARTE VALOAREA
PRIZES COMPARISON BY AREAS FOR
2009, AFTER THE FIRST RESULTS OF THE
CRISIS (ESTIMATION AFTER A PRELIMINARY
SURVEY). THE DEVELOPMENT OF INCREASING
DIFFERENCES CONTINUES. ALTHOUGH ALL
PRIZES FELL SHARPLY, THE NEIGHBORHOODS
IN THE CENTER KEEP MOST OF THEIR
MARKETVALUE
coordonate.
50
P
Concluzie.
oncluzie. Contextul larg
roblema ansa
amblurilor de locuine din perioada socialistt este ct se poate de reprezentativ pentru evoluiile din fosta Europ de
Est. ns cartierele deczute, dispariia sau
privatizarea spaiului public i dezvoltarea dicil a
unui spirit comunitar nu sunt n nici un caz specice estului Europei. Poate doar c, avnd n vedere
CARTIERUL
MILITARI: N
AFARA CENTRULUI,
ALINIAMENTE DENSE
I UNIFORME I
CURI INTERIOARE
MILITARI
NEIGHBORHOOD:
OUTSIDE THE
CENTER, DENSE,
UNIFORM SLABS AND
INTERIOUR COURTS
SPAIUL PUBLIC CA
SPAIU AL NIMNUI.
BUCI DIN EL
SUNT ACAPARATE I
UNEORI DELIMITATE
STRICT, NS
CA NTREG NU
FUNCIONEAZ
DREPT LOC AL
COMUNITII
PUBLIC SPACE
AS NOBODYS
SPACE. PIECES OF
IT ARE TAKEN OVER,
SOMETIMES FENCED,
BUT AS A WHOLE IT
DOES NOT FUNCTION
AS A COMMUNITY
PLACE
#2
mechanisms enhanced our perception of certain evolutions which take place in a more subdued
manner (and perhaps less visible) also in the West.
In essence, we denitely should accept that the
era of grand operations in dwelling is gone. Yet,
we can not rely on the market and self-regulation
only. Maybe we should think instead in terms of
regeneration instead of mere technical measures, of
cooperation and a balancing of different interests,
of activation instead of total control. Instead of aiming at the total project, we could carefully observe
developments and try to channel them, emphasize
some and ght others rather than denying themaltogether.
REABILITAREA
AZI: MSURI STRICT
TEHNICE I LIMITATE
REHABILITATION
TODAY: STRICLY
TECHNICAL
MEASURES AND
LIMITED OPERATIONS
CREDITE / CREDITS
MAGIC BLOCKS
ZEPPELIN (COSMINA GOAGEA, TEFAN GHENCIULESCU); POINT 4
(JUSTIN BARONCEA, CARMEN POPESCU); ARCHIS INTERVENTIONS/
SEE (KAI VCKLER), HACKENBROICH ARCHITEKTEN (WILFRIED
HACKENBROICH)
PENTRU MAGIC BLOCKS 2009 AM COLABORAT CU / FOR MAGIC BLOCKS
2009 WE COLLABORATED WITH: ATU (VERA MARIN), SPACE SYNTAX
ROMANIA (ESENGHIUL ABDUL, CHRISTIAN BEROS), PLATFORMA
981 (MARKO SANCANIN) AND STUDIOBASAR (ALEXANDRU AXINTE,
CRISTIANBORCAN).
MAGIC BLOCKS A FOST SPRIJINIT DE CTRE: ERSTE FOUNDATION,
UNIUNEA ARHITECILOR DIN ROMNIA, ADMINISTRAIA FONDULUI
CULTURAL NAIONAL, INSTITUTUL GOETHE BUCURETI, FORUMUL
CULTURAL AUSTRIAC BUCURETI I AMABASADA REGATULUI RILOR
DE JOS N ROMNIA. / MAGIC BLOCKS WAS SUPPORTED BY: ERSTE
FOUNDATION, UNION OF ROMANIAN ARCHITECTS, THE ADMINISTRATION
OF THE NATIONAL CULTURAL FOND, GOETHE INSTITUT BUCHAREST,
AUSTRIAN CULTURAL FORUM BUCHAREST AND THE EMBASSY OF THE
KINGDOM OF NETHERLANDS INROMANIA.
51
Urbanitate autoreglementat?
Self-regulated
urbanity?
52
Text:
Todor Atanasov
#2
53
INTERVENIE
ARTISTIC ANONIM
DIN 2011 ASUPRA
MONUMENTULUI
ARMATEI SOVIETICE,
SOFIA.FOTO:
NIKOLAMIHOV
ANONYMOUS
INTERVENTION
ON THE SOVIET
ARMY MONUMENT,
SOFIA. PHOTO:
NIKOLAMIHOV
ncepe procedura de licitaie a contractorului acum, accentul trebuie s e pe cea mai mic
ofert pentru execuie. Numai atunci concursul este
obiectiv, de vreme ce toi participanii la licitaie se
refer la acelai proiect.
n cellalt caz, cnd exist nanare privat pentru refacerea, renovarea sau proiectarea unor cldiri
noi cu o locaie central i/sau importan public,
pare acceptabil pentru investitor s atribuie sarcina
direct unui contractor ales, dei este probabil mai
obinuit n practica occidental s se organizeze
concursuri i n aceste cazuri, n funcie de locaia
anumitor zone.
stress must be on the lowest offer for execution. Only then the comparison is objective since all
participants in the tendering offer based on one and
sameproject.
In the other case when there is private funding
for refurbishment, renovation or planning of new
buildings with central location and/or public importance it seems acceptable for the investor to assign
the job directly to a chosen contractor, although it
is probably common in the west European practice
to organize competitions in such cases as well, depending on the location in certain territories.
Dup cum am m
men
nionat anterior, metoda i
procedura
rocedura
ra de licita
licitaie public pentru servicii de
arhitectur
rhitectur n Bulgaria
Bulgari sunt nc plasate la acelai
nivel
ivel cu cele pentru co
construcia efectiv. n aproape
toate procedurile de comand de acest tip, criteriile de evaluare i procentele corespondente pentru
rezultatul nal sunt distribuite dup cum urmeaz:
cea mai sczut ofert de proiectare 50%, valoarea
estetic a conceptului 40%, timpul necesar pentru
proiectul tehnic 10%. n mod evident, importana
criteriilor arhitecturale nu poate clar denit,
de vreme ce e plasat undeva la mijloc. nc ncerc
s neleg de ce politicienii notri nu pot vedea
consecinele acestei practici.
54
#2
Informaia despre proiectul biroului de arhitectur Fraii Kadinovi (a prefera cumva s e o intrig
a unei comedii Warner Bros., de exemplu) a fost
insucient. S-a menionat c proiectul a primit
un grant de nanare de la EEA-grants (nanate de
Norvegia, Liechtenstein i Islanda) n valoare de 2,6
milioane euro, din care 15% era conanare naional, mai exact, cu banii contribuabililor.
Era de ateptat ca proiectul s surprind orice arhitect serios. Colegii mei de la Asociaia
Transformatori, ca i subsemnatul am rmas fr
grai i am decis s intrm n aciune. Pn acum,
toate bune. Dar ne-am pus ntrebarea: ce ar putea
face un grup de oameni (la momentul respectiv
nu eram nregistrai ocial drept asociaie) pentru
a-i exprima indignarea ntr-o ar n care expresia
societate civil pare un termen aproape trivial. Am
ajuns astfel la concluzia de a scrie o scrisoare deschis n care se pun ntrebri cum sunt cele de mai jos:
Cine, cnd i cum a judecat cldirea n chestiune
ca ind potrivit pentru un astfel de muzeu, de vreme ce e o cldire n folosin i de-abia are 1.000 m?
Nu ar trebui ca un proiect de o asemenea importan s e o prioritate a societii i s e cutat
un sprijin larg pentru realizarea sa, s aib loc un
concurs de arhitectur, s e prezentate un concept
i idei pentru curatorul viitorului muzeu, s avem o
colecie existent?
Am scris o scrisoare ampl i am trimis-o tuturor
instituiilor responsabile din Bulgaria, dar i n alte
ri i am nceput s ateptm
Nu am primit niciodat un rspuns de la administraia bulgar, dar evenimentele care au urmat
ne-au dat o mic speran c putem mbunti
ceva n ara noastr.
The information about the project of the architectural agency Kadinovi Brothers (somehow
I would prefer it to be merely a plot of a Worner
Bros comedy, for instance) was more than scarce.
It was mentioned that the project has received a
grant for funding from the EEA-grants (nanced by
Norway, Liechtenstein and Iceland) in the amount
of 2,6 million Euro, 15% of which would be a national
co-founding, meaning taxpayers money.
It was completely understandable for the project
to shock each and every relatively adequate architect. My colleagues from Transformatori Association
and me were speechless and decided to take action.
So far, so good. But we have asked ourselves the
question what could a bunch of people (at that
time we still hadnt registered officially as an association) do in order to express their indignation
in a country where the phrase civil society sounds
almost like dirty words. So we came to the conclusion to write an open letter in which questions like
e
the ones below are brought up:
Who, when and how did judge that the building
in question is suitable for such a museum as it is a
building in usage and is barely 1000 m?
Shouldnt project of such importance be a societal priority and a wide support to be sought for its
realization, an architectural contest be organized,
a concept be present as well as ideas for curating
the future museum, shouldnt there be an existing
collection?
We wrote a wide letter and sent it to all responsible institutions in Bulgaria as well as to several
abroad and we started waiting
We never received an answer from Bulgarian
administrations, but the events to follow gave us
even little but still some hope that we could improve
something in our country.
About a month after publishing the letter there
was a vivid discussion going on in the media,
though mostly on elite newspapers and several
adequate blogs on the Internet. Soon the news came
about the sacking by the controversial Minister of
culture Vezhdi Rashidov of the current director of
the National Arts Gallery Boris Danailov. As one
of the reasons behind that,serious negligence and
mistakes in the management of the SAMSI-project
were quoted.
Almost at the same time, we have organized,
along with another group of architects, a discussion
PROIECTUL
ARHITECILOR
KADINOVI BROS.
THE PROJECT BY
KADINOVSKI BROS.
55
56
FR SCPARE.
SCARA VITRAT
DE EVACUARE DIN
SPATELE MUZEULUI
NO ESCAPE. THE
GLAZED EMERGENCY
STAIRS AT THE BACK
OF THE MUSEUM
#2
57
PIATRA DE
MORMNT.
EVENIMENT
FUNERAR ORGANIZAT
DE CTRE
TRANSFORMATORI I
ASOCIAIA WHAT
TOMBSTONE.
FUNERARY EVENT
ORGANIZED BY
TRANSFORMATORI
AND WHAT
ASSOCIATION
REPRODUCEREA
INTERVENIEI,
AEZAT N FAA
MUZEULUI
REPRODUCTION
OF THE
INTERVENTION,
PLACED IN FRONT OF
THE MUSEUM
INTERVENIA
CLANDESTIN
ASUPRA
MONUMENTULUI
ARMATEI SOVIETICE
CLANDESTINE
INTERVENTION ON
THE SOVIET ARMY
MONUMENT
bout an year ago one more time bomb, conceived in the corridors of Soa Municipality,
detonated. A public discussion was held in
the building of the Union of the Bulgarian
Architects about the project for reconstruction of
the pedestrian area along the Tzar Osvoboditel
boulevard between the Orlov most square and the
Soa University. Two alternative concepts were presented please notice, both of them created by the
same design team.
Once again, we crashed into one already established post socialist period practice. The fate of the
pieces of public property is decided in deep secret
and under the table. Without public competition.
With direct commissioning. It is a depraved practice,
which is catastrophic for the future development
these public areas, since it is depriving them of the
possibility to realize their maximum capacity.
Now, against all quality control standards and
reasonable management of the community nancial and territorial resources, the future of one such
key place in Soa is predetermined. But by whom?
And why in this way? And although for the professionals it is clear that it is simply a choosing the
least
east o
of two menaces,
e aces, for
o the
t e bigger
b gge part
pa t of
o the
t e So
So a
60
publicat proiectele pe site-ul su, oferind cetenilor prilejul de a vota pentru unuldintre ele.)
Dup solicitarea unei explicaii, Municipalitatea
Soa a conrmat c nu s-a inut nici un concurs.
Execuia lucrrilor de design a fost atribuit lui Soa
proekt, o rm a municipalitii, a crei principal activitate este proiectarea infrastructurii de
transport i utiliti. Deci, a fost decizia lor de a
subcontracta designul arhitectural ctre o rm
independent. Conform surselor unuia dintre cele
mai populare cotidiene din Bulgaria (Capital),
proiectul arhitecilor Konstantinov i Nokova a fost
ales dup participarea la procedura de licitaie public la scar redus, n care rma lor, una dintre cele
trei prezente n total, a propus cel mai mic cost de
proiectare. Deci, preul serviciilor de arhitectur este
criteriul de calitate pentru mediul construit actual
(nicidecum conceptele de spaiu i proiectare, ideile
pentru rezolvarea problemelor zonei i pstrarea
identitii culturale, abordarea i originalitatea proiectului i nici mcar adecvarea la momentul n care
trim). Aceast abordare nu este doar amoral, ci i
condamnabil. n ciuda faptului c municipalitatea
a alocat un buget de 3.000.000 leva pentru lucrri i
revitalizare, nu ar dunat proiectului dac o sum
mic de 30.000 de leva ar fost investit n organizarea unui concurs serios de arhitectur, inclusiv
pregtirea programului, premiului i juriului, n loc
s e aglomerate autoritile cu propuneri alternative.
at ve. Pierderea
e de ea acestei
aceste oportuniti
opo tu t este o lips
ps
61
PROIECT PENTRU
AMENAJAREA
PIETONAL A UNEI
PORIUNI DIN
BULEVARDUL ARUL
OSVOBODITEL.
VARIANTA
GEOMETRIC
(DETALIU)
PROJECT FOR
A PEDESTRIAN
AREA ON TZAR
OSVOBODITEL
BOULEVARD.
GEOMETRICAL
CONCEPT (DETAIL)
62
63
VARIANTA
ORGANIC
(DETALIU)
ORGANIC
CONCEPT (DETAIL)
Valoare de
schimb: pieele
n aer liber din
Budapesta*
Exchange Value:
open-air markets
in Budapest*
64
Text:
Levente Polyak
#2
public; este i o p
p
problem
de dezvoltare economic, una
de transport,
p
este o chestiune
chest
d p
de
plani
l icare regional,
gi
l este
o problem ecologic.
n aprilie 2010, Imre Ikvay-Szab, pe atunci primarul adjunct al Budapestei, spunea ziaritilor
la o conferin de pres: Peisajul urban este
afectat n mod negativ de standurile de fructe i
legume. A continuat cu propunerea de retragere a
permisiunii de a vinde alimente n spaiile publice
n zonele centrale ale oraului. Folosirea termenului
de peisaj de ctre Ikvay-Szab implic faptul c,
prin referina la ceea ce se vede, peisajul sugereaz
o relaie cu spaiul public bazat pe o atitudine pasiv de spectator mai degrab dect aciunea. Peisajul
este ceea ce se ofer ochiului: n loc s e un teren al
activitilor, peisajul urban este un set de imagini.
Considerarea spaiilor publice drept imagini n
locul terenurilor dedicate activitilor nu este chiar
o invenie a primriei din Budapesta. n ultimii ani,
un numr crescnd de teoreticieni a descris procesul
prin care peisajul urban i-a pierdut materialitatea
i s-a transformat n principala form de reprezentare vizual a oraului, aa dup cum scria sociologul american Sharon Zukin n 1995: Dezvoltarea
audiovizualului n secolul al XX-lea a transformat
fotograa i lmele n cele mai importante mijloace
culturale de ncadrare a spaiului urban, cel puin
pn n anii 70. De atunci, pe msur ce suprarealismul din lmul King Kong s-a transformat n cel
din pelicula Blade Runner i redezvoltarea s-a concentrat pe activitile de consum, peisajul material
nsui cldirile, parcurile i strzile a devenit cea
mai important reprezentare vizual a oraului.
Dac, n sensul postmodernismului arhitectural,
cldirile sunt reduse la faade, atunci, conform acestui lucru, politicile de securizare i puricare urmresc s reduc strzile urbane la vederi reprezentnd
diferite idealuri ale ordinii civice, adaptate dintr-o
diversitate de elemente provenind din secolele al
XIX-lea, al XX-lea i al XXI-lea. Regenerarea urban
bazat pe spaiile publice nfrumuseate privete
pieele drept simple fenomene estetice, ignornd
dimensiunea lor social, economic i ecologic.
Atunci cnd urbanismul neoliberal prevede crearea
pieelor publice pentru comercializarea bunurilor de
consum, ele sunt circumscrise, adaptate unei clientele prospere, exclusiv att pentru vnztori, ct i
pentru clieni.
n April 2010, Imre Ikvay-Szab, then deputy mayor of Budapest, told journalists at a press conference: The urban landscape is negatively affected
by fruit and vegetable stalls. He went on with
proposing to withhold permissions to sell food in
public spaces in central areas of the city. The use of
the word landscape by Ikvay-Szab is telling: in its
reference to seeing, landscape suggests a relationship to public space that is based on spectatorship,
more than on agency. Landscape is what is given
only to the eye: instead of being a terrain of activities, the urban landscape is a set of images.
To look at public spaces as images instead of
terrains of activities is hardly an invention of the
Budapest City Hall. In recent years, an increasing
number of theorists have described the process in
which the urban landscape gradually lost its materiality and has turned into the citys foremost visual
representation. As the American sociologist Sharon
Zukin wrote in 1995: The development of visual
media in the 20th century made photography and
movies the most important cultural means of framing urban space, at least until the 1970s. Since then,
as the surrealism of King Kong shifted to that of
Blade Runner and redevelopment came to focus on
consumption activities, the material landscape itself the buildings, parks and streets has become
the citys most important visual representation.
If, in the sense of architectural postmodernism,
buildings are reduced to their faades, in conjunction with this, securitizing and sterilizing policies
aim to reduce urban streets to postcards, embodying
diverse ideals of the civic order, customized from a
variety of 19th, 20th and 21st century elements. Urban
regeneration based on beautied public spaces looks
at markets as mere aesthetic phenomena, ignoring
their social, economic and ecological dimension.
When neo-liberal urban planning envisions creating public goods markets, they are circumscribed,
well-targeted markets for an affluent clientele,
exclusive for both vendors and customers.
In the following pages, I will identify and analyze
tendencies of the transformation of open-air markets in Budapest and will discuss the multi-faceted
importance of markets in the urban ecology and
NTRE INTERIOR
I EXTERIOR PIA
ACOPERIT LA
SZNA TR (FOTO:
ALLAN SIEGEL)
BETWEEN INSIDE
AND OUTSIDE
MARKET HALL AT
SZNA TR (PHOTO:
ALLAN SIEGEL)
65
66
Reglementarea pieelor
ac pieele de azi i deranjeaz pe edilii
primriei cu nfiarea lor, aceasta nu e n
nici un fel un conict proaspt descoperit:
pieele au fost privite drept elemente disturbatoare de generaii de legislatori; reglementarea
pieelor a fost o prioritate n ultimii 150 de ani. n
paralel cu rspndirea spre Est a ideilor igieniste ale
lui Haussmann privind sistematizarea urban, i inspirate de halele alimentare care puteau aduce taxe,
ale lui Napoleon, conceptele de reorganizare a distribuiei alimentelor au traversat de asemenea distane
geograce semnicative. Infrastructura alimentar
complex i haotic dezvoltat n prima jumtate
a secolului al XIX-lea a fost considerat ca necorespunztoare cerinelor unei metropole moderne: n
1870, liderii oraului au czut de acord asupra nevoii
de reglementri restricionate pentru pieele de
alimente. Ei au estimat c erau prea multe piee (44
n aer liber i peste 10.000 de vnztori ambulani
la mijlocul deceniului 1890) n Budapesta, fr controlul necesar i cu un nivel de igien la standarde
medievale. Ca reacie la aceast criz de furnizare a
hranei publice, o comisie special a fost ninat
n 1879, cu scopul de a superviza crearea unui sistem
de hale de pia, bazat pe modele occidentale.
Regulating markets
f todays markets bother City Halls officials in
their very appearance, this is by no means a
newly found conict: markets have been seen as
disturbing elements by generations of legislators;
regulating markets have been on the agenda for the
past 150 years. In parallel to the eastward spread of
Haussmanns hygienist ideas of urban systematization, and inspired by Napoleons taxable market
halls, concepts of reorganizing food distribution
also traveled signicant geographical distances. The
complex and chaotic food infrastructure developed
by the rst half of the 19th century was judged to not
match the requirements of the modern metropolis: in the 1870s, city leaders agreed upon the need
for restricted regulations for food markets. They
estimated that there were too many markets (44
open-air markets and over 10.000 mobile vendors in
the mid1890s) in Budapest, without the necessary
control, and with hygiene-levels of medieval standards. In response to this public food supply crisis, a
special commission was established in 1879, in order
to oversee the creation of a market hall system,
based on Western models.
Market halls were not simply covert versions of
the previously present open-air food markets: they
were institutions in themselves, sophisticated tools
in the municipalitys hand to respond the challenges of modern urbanization. By price control, quality
AUTENTICITATE
I PITORESC (FOTO:
GAB BARTHA)
AUTHENTICITY
AND PICTURESQUE
(PHOTO:
GABBARTHA)
#2
Halele au fost nu doar simple versiuni camuate ale pieelor n aer liber anterioare: ele erau
instituii de sine, instrumente sosticate n mna
municipalitii pentru a rspunde la provocrile
urbanizrii moderne. Prin controlul pieei, asigurarea calitii i standardele de igien, halele au
susinut instituiile municipale s devin mediatori
ai consumului urban de alimente, reprezentnd o
conexiune de nentrecut n lanul alimentar dintre
fermieri i consumatori. Controlul municipal asupra
infrastructurii alimentare urmrea totalitatea:
legislaia de dup construcia halelor propunea ca,
n districtele unde noile hale au fost construite, cele
vechi s e interzise.
n cursul deceniilor de conducere comunist, un
alt val de modernizare a ajuns pieele din anii 80:
n efortul de a centraliza i mai mult comerul, multe din halele din Budapesta au fost transformate n
supermarketuri, raionalizndu-se mai departe distribuia alimentelor prin impunerea unor standarde
asociaiilor agricole i consumatorilor, eliminnd
astfel legtura dintre cei din urm i productorii
de alimente. Totui, n paralel cu spaiile interioare
pentru comerul cu alimente, sub control accentuat i monopolizat, economia de pia emergent
din anii 80 mpreun cu o economie secundar
noritoare au transformat spaiile publice n piee
temporare, neociale, unde toat lumea prea s
aib ceva de vnzare.
67
PIEELE
ALIMENTARE N AER
LIBER SUNT SEMNUL
SRCIEI (FOTO:
GAB BARTHA)
OPEN-AIR
MARKETS
ARE SIGNS OF
POVERTY (PHOTO:
GABBARTHA)
PIEELE
SUNT O RESURS
IMPORTANT
PENTRU VRSTNICI
MARKETS
ARE IMPORTANT
RESOURCES FOR THE
ELDERLY
68
ntre
ntre
tre reglementri i practic
a o recent conferin despre pieele stradale,
participanii au fost de acord c factorul-cheie penru buna funcionare a pieelor este
reglementarea adecvat. Deschiderea ctre
pieele alimentare publice i comerul stradal se
manifest cel mai bine sub reglementri tolerante.
Scriind despre conictele dintre reglementri i
practica vnzrii pe strad, Alfonso Morales subliniaz c reglementarea guvernamental poate duce
potenialul antreprenorilor spre nerespectare. (...)
Urbanitii ar trebui s e interesai s ajute oraele
s se conecteze n loc s-i hruiasc pe negustori.
Schimbarea cadrului legislativ pentru a permite
pieelor stradale s aib loc implic o diversicare a
regulilor i adaug msuri progresive i stimulative
acestora. Regulile trebuie s e adaptabile la nevoile tipurilor distincte de vnztori i s in cont de
diversele motivaii ale vnzrii.
n loc s e inexibile, continu Morales, reglementrile trebuie s se adapteze pentru a reecta
experiena negustorului i a edilului deopotriv,
pentru a nelege schimbrile de sezon i a asigura
echitate i accesibilitate. Legislatorii nu trebuie s
atepte o respectare imediat; mai degrab, structura i punerea n vigoare trebuie s invite experimentarea. Servind drept incubatoare economice,
pieele pot laboratoare de autoangajare i creare
ntreprinztoare, aa cum a demonstrat
PIAA ACOPERIT
HUNYADI TR UN
MONUMENT ISTORIC
N RUIN (FOTO:
GAB BARTHA)
HUNYADI TR
MARKET HALL
A HISTORIC
MONUMENT FALLING
APART (PHOTO:
GABBARTHA)
#2
Laud pieelor
In praise of markets
69
TARABE GOALE
N PIAA ACOPERIT
I RENOVAT
GARAY TR (FOTO:
GABBARTHA)
EMPTY STALLS
IN THE RENOVATED
GARAY TR MARKET
HALL (PHOTO:
GABBARTHA)
70
Concluzie
and sttre
reett vendo
reet
en
ndo
dorss con
ntrriibut
ute
te to
to eco
cono
n miic
and
an
d co
c mm
mun
nit
ity de
dev
ve
elo
opm
pmen
en
e
nt, pro
r v
viidiing
g a var
arie
arie
i ty
y
offb
o
ben
e e
ts.
s
C rtai
Ce
aiinly,
nlly,
y Morralles is no
nott th
the
e on
onl
nly
ly res
esea
earc
ea
rche
h r to
he
to
ac
ccr
cred
ed
ditt the
hese
se
e potten
enti
tiial
alss to
o mar
a ke
k ts
ts. In
I th
he
e ssch
chol
ch
ola
ol
arly
ar
y
an
nd po
p p
pu
ula
l r li
litte
era
ratu
ture
ure
e, ma
ark
rket
e s ar
et
a e of
ofte
ten
en de
d sc
cri
r be
bed
ed
as gen
as
enui
uiine
e pub
ubli
lic
li
ic sp
pac
ace
aces
ess of a part
part
pa
rtic
cul
ular kin
nd:
d whi
hile
func
func
fu
ncti
tion
ti
nin
ing as
as mee
eettiing
n pla
l ce
es fo
for
or lo
loca
cal co
omm
mmun
mmun
uniiittiiess, th
hey
ey alsso off
ffer co
cont
n ex
extss for
or intterrge
gene
ne
era
atiio
on
nal
al
en
nc
co
o
oun
unte
un
ters
ers
rs and
n forr the
he exc
x ha
ang
nge
ge off n
non
on
n-p
-pri
pri
rima
m ry
ma
y
i fo
in
orrm
mat
atio
io
on
n,, suc
uch as
a jobs,
s ssal
alles
es,, po
posss
ssib
ibiil
ilit
ilit
ities.
ie
es.
s.
Fu
Furt
urthe
rthe
rt
herrm
morre,
e tthe
hey
he
ey ca
an be c
con
on
onsi
nsi
s de
d re
red a
ass pil
illa
illa
lars
r of
rs
publ
pu
b ic
ic he
ea
alth,
ltth,
h, by prrov
ovid
idin
ing aff
in
ing
ffo
ord
rdab
rd
ab
a
ble
e fre
resh
resh
sh food,
ood
oo
d,,
su
upp
por
o ting
tiing bio
odi
dive
verrsit
rsit
rs
ity,
y, pro
om
mo
oti
tin
ng fai
ng
a r trrad
ade,
de
e,, and
d
e ha
en
hanc
anc
cin
i g th
t ea
ac
cce
cess
sss to co
comm
mm
m
mer
erciial
al act
ctiv
vittie
es o
off
p op
pe
ople w
ople
wit
i h a very
it
ve
ery
y low
ow p
pro
r t ma
ro
arg
gin
in, o
offte
en at
a tth
he
he
pe
p
eriiph
her
erie
eri
ies
es of ssoc
o ie
oc
iety
t . IIn
n an
notthe
her pe
p rs
rspe
spe
pect
ecttiv
ive,
e, b
e,
by
y
se
erv
rvin
in
ng mu
m lttip
ple
e con
onsst
stit
tittue
uenc
ncie
nc
ncie
es,, fro
rom lo
low
w--in
inco
nco
ome
me
c ty
ci
y res
esid
dents
ents
en
ts tto
o gour
gour
go
urm
metss, ma
me
mets
mark
ark
rket
etts ma
may en
enh
ha
anc
ce
so
oci
c all and
de
eth
thni
th
nic in
inte
nte
tegr
g at
gr
atio
io
on.
n.
. Th
The
ese
e dim
imen
enssiion
onss
alll hi
al
h gh
hliigh
ht the
th
he p
pu
ub
ubl
bllic
ic int
n erres
estt in
in mai
aint
ain
ntai
ainni g ma
in
mark
rket
rk
ets:
et
s: b
by
y tu
urn
rnin
ing ma
in
market
mark
rk
ket
e s in
nto sch
choo
olss an
nd
d
heal
he
allth
th cen
nte
t rs
rs, th
rs,
th
he
e Ba
B rc
cel
elon
on
na mu
m ni
nici
cipa
ci
cipa
p li
lity
yss pro
rojject
ject
je
ctss
s em
se
m tto
o ex
xem
empl
plif
pl
ify th
if
he co
conc
ncep
ce
ep
pt off the
he ma
arrke
et as
as a
publ
pu
blic
ic
cins
iinssti
t tu
tuti
t on.
on
n
Conclusion
n th
t is
is art
r ic
icle
le
eIa
attt
ttem
tem
mptted
d to de
desc
scri
r be
b and
nd ana
nanaly
yze tthe
he
e con
onte
te
em
mp
por
orar
arry di
dile
le
emm
mass pub
u lic
liic fo
food
d
m rket
ma
rk
ketts fa
ace
e; I a
ap
pprroa
oach
ch
c
hed
d tthe
he
h
em in
n an in
inte
tte
terd
erd
rdis
is-is
cipl
ci
p in
pl
inar
a y el
ar
e d link
liink
nkin
ing
in
g urrba
an an
nd arrc
ch
hit
itec
ectu
ec
tu
ura
r l
hist
hi
s or
st
ory,
y ssoc
y,
ocio
oc
io
olo
ogy and urb
ban po
ollic
i y.
y Thiiss pa
p pe
er
brie
br
ey de
d mo
onsstrrat
ated
ed how the c
con
on
nst
s ru
uct
ctio
io
ion
on off
co
ove
v re
ed ma
mark
rket
rk
et hal
a lss ind
n ic
i at
a ed an eff
ffortt to co
c ntrol
tr
o ffoo
ol
oo
od ex
xch
chan
ange
an
ge
eb
bot
oth
ot
h in
n terrmss of hy
hygi
g en
gi
ne an
a d
off tax
xat
atio
io
on. V
Var
ario
ar
io
ous
u his
isto
tto
ori
r ca
al peri
pe
eriiods
ods ad
od
a de
ded
d th
hei
eirr
ow
wn re
regu
gula
gu
la
ato
t ry
y ssys
yste
ys
tems
te
ms to ma
m rket
rk
ket
etss an
and
d ha
hall
l s,
ll
s tthu
huss
hu
f rtthe
fu
herr co
comp
mpli
mp
lica
li
c ti
ca
ting
ng
g tthe
he
e posssi
sibi
bili
bi
lity
li
ty to se
sell
ll and buy
uy
att o
ope
open
pe
penenn-a
air fo
air
ai
food
ood
dm
markets.
a ke
ar
kets
ts.. In tthis
ts
hiss history,
hi
hist
hi
stor
st
ory,
or
y, rreg
regulations
egul
eg
u attiio
ul
ons
are of crucial importance: regulations can be used
as pretexts to eliminate street markets, but they
can also engender market activities, thus creating
thriving markets, an enhanced public health and
employmentpossibilities.
Disorder and prosperity are seen today by
many in municipal governments as mutually exclusive. If urban policymakers in many cities (including
Budapest) have not acknowledged the opportunities
markets offer, activists and civil organizations have
indeed recognized many of the ndings of researchers studying markets. The success of activist NGOs
working on markets exemplies the ways in which
conicts related to markets are intertwined with
dilemmas of public space design and regulations,
of local economy and employment, of public health
and affordable fresh food, of community cohesion
and sociability, and of corruption, among others.
Faithful to their tradition, markets may prove to
be important tools for urban planning, and highly
instrumental in creating sustainable cities: to really
understand their inuence on urban processes, we
have no choice but to conceive them at the intersection of all the domains they belong to.
COMER
IMPROVIZAT LA
INTRAREA N PIAA
ACOPERIT HUNYADI
TR (FOTO: GAB
BARTHA)
INFORMAL
COMMERCE AT THE
ENTRY OF HUNYADI
TR MARKET
HALL (PHOTO:
GABBARTHA)
#2
viital
v
l: pe
pe de o p
pa
artte,
e, ele
le pott fo
f lo
los
ossiiite
te
ed
dre
re
ept
pt
prrettex
p
xte
te de ellim
minar
inarre a pi
in
p e
eel
e orr aliime
el
men
nttar
are
re st
stra
ra
rada
ada
dale
le,,
le
dar pe de a
dar
da
allt
parte
arrte
e, po
pot ssttim
mul
ula ac
actiivi
vit
ti
ile
le
e ace
cest
s ost
ra, cr
ra,
ra
cre
cre
nd
nd piee
ie
ee
e no
ori
rriito
toar
are,, o sn
ar
nt
ta
ate pu
at
publ
blic
bl
ic
ic
ma
m i
bun
bu
un
n
i op
opor
ortu
un
niit
i
i de an
nga
gaja
jare
ja
re
e.
D
Dez
Dez
zorrdi
dine
ea
a i p
pro
rosp
pe
errit
itat
tat
ate
ea su
ea
ea
sunt
untt asttz
zi prriv
ivit de mu
te
ul
li me
emb
mbri d
mbri
din
i guv
in
uvern
errne
nele
e munic
un
nic
cip
pal
ale drrep
ept
rre
ec
ciipr
proc
oc exc
clu
usi
sive
ve. Da
ac
c dec
ecid
den
eni
eni
i ur
urba
ba
b
anii diin
n mul
ulte
te
o a
or
ae (iin
nc
clu
usi
siv
v ce
cei di
din
n Bu
B da
dape
pest
sta)
sta)
st
a nu a
au
u rem
emar
arrca
a
rca
at
o or
op
ortu
tun
niit
i
le
e pe ca
car
are
re le offer
er
p
piie
e el
ele,
e, a
act
ctiiv
cti
ct
viti
t i ii
orga
or
rg
ga
ani
niza
aiil
iiille ciivi
vice
ice
e au re
recu
cu
uno
nosc
scut
sc
ut nt
n rr-a
ad
dev
ev
rr mul
ulte
ulte
t
din de
di
esco
sc
co
op
per
erir
iril
ille ce
erc
rcet
ettttor
ett
oril
oril
ilor
orr c
car
arre an
a
anal
alliz
aliz
zea
eaz
z
pie
pi
eelle. Succe
uc
cc
ce
esu
ul ON
NG-u
urriilo
or ac
cti
tivi
ivi
vist
s e ca
care
are
re luc
cre
rea
az
az
cu pie
ee
ele
le ex
le
xe
emp
plliic
c mod
odur
urille n
ur
n carre co
on
niiict
ctel
ct
elle
leg
le
ga
ate
e de ac
ces
este
te
ea se
se lea
eag
g
g
de di
d le
leme
mele
me
le
e pro
roie
iect
ie
cttrrii
sp
paiu
ulu
luii pu
ubl
blic
blic
ic i n
nto
nto
tocm
cmir
cm
irii
ir
ii reg
gle
eme
m nt
ntr
rril
ilor
o , de
or
e
e on
ec
onom
mia
a lo
oc
call ii for
o a de munc
mu
unc
nc,
, de s
sn
nta
n
ta
ate
tea
a
pu
p
ublic
blic
bl
ic
ii a
alli
lime
ment
ment
ntel
elle prroa
o sp
spet
ete
et
e ie
ieft
ftin
ft
in
ne,, de co
c ez
eziu
iu
une
n
ea ii ami
miab
abilliittat
a ea
e com
omun
unit
un
i ar
it
a , darr i de
d cor
o up
piie,
e,
prin
pr
ntr
tre al
a te
telle
e. Cr
C ed
edin
in
nci
cioa
oase
oa
se tradi
radi
ra
dii
dii
iei
eii pro
ropr
ropr
prii
ii,
ii
i, piieel
ele
le
pott do
po
dove
vedi
ved
ve
di c ssu
untt iins
nstr
ns
trrum
u en
ente
te iimp
mp
por
orta
tant
ta
nte
nt
e al
ale
e
u ba
ur
aniism
mul
ului
ui i ch
chei
eiia ad
e
a ev
e r
at
at
n cre
ear
a ea ora
rae
ello
e
lor
du
ura
abi
bille
e: pe
pen
nttru
u a le n
ne
ele
l ge in
n u
uen
ena
en
a n
n pr
proc
oces
oc
esel
es
ele
el
e
urba
ur
urba
bane
e, nu
u av
ve
em al
em
alt
t ale
t
l ge
gere
r dec
ect
t ss
le con
once
cepe
ce
pem
pe
m la
inte
in
ters
te
rsec
eci
ci
ia
ia tu
tutu
t ro
tu
rorr do
dome
me
m
en
eniil
niillor
o d
de
e ca
care
rea
re
a
apa
par
rin
r
in..
in
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FERENC VADAS, A SURVIVING BUILDING TYPE IN BUDAPEST, N
MARKET HALL. EXPIRATION DATE: TO BE DETERMINED, ED. ALLAN
SIEGEL (BUDAPEST: ERNST MZEUM, 2005), 133139.
ANDRS SZALAI, THE CHANGING WORLD OF THE MARKET AND
MARKET HALL, N MARKET HALL. EXPIRATION DATE: TO BE
DETERMINED, ED. ALLAN SIEGEL (BUDAPEST: ERNST MZEUM,
2005),150.
SZALAI, IBID., 153.
O PIA PENTRU FIECARE DISTRICT: HRAN, CONSUM, URBANISM.
O CONFERIN ORGANIZAT DE CENTRUL UNGAR DE ARHITECTUR
CONTEMPORAN N 19 MARTIE 2011, N BUDAPESTA. PENTRU DETALII, A
SE VEDEA: KEK.ORG.HU/PIAC/EN
ALFONSO MORALES, PUBLIC MARKETS AS COMMUNITY DEVELOPMENT
TOOLS, JOURNAL OF PLANNING EDUCATION AND RESEARCH 28
(2009):428.
MORALES, IBID., 428.
MORALES, IBID., 438.
PENTRU DETALII, A SE VEDEA WWW.CITYMINED.ORG/
LSZL RAJK LA CONFERINA A MARKET FOR EVERY DISTRICT: FOOD,
CONSUMPTION, URBANISM, N 19 MARTIE 2011, BUDAPESTA.
INTERVIU CU GAB BARTHA, 22 SEPTEMBRIE 2007.
SHIRA BRAND, MARKETS AND THE CITY, TRADITIONAL SPACES OF
COMMERCE FOR A GLOBAL SOCIETY, N MARKET HALL. EXPIRATION
DATE: TO BE DETERMINED, ED. ALLAN SIEGEL (BUDAPEST: ERNST
MZEUM, 2005), 156.
ALLAN SIEGEL, INTRODUCTION, N MARKET HALL. EXPIRATION
DATE: TO BE DETERMINED, ED. ALLAN SIEGEL (BUDAPEST: ERNST
MZEUM, 2005), 105107.
MORALES, IBID., 426.
ALLAN SIEGEL LA CONFERINA A MARKET FOR EVERY DISTRICT: FOOD,
CONSUMPTION, URBANISM, 19 MARTIE 2011, BUDAPESTA.
STEVEN BALKIN, SELF-EMPLOYMENT FOR LOW-INCOME PEOPLE,
(NEWYORK: PRAEGER, 1989).
BRAND, IBID., 154.
JORDI TOLRA LA CONFERINA A MARKET FOR EVERY DISTRICT: FOOD,
CONSUMPTION, URBANISM, 19 MARTIE 2011, BUDAPESTA.
71
BIBLIOGRAFIE / BIBLIOGRAPHY
BALKIN, STEVEN. SELF-EMPLOYMENT FOR LOW-INCOME PEOPLE, NEW
YORK: PRAEGER, 1989.
BARTHA GAB. RETHINKING THE MARKETPLACE: A STORY OF
RESISTANCE AND PROACTIVITY, N/ IN ANATOMY OF A STREET, EDITAT
DE/ EDITED BY ESZTER STEIERHOFFER I LEVENTE POLYK, LONDON:
ART NETWRK AGENCY, 2010, 2934.
BRAND, SHIRA. MARKETS AND THE CITY, TRADITIONAL SPACES OF
COMMERCE FOR A GLOBAL SOCIETY, N/ IN MARKET HALL. EXPIRATION
DATE: TO BE DETERMINED, EDITAT DE/ EDITED BY ALLAN SIEGEL,
154158. BUDAPEST: ERNST MZEUM, 2005.
CALABI, DONATELLA. THE MARKET AND THE CITY: SQUARE, STREET
AND ARCHITECTURE IN EARLY MODERN EUROPE, BURLINGTON:
ASHGATE,2004.
FOUCAULT, MICHEL. DISCIPLINE&PUNISH: THE BIRTH OF THE PRISON.
NEW YORK: VINTAGE BOOKS, 1995.
GER ANDRS. PIAC A CSARNOKBAN (MARKET IN THE HALL), N/ IN
LEHEL: TR-PIAC-VSR-CSARNOK, EDITAT DE/ EDITED BY JUDIT
RAJK, PCS: JELENKOR, 2003, 3942.
JANECSK KATA. A KLVROSBA ZN A PULTOZ ZLDSGRUSOKAT
A FPOLGRMESTER-HELYETTES (PRIMARUL ADJUNCT AR MUTA
TARABELE CU LEGUME CTRE SUBURBII), ORIGO, APRIL 23, 2010.
MORALES, ALFONSO. PUBLIC MARKETS AS COMMUNITY DEVELOPMENT
TOOLS, JOURNAL OF PLANNING EDUCATION AND RESEARCH 28 (2009):
426440.
VADAS FERENC. A SURVIVING BUILDING TYPE IN BUDAPEST, N/ IN
MARKET HALL. EXPIRATION DATE: TO BE DETERMINED, EDITAT DE/
EDITED BY ALLAN SIEGEL, 133139. BUDAPEST: ERNST MZEUM, 2005.
SIEGEL, ALLAN. INTRODUCTION, N/ IN MARKET HALL. EXPIRATION
DATE: TO BE DETERMINED, EDITAT DE/ EDITED BY ALLAN SIEGEL,
105107. BUDAPEST: ERNST MZEUM, 2005.
SZALAI ANDRS. THE CHANGING WORLD OF THE MARKET AND MARKET
HALL, N/ IN MARKET HALL. EXPIRATION DATE: TO BE DETERMINED,
EDITAT DE/ EDITED BY ALLAN SIEGEL, 145153. BUDAPEST: ERNST
MZEUM, 2005.
ZUKIN, SHARON. THE CULTURES OF CITIES. OXFORD: BLACKWELL, 1995.
#2
PIA
IMPROVIZAT N
AER LIBER N
PROXIMITATEA
PIEEI ACOPERITE
HUNYADI TR (FOTO:
GAB BARTHA)
INFORMAL
MARKET IN
THE PROXIMITY
OF HUNYADI
TR MARKET
HALL (PHOTO:
GABBARTHA)
73
Activare prin
auto-organizare:
Fabrica de
Pensule &
Club
Electroputere
Cele dou centre de art (din Cluj, respectiv din Craiova) au pornit de
la nevoia simpl a unor artiti contemporani de a-i gsi spaii de lucru. Au recuperat i reconvertit cldiri din epoca socialist, au devenit
prezente ca entiti bine denite pe scena internaional, injecteaz
energie n ora. Toate acestea, fr strategii, fr planicare, fr
sprijin instituional, fr arhiteci.
74
#2
Activation via
Self-Organization:
Paintbrush
Factory &
Club
Electroputere
The two arts centres (in Cluj, respectively Craiova) started from the
mere need of contemporary artists to nd their working space. They
recovered and reconverted buildings from the Socialist era, which
turned into well-dened entities on the international stage, providing
energy to the city. All that without strategies, planning, institutional
supportorarchitects.
75
Club Electroputere
n centru de art i cultur contemporan
creat nu prin ocuparea postindustrial, ci
prin inseria ntr-un ansamblu existent i
reinventarea sa printr-un program cultural
i social alternativ.
76
#2
de factori care devin, cred, extrem de interesani ntr-o discuie asupra condiiilor producerii de
culturcontemporan.
Unul dintre aceti factori ar un extrem de puin
cunoscut context cultural alternativ, nscut n anii
80. n acea perioad oribil, Craiova era unul dintre
oraele apropiate de grania iugoslav (cum era i
Timioara) i avnd astfel acces, de la programele TV
la muzica de contraband, la evoluiile din lumea
liber sau cea semiliber a celei mai puin sinistre
ri din lumea socialist. A existat un fenomen punk
la Craiova, care nu se mrginea la muzic, ci ncerca
s-i asume i o atitudine de stnga antitotalitar.
77
Then
n, th
ther
erre iiss an ex
e
xtr
trem
emel
em
elly fe
ferttil
fert
ile
e os
o ci
cill
llat
atio
at
ion
i n
betw
betw
be
wee
een
n it
itss lo
loca
c ti
ca
tion
o (a ci
on
city
ty in R
Ro
oma
mani
nia,
ni
ia,
a nei
eith
eith
ther
her
e a
capi
ca
piita
pita
tall ci
city
ty
y nor any
n of th
t ew
we
ell
ll-k
-k
-kno
kno
own art
rt c
cen
ente
en
ters)
te
ters
rss)
an
nd a di
d si
sinh
nhib
nh
ibit
ib
i ed
it
d parrti
tici
cipa
ci
pa
ati
tion
on in th
the
e in
inte
tern
te
r a
rn
attio
on
na
al
a t wo
ar
worl
rlld.
d The Fet
e is
ish
h Fa
Fact
ctor
ct
orry Pr
o
Proj
o ec
oj
ect,
t, whi
t,
h ch
c p
pro
ro-ro
v de
vi
d s a l
loo
ook
k frrom
m the out
u si
side
de ffoc
o ussed
oc
ed on ut
utop
op
pia
as,
s,
co
c
ont
ntra
r di
d cttio
onss and
d cul
ultu
tu
ura
rall so
solu
luti
lu
utiion
ons off rec
e en
entt hi
hiss
story
to
ry
y in R
Rom
oman
om
man
ania
nia wass alr
l ea
eady
ady
y pre
ese
s nt
nted
e d
ed
du
urin
ur
ng th
the
e
Roma
Ro
m ni
ma
n an Culltura
tu
ura
ral
al Re
Reso
Reso
s lu
luti
tion
ti
o eve
on
v nt
nt at th
the
e fa
famo
m us
mo
u
Spin
Sp
inne
in
nere
ne
reii in
re
n Lei
eipz
pzig
pz
ig
g be
effor
ore be
ore
eco
c mi
ming
n bec
ng
ecom
ome
om
e th
the
op
pen
enin
ing ev
even
en
e
nt off the
e cen
ente
te
er it
itse
self
lf.
lf
Starting with th
he la
laun
unch
ch in 20
2010
10,, th
10
the acti
ac
cti
t vi
vity
ty
y
of the centre explod
oded
ed: ex
e hibitiion
ns, the
h ela
labo
bora
bo
rate
ra
ate
te
catalogue Roman
an
nia
ian
n Cu
ulturral Res
esolutio
ion
n whi
hich
hich
ch
brings togetherr a c
co
omp
mple
lete
t cura
rato
to
orial
al p
pro
ro
ogr
gram
a me
am
e
78
#2
R
Rm
m
mne
n de v
vzu
zu
ut cu
cum
m va evo
v lu
lua
a re
rela
la
ai
ia
ia ce
entrrul
ului
ui cu o
ui
orra
aul
ul
u . n ffon
on
nd,
d, toat
oat
oa
ope
pera
rai
ra
ia
i
a a po
porn
rnit
it de la
la
lips
li
psa
ps
a un
unui
uii mediu
u
ed
diu
u pen
entr
ent
tru o ac
acti
tiivi
vita
ita
tate
te cultu
te
ura
ral
, ca
care
e
a de
d te
t rmin
rm
min
inat
at un pr
proi
o ec
e t de
d const
on
nst
stru
ru
uir
ire al a
ace
ce
essttui
u a.
a.
Rest
Re
sttul
u s-a a
adu
duna
du
natt i a crre
na
essc
cut
u p
pe
e pa
arcur
rc
cur
urs;
s;; poate
oate
oa
e c
s v
se
va
a n
nt
t
mp
mpla
la
a maii cur
urn
n
nd
nd de
dec
ctt ne
c
n -a
am ate
tept
pta
pt
a ii
o tr
tran
an
nsf
s or
orma
mare
ma
r zic
re
c ma
ai iim
mpo
port
rtan
tan
ant
t a c
t
cl
l
diri
diiri
riii i
a
sp
pa
aiu
iu
iulu
ulu
l i pu
p b
bllic
c ((de
de
d
eo
oc
cam
mda
dat
t mor
ort)
t) din ffa
t)
aa
a
a ac
aces
estu
es
tu-tu
ia.. Po
ia
Poat
ate
at
e c
clu
l bu
bull va
va aju
j n
ng
ge n
nu
ud
doa
oar s
oa
p
pun
un
un
i
i s
m nin
me
nin
n
n Crrai
a ov
va pe har
a ta
t arrtte
eii c
con
on
nte
t mpor
mpor
mp
oran
ane,
an
e,, ci s
devi
de
viin
n i un
n foc
car urb
r an
a p
pe
e ha
arrtta Cr
Crai
aiov
ai
ovei
ov
ei..
ei
CRE
RE DIT
R
DI E:
E
CENTR
CEN
E TR
TRUL
TRU
L ARE
A RE
R E CA
A SPO
S PO
SP
P ONSO
N OR
NSO
R P RIN
RINCIP
CIPAL
CIP
AL UZ
UZ
ZII NA
A ELE
EL CTR
T OPU
UT
TER
ER E
I
I EST
E STES
ST ES
S PRI
PRIJIN
PR
JI N IT
JIN
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C
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L
LY.
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PROIEC
PRO
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AN CU
ULT
T URA
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LU
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79
Fabrica De Pensule
ransformarea Fostei Fabrici de Pensule din
Cluj ntr-un centru cultural independent
este o ntreprindere social i rezultatul improvizaiei creative i al exploatrii contextului postsocialist i al crizei.
80
#2
fenomenul Fabrica de Pensule a marcat nceputul unei schimbri profunde de mentalitate care
ar putea duce la emanciparea comunitii artitilor
din Romnia. Este vorba despre echilibrul dintre
improvizaia creativ i profesionalism: aceast ntreprindere social i-a denit o identitate
strategic, membrii ei i-au desemnat un manager
cultural (elementul-cheie care lipsete din majoritatea instituiilor publice i culturale din ar), i-au
numit un consiliu director i o comisie de extindere,
n nal adernd la structura unei federaii, pentru
a pstra astfel identitatea i independena prilor. Aadar, negocierile cu proprietarul cldirii s-au
purtat pentru ntreaga suprafa disponibil i s-a
semnat un contract comun de nchiriere la un pre
x, pentru urmtorii cinci ani. Chiar dac am plecat cu toii din centru spre periferie, acum galeriile
se bucur de mai mult public, pe principiul vaselor
comunicante, spune Mihai Pop, fondatorul Galeriei
Plan-b (n portofoliul creia se a civa dintre cei
mai valoroi artiti romni contemporani, printre
care Adrian Ghenie i Victor Man).
Conceptul organizrii de ansamblu s-a bazat pe
exploatarea versatilitii spaiilor largi ale fostei fabrici, care au fost mprite n funcie de necesitile
ecruia. Farmecul aparte al parcursului interior
este, de fapt, rezultatul amenajrilor personalizate
ale spaiilor private (din fonduri proprii sau sponsorizri), n contextul deciziei de grup de a nu interveni deloc asupra spaiilor comune, pentru a pstra
memoria locului.
81
Dup un an de zile, Fabrica i-a atins obiectivele: a devenit un punct identicabil pe harta
Clujului i, datorit unui program lunar variat i
consistent, cu evenimente i vernisaje organizate
simultan, a ajuns s adposteasc cele mai populare
evenimente de pe scena cultural a oraului. Mai
mult, capitalul su de imagine a nceput s atrag
parteneriate cu diverse institute culturale naionale
i internaionale, colaborri cu instituii publice,
inclusiv consultaii pe tema sectorului cultural al
noului PUG. Aici cultura nu este doar expus, ci i
produs, ceea ce explic fascinaia enorm i energia
publicului care se vede inclus n aceste procese,
ntlnind un amalgam de spaii expoziionale i
82
83
certied designers, urban planners or managers. Yet, they may need at a certain moment an
architect of the invisible to engage modestly and
sensitively in the ongoing process of reconversing the building into a new production space. On
the other hand, we still wait for the impact of the
Factory on the immediate background: a place with
sufficient social and urban issues, but of a high
potential which is worth being activated. Altough,
such an activation will lead to another issue: as in
so many other places, the development based on an
alternative culture may gentrify the area and
may, eventually, endanger the very existence
of the centre.
www.fabricadepensule.ro
85
86
#2
Wild City
W
o cercetare a proceselor neplanicate i slab
reglementate ale transformrilor urbane.
Pornind de la schimbrile dramatice din
structura urban a oraului Belgrad din
deceniul 90, proiectul ncearc s deneasc logica
intern a acelor transformri i exploreaz cum s
e descrise evenimente aparent haotice ntr-un
mod procesual i sistemic.
s a research into non-planned and barely regulated processes of urban transformations. Starting
off from the drastic changes in the urban structure of the city of Belgrade during the 1990s, it
tries to identify the internal logic of those transformations and investigates how to describe seemingly
chaotic events in a process based and systemic way.
ProcessMatter
ornete de la proiectul anterior Wild City
i urmrete translatarea proceselor urbane
n mediul digital, pentru a studia acea dinamic ce are loc ntre sisteme urbane ierarhice i distribuite. Rezultatul l reprezint un soft de
simulare care aduce una dintre practicile eseniale
n Oraul Slbatic economia de strad pe teren
digital, pentru a percepe evoluia sa i impactul pe
care l genereaz.
87
TRANSFORMAREA
ORAULUI DATORIT
PROCESELOR
DE CONSTRUIRE
SLBTIC I DE
COMERSTRADAL
TRANSFORMATION
OF THE CITY
THROUGH THE
PROCESSES OF
WILD BUILDING AND
STREET TRADE
Wild City
W
raele sunt medii dicil de neles n sensul
complexitii zice i spaiale cu att
mai mult dac un mediu urban traverseaz
recongurri dramatice care par haotice.
Acest proiect exploreaz Belgradul, un ora care n
anii 90 s-a aat ntr-o stare turbulent, n care multe dintre funciile i serviciile oraului, odinioar
asigurate de instituii, au trebuit s e reinventate.
n acea perioad, iniiativele particulare au nlocuit sistemele primare ale oraului n domenii cum
ar comerul, producia de case i chiar serviciile
publice. Procesul rapid i dinamic a creat sisteme
hibride n care soluiile autoorganizate au jucat
un rol-cheie.
n loc s l perceap drept slbatic adic de
neneles, deci inabordabil proiectul reprezint
o ncercare de a gsi conexiuni, stabili principii
n ceea ce prea sau a fost adeseori descris drept
haos. Adaptabilitatea, potenialul pentru inovaii la
scar redus i capacitatea de a recongura oraul
printr-o distribuie imprevizibil a programelor par
vitale pentru sistemele urbane noi.
88
COMERUL
STRADAL. VEDERE
DE ANSAMBLU A
PARTICIPANILOR
LA PROCES I
A RELAIILOR
DINTREACETIA
STREET
TRADE. OVERVIEW
OF PROCESS
PARTICIPANTS AND
THEIRRELATIONS
#2
Pentru a examina raza de aciune a transformrilor nenregistrate ocial, s-a creat o metod de
observare iniial. De-a lungul liniei 7 de tramvai
(urmnd o seciune a oraului), transformrile petrecute au fost nregistrate (fotograate i documentate) i au fost recunoscute i descrise 16 fenomene
diferite, pornind de la comerul stradal, producia
ilegal de locuine pn la inversarea instituiilor
i descentralizarea serviciilor publice cum ar
transportul public.
Unele procese s-au dovedit a avea o mare inuen. Cea mai radical recongurare a oraului s-a
datorat comerului stradal care a intrat n spaiul
public i l-a remodelat. Evoluia comerului stradal
a traversat ase etape, de la mobilitate la folosirea
structurilor uoare, etape legislative i de consolidare, pentru a ajunge n nal la noile tipologii
care paraziteaz adeseori fostele spaii publice.
Proiectul a dus la crearea unui catalog al noilor
tipologii ready-made-uri urbane. n continuare,
pentru a vizualiza transformarea zic i organizaional a proceselor, s-a dezvoltat o tehnic de
documentaresecvenial.
89
MODEL
SECVENIAL 3D
AL PROCESELOR
URBANE MAGAZIN
GENERAL I PIA
DE VECHITURI
3D SEQUENTIAL
MODEL OF URBAN
PROCESSES
DEPARTMENT STORE
AND GREEN MARKET
Finally, the mechanisms of the transformation processes, named urban genetics, have been
extracted. In nearly all of the studied processes,
ranging from street trade to city transport, rapidly adapting organizations are achieved through
conict and negotiations between institutions and
individuals. In a surprising way the transformation
CODURILE
GENETICE URBANE I
TIPARELE ABSTRACTE
DE TRANSFORMARE
ARAT PAII
NEGOCIERII NTRE
WWW.CLASSIC.ARCHINED.NL/WILDCITY/
WWW.CLASSIC.ARCHINED.NL/WILDCITY/
SISTEMUL INERENTCENTRALIZAT
I SISTEMUL
EMERGENTDISTRIBUTIV
(PORTOCALIU), PE
BAZA UNOR SERII DE
PROCESE: COMERUL
CU BENZIN,
TALCIOCUL, PIAA
DE VECHITURI,
TRANSPORTUL
PUBLIC, EXTINDERILE
DE LOCUINE...
URBAN
GENETICS CODES
AND ABSTRACT
PATTERNS OF
TRANSFORMATIONS
SHOW THE STEPS
IN NEGOTIATION
BETWEEN THE
INHERENT
CENTRALIZED
SYSTEM (GREY) AND
THE EMERGENT
DISTRIBUTED
SYSTEM (ORANGE),
OVER A RANGE OF
PROCESSES: PETROL
SELLING, FLEA
MARKET, GREEN
MARKET, PUBLIC
TRANSPORT, HOUSING
EXTENSIONS...
#2
ProcessMatter
P
iezul acestei cercetri l reprezint interesul n implicaiile spaiale i organizaionale ale diferitelor grade de control ale
dezvoltrii urbane, gradele de ierarhie i
heterarhie din sistemele urbane, precum i efectele
anumitor combinaii de activiti urbane reglementate i nereglementate. Cum rspunde (congureaz i performeaz) un mediu urban dac dinamica
ntre asemenea poli variaz sau este chiar eliberat?
nelegerea oraelor drept sisteme adaptabile complexe pune n discuie dac arhitectura i
urbanismul pot deschise ctre inovaiile spontane, pot exibile n interaciunea cu mediul
lor i pot evolua de la implementarea de sus n jos,
unilateral i punctual la o abordare deschis. n
viziunea noastr, o direcie aparent pentru arhiteci i urbaniti const n inuenarea, direcionarea i transformarea proceselor nsei ceea
ce implic o evoluie de la designul obiectelor la
designulproceselor.
Aplicaia de simulare ProcessMatter este conceput ca un instrument decriptiv i explorator al proceselor ubane. Interesul practic n forma zic sau
tiparele de cretere este secundar interesului fa de
caracterul i comportamentul procesului urban n
sine. n prezent, accentul nu este pus pe o calitate
cantitativ a rezultatului, ci mai degrab pe peisajul
calitativ al variabilelor i parametrilor modelului.
ProcessMatter a fost realizat ca un proiect de
cercetare interdisciplinar care a implicat arhiteci, un expert n sisteme complexe i un artist.
Proiectul s-a dezvoltat pornind de la o serie de
workshop-uriintensive.
Mai nti, a fost denit un concept modelator
pentru a putea transporta fenomenele curente
urbane i arhitecturale ntr-un mediu digital de simulare. S-a ajuns la decizia de a crea un mediu care
combin o aa-numit modelare-bazat-pe-agent
(MBA) cu anumite forme de control sau intervenie.
La baza aplicaiei se folosete un cadru de simulare
de tip roi, numit RePast, i bazat pe sistemul Java.
Pentru primul prototip al acestei linii de aplicaii, procesele de comer stradal au fost transcrise ntr-un sistem complex de reguli i algoritmi.
Comportamentul indivizilor cumprtori i al entitilor comerciale (magazine) i caracteristicile mediului urban adiacent au fost traduse ntr-un limbaj
care poate folosit ntr-o aplicaie de simulare.
O simulare pornete de la un stadiu iniial care
e setat manual de utilizator cnd introduce (contureaz) geograa mediului i ecologia agenilor.
Agenii se comport conform procedurilor care
descriu tranzaciile locale. Utilizatorul are oricnd
posibilitatea s intervin n caracteristicile mediului
(arhitectura construit a acestuia) i poate inuena condiia acestei lumi printr-o larg varietate
de parametri.
Odat cu demararea sa, ProcessMatter a construit un prototip demonstrativ pentru o aplicaie de
91
With its rst spring-off ProcessMatter has arrived at a demonstration prototype of an urban
simulation application publicly available as an
open source software package, open for experimentation. ProcessMatter enables to envision and set up
simulation environments that deal with the mix of
emergent and hierarchical processes that are typical
for urban environments. As it consciously involves
shifts between emergent, bottom-up modeling and
the impact of more top-down control it is in this
respect a novelty in the eld of urban simulation.
SECVENA
TESTELOR DE
SIMULARE
SEQUENCE OF THE
SIMULATION TESTS
INTERFAA
GRAFIC DIN JURUL
PROGRAMULUI
DE SIMULARE
PROCESSMATTER;
ACEASTA PERMITE
INCLUDEREA
PLANURILOR
DIFERITELOR
LOCURI DIN ORA
I INTRODUCE
JUCTORII
(AGENII) NMEDIU
92
THE GRAPHIC
INTERFACE THAT
SURROUNDS THE
PROCESSMATTER
SIMULATION
SOFTWARE; IT
ENABLES TO SET UP
SPECIFIC URBAN
LAYOUTS AND
INTRODUCE THE
PLAYERS (AGENTS)
IN THE ENVIRONMENT
DEPENDENA
DINTRE PROGRAMUL
PROCESSMATTER (N
GRI I NOTAT CU PM)
I REPAST
DEPENDENCE
BETWEEN THE
PROCESSMATTER
SOFTWARE
(PM-GREY) AND
REPAST
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WWW.PROCESSMATTER.NET
#2
#2