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ag ted ill
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ine
.

94
Cicatrizare
Scar tissue
(Raluca Mihalache)
Operaiunile de
demolare
(primvara lui 2011)
Demolitions
(spring of2011)

Voluntariat i
alternative.

Un proiect de reparaii
pentru Bucureti.

Volunteering
and alternatives.

A repair project
forBucharest.

Text: tefan Ghenciulescu

 Drago Lumpan

Reacii de urgen

Emergency reactions

O nou ax nordsud taie Bucuretiul. n 2011 i n cadrul unei

operaiuni extrem de controversate, o bucat din centrul oraului a
disprut sub ochii notri: peisajul apocaliptic agrementat cu buldozere din zona Berzei Buzeti evoca, pentru muli, brutalitatea interveniilor din anii 80. Zeci de organizaii sau mobilizat, amendnd
absena consultrilor publice i anacronismul unei operaii n dezacord cu principiile urbanismului actual, care privilegiaz sustenabilitatea, pietonii i biciclitii (Carta de la Leipzig, 2007 i Declaraia
de la Toldedo, 2010, asumate i de ara noastr). Operaiunea este
simbolic nu doar prin distrugerile construciilor n aceti 20 de
an de haos au disprut mii de cldiri valoroase. ns aici actorul este
municipalitatea i nu investitorii individuali; apoi (i n legtur
direct cu primul element) nu e vorba doar despre nlocuirea unor
cldiri, ci despre raderea unei buci masive de esut urban istoric, cu
tot cu strzi i parcele.
Reacia societii civile a fost cei drept ntrziat, ns extrem de
puternic. i nu sa limitat doar la proteste, ci a folosit din plin atacul
n instan, reuind, cel puin temporar, stoparea operaiei. Sigur,
dac te plimbi astzi prin ceea ce a fost un cartier foarte problematic urbanistic i social, ns cu mult personalitate i a ajuns azi
o ran n plin zon central sau observi cum monumentul istoric
HalaMatache este distrus lent i pe ascuns, riti s fii cuprins de un
pesimism funebru.

A new NothSouth axis crosses Bucharest.

In 2011, under an extremely controversial
operation, a part of the city centre disappeared under our eyes: the apocalyptic
scenery accompanied by bulldozers in
Berzei Buzeti area reminded, to many,
the brutality of interventions in the 80s.
Tens of organizations were mobilized,
criticizing the lack of public consultation
and the anachronism of an intervention in
conflict with the principles of current urban
planning who favours sustainability, the
pedestrians and the cyclists (the Leipzig
Charter, 2007 and the Toledo Declaration,
2010, also committed by our country). The
intervention is symbolical not only through
the destruction of buildings in those 20
years of chaos, thousand of valuable buildings disappeared in Bucharest. Yet the actor
in this case is the municipality, and not individual investors; then (and in direct connection with the first element), this is not about
replacing certain buildings, but pulling
down a massive part of the historical urban
fabric, with its streets and plots of land.
The reaction of the civil society was
delayed indeed, yet extremely powerful.
And it was not only about protests, but used
the appeal in the court at full, managing,

Planificare alternativ
Motive de optimism gseti n schimb nu doar n determinarea
constant a coaliiei de asociaii grupate sub numele Platforma
pentru Bucureti sau n implicarea Ordinului, ci i n faptul c

95

at least temporarily, to stop the intervention. Of course, if one walks through what
used to be a truly difficult neighbourhood in
terms of urban planning and social issues,
but with a strong character, turned today
into a wound in the very heart of the city, or
notices how Matache Open Market is slowly
and hiddenly torn down, he/she may fall
under a morbid pessimism.
Alternative planning

One could find reasons of optimism not

only in the permanent determination of
the coalition of associations grouped under
the Platform for Bucharest name, or the
involvement of the Order, but also in the
fact that this intervention made the professionals organize themselves. The group
called Voluntary Architects is exactly
that: an interdisciplinary association wich,
in the last year, developed strategies and
alternative projects for the area. No, this is
not about nostalgic or idealistic visions, but
of careful analyses (including crossdisciplinary ones) of the current circumstances and
the official project and the drawing up of an
alternative urban project (not only the urban
planning one) to comply with natural principles. There is absolutely no question about
a commission. Aesthetic or stylisticdebates,

aceast operaie a generat o organizare a profesionitilor. Grupul

numit Arhitecii Voluntari chiar asta este: o asociere interdisciplinar, care, de un an ncoace, dezvolt strategii i proiecte alternative
pentru zon. Nu, nu e vorba deloc de viziuni nostalgice i idealiste,
ci de analize atente (i pluridisciplinare) ale situaiei actuale i
ale proiectului oficial i de construirea unui proiect urban (i nu
doar urbanistic) alternativ care s respecte nite principii fireti.
Nu exist comand aici. Discuiile estetice sau stilistice, precum i
orgoliile autoriale lipsesc aici cu desvrire. Sistemul de propunere al echipei se vrea mai degrab o demonstraie a posibilitii i
pertinenei unei alternative, i pornete de la situaia actual i nu
de la una ideal. E interesant cum problema unui cartier rupt n dou
ajunge s fie privit n contextul oraului, dar i al zonei: propunerea
privete i aciuni asupra Grii de Nord (un element urban central
i un teritoriu acum antiurban) sau asupra domesticirii unor axe de
circulaieimportante.
Desenele i schemele sunt un cadru pentru un program de regenerare; nu trebuie luate drept soluii definitive, ci drept o baz de
pornire pentru un parteneriat ntre autoriti, profesioniti i societatea civil.
Stadiul actual al proiectului alternativ face obiectul unei publicaii
aprute chiar acum: Cui ie fric de cartierul Matache? Principii
de regenerare urban pentru zona Matache Gara de Nord din
Bucureti. Cartea, aprut sub egida asociaiei Pro Patrimonio, este
uor de neles i pentru publicul neprofesionist i are un rezumat n
englez. Dincolo de problema n sine a acestui cartier, este probabil
cea mai solid demonstraie de activism urban pozitiv, care
reuete s treac de proteste, pentru a pune pe mas o propunere de
cum lucrurile se pot face altfel.
n aceast parte a Europei (i nu doar) ne tot plngem de urbanismul de investitori, de lipsa concursurilor i a a consultrilor veritabile, de ineria, ineficiena sau dimpotriv entuziasmul ignorant i
distructiv al administraiei. ncetncet, ncepem s ne dm seama
c, pentru a schimba lucrurile, e mai bine s ncepem s propunem
lucruri, s ncercm proiecte i nu doar s ateptm comenzi. Dac
putem accepta c arhitectul i urbanistul trebuie s coboare astzi
de pe piedestal pentru ai asuma rolul de mediatori i de partneri
ai societii civile, fostul Est ar putea fi unul dintre cele mai potrivite terenuri pentru o astfel de schimbare. Programul i activitatea
Arhitecilor Voluntari construiesc un exemplu foarte potrivit n
acest sens.

96

Macheta propunerii de principiu. n centru,

Hala Matache; n fundal, Gara de Nord i
piaa reamenajat din faa acesteia. Parcelele
demolate sunt ocupate cu construcii ce
se articuleaz n raport cu esutul vechi i
adpostesc i funciuni publice. Traficul auto
las loc i transportului public, i cilor pentru
pietoni i bicicliti.

The model of the proposition principles. In the

center, Matache Hall; in the background, the North
Railway Station and the redesigned square in front
of it. The demolished plots are occupied with
constructions that articulate the reamining fabric
and also house public functions. Car traffic leaves
some space for pedestrian and bicycle lanes.

Coperta crii.
Conecpt editorial:
Mirela Duculescu
Cover of the book.
Editorial concept:
Mirela Duculescu

Hala Matache. Distrugeri

discrete, martie 2012
Matache Market hall. Discreet
destruction, March2012
(Raluca Munteanu)

97
http://www.arhiforum.ro/arhitecti/arhitectiivoluntari
http://www.propatrimonio.org/

as well as authorial pride are not to be

found there at all. The way of proposing
the team actually stands for a demonstration of the opportunity and the pertinence
of an alternative, and starts from the
current circumstance, and not the ideal one.
Actually, it is interesting that the problem of
a torn neighbourhood gets to be considered
in the context of the city, but also of the
wider district: the proposition also regards
actions around the North Railway Station
(both a central urban point and a presently
antiurban ground) and about taming some
important circulation axes.
The drawings and the plans are a framework for a regeneration programme; they
should not be taken for final solutions, but
a starting point for a partnership between
the authorities, the professionals and the
civilsociety.

These days a book about the current

stage of the alternative project was
published: Whos Afraid of the Matache
district? Principles of urban regeneration
for the Matache Northern Station area
in Bucharest. The book, assumed by Pro
Patrimonio Association, is also easily understandable for he nonprofessional audience,
and has a summary in English. Beyond the
issue of that neighbourhood as per se, it
is probably the most solid demonstration
of positive urban activism that manages
to overcome the protests, to place on the
table a proposal of how things could be
differentlymade.
In this part of Europe (well, not only
here) we always complain about investors urbanism, the lack of competitions,
about the people not being asked, about
the inertia, the inefficiency, or, quite the

contrary, about the often ignorant and

destructive enthusiasm of the administration. Now, we begin to realize that, in
order to change things, we should rather
propose things, try projects and not just
wait for commissions. If we can accept that
the architect and the planner could come
down from their pedestal and try to act as
coordinators and mediators, in the frame of
civil society, the former East could become
one of the most fertile grounds for such a
change. The program and the actions of the
Voluntary Architects build up quite a good
example in this direction.

98
Staii de autobuz
Bus Stops
FOTO/ PHOTO, Text:
Mihaela Ghi

Izvoru

Mierea

Milostea, 2008

99
Scorniceti, 2009

Acum civa ani, cltoream foarte mult prin ar. mpreun cu

un prieten, fceam o documentare a bisericilor de lemn pictate.
Cltoriile neau purtat prin Romnia profund, aceste biserici de
secol XVIIIXIX se afl n sate izolate, departe de lumea dezlnuit.
Fr main, acolo ajungi cu rata, cu crua sau, n cel mai ru caz,
pe jos, de la ultima oprire a autobuzului.
Atunci am observat prima dat aceste construcii de lemn sau de
tabl, menite, la originea lor, s adposteasc oameni i care stteau
ntro rn, ruginite i drpnate.
Totul a nceput ntro doar, cu un astfel de opron care funciona
pe post de staie, apoi am observat c nu toate oproanele sunt la
fel i astfel mia ncolit arogana de a coleciona staii de autobuz
aa cum Ed. Ruscha a fcut cu staiile de benzin de pe legendarul
drum transamerican Route 66. Ruscha a fotografiat benzinriile cu
prilejul unei cltorii pe care a fcuto, plecnd din Los Angeles,
unde locuia, ctre Oklahoma City, oraul natal, s i viziteze mama,
i a denumit seria Twentysix gasoline stations.
n ceea ce privete abordarea lor strict frontal, i pot cita pe Bernd i
Hilla Becher i seria lor de castele de ap. Ei au ales din raiunile lor
de grafism aceast abordare frontal a subiectului. Dar s nu l uitm
pe Walker Evans, care prin anii 30 avea acelai gen de cadrri frontale pentru fotografile citadine i chiar pentru portrete.

A few years ago I used to travel a lot in the

country. Together with a friend I worked on
a documentary of painted wood churches.
During our travels we had access to a
profound level of Romania, as the churches
dating from the 1819th century are located
in isolated villages, far from the madding
crowd. If you do not have a car, you can get
there by bus, by cart or in the worst case
scenario on foot, from the last bus stop.
It was then when I first noticed these
constructions made of wood or plate, which
were initially meant to shelter people
and which just lay there aslant all rusty
anddilapidated.
Everything started on a whim, with a
shed which was used as a bus stop and then
I noticed that not all the sheds are alike
and thus an arrogant idea started to arise
in my mind: to collect bus stops just like
Ed Ruscha collected gas stations on the
legendary TransAmerican road Route 66.

Ruscha took photos of gas stations while

travelling from Los Angeles, where he lived,
to Oklahoma City, his native city, to visit his
mother and he called this series Twentysix
gasolinestations.
As for their strictly frontal approach, I can
quote Berns and Hilla Becher and their series
of water towers. For graphic reasons they
chose this frontal approach of the topic. And
lets not forget Walker Evans, who in the
30s used the same frontal frames for his
city photos and even for portraits.
I can say I have made a series of
portraits of bus stops in their natural
environment, the way they were when they
charmed me. Minimalist bus stops (just a
metallic pole) or huge ones (such as for
instance the bus stop at Scornicesti), sculptured in wood, like the one in Ciorobesti,
covered in blue plexiglass, built, made of
rusty plate or wood, abandoned in the face
of bad weather or decorated with pictures.

Pot spune c am fcut o serie de portrete ale staiilor de autobuz,

n mediul lor natural, aa cum mau vrjit. Staii minimaliste (doar
un stlp metalic) sau uriae (precum cea de la Scorniceti), sculptate
n lemn ca la Ciorobeti, moderne acoperite cu plexiglas albastru,
zidite, din tabl ruginit sau din lemn, abandonate intemperiilor
sau decorate cu picturi. Primele fotografii nu conineau personaje, pentru c nu era ipenie de om prin locurile alea. Apoi am
cutat cu bun tiin s nu fie populate, pentru c ele nsele sunt
personajeprincipale.
Multe dintre ele habar nu mai am pe unde leam fotografiat.
Cele mai multe sunt pe ruta Vlcea, Dolj (n Oltenia), dar sunt i din
Covasna, Brila, Ialomia, Buzu. Uneori, sunt destul de greu de localizat, pentru c se afl ntre dou sate. Unele dintre ele, cele mai noi,
au tbli indicatoare. Staia din localitatea Izvoru are i un fel de
pisanie scris pe fronton: Aceast staie a fost construit n anii
19901991 cu locuitorii satelor Izvoru i . (ilizibil) sub conducerea
nvtorilor Ilie Zugrvescu i Puican Dumitru.
E trist? E amuzant? Eti indignat? Sunt o realitate antropologic a
anilor 20082011. Cu siguran, leai observat i dumneavoastr
ncltorii.

100

Radu Negru, Jud. Brila, 2011

Turia, Jud. Covasna, 2008

2008

2008

Ciorobeti

The first photos did not have any people in

them because there was nobody there. Then
I purposefully looked for bus stops where
there was no one around, because the bus
stops themselves were the main character
ofthe picture.
I have no idea where I took many of them.
Most of them have been taken in Valcea,
Dolj (in Oltenia), but also in Covasna, Braila,
Ialomita, Buzau. Sometimes they can be
quite difficult to locate because they are in
between two villages. Some of them, the
new ones have a name plate. The bus stop
of Izvoru also has a sort of inscription
written on its pediment: This bus stop
was built in 19901991 with the help of
the people of Izvoru village and (illegible) under the leading of teachers Ilie
Zugravescu and Puican Dumitru.
Is it sad? Is it funny? Are you indignant?
They represent an anthropological reality
of the period 2008 2011. You must have
noticed them too in your journeys.

101
Mihaela Ghi a absolvit Facultatea de Geologie i
Geofizic n anul 1985 i a profesat 10 ani n acest
domeniu. Din 1998, practic jurnalismul de tiin
la Radio Romnia Cultural. Cu cinci ani n urm,
a nceput cursurile la Universitatea Naional de
Arte din Bucureti, secia FotoVideo i este pe
cale s absolve masteratul.

Mihaela Ghita graduated the Faculty of Geology

and Geophysics in 1985 and she worked for
10 years in this field. Since 1998 she has been
working as a scientific journalist at Radio Romania
Cultural. Five years ago she started to attend
the National University of Arts, Bucharest, the
PhotoVideo Department and now she is about to
graduate a master programme.

Domografia
Un vehicul pentru
implicarea urban.
A vehicle for urban
involvement.

84

85
Text: Peter Lnyi
proiect/ Project: Peter Lnyi,
Ondej Kurek, Lenka Zbovsk
Foto/ Photo: Ondrej Kurek,
Matej Kurek, Marin Lacza

Domografia este un proiect iniiat de Peter Lnyi, Ondej Kurek,

Lenka Zbovsk, promovat prin PBlog.sk, care caut s abordeze
problemele urbane din Slovacia, angajndu-i pe locuitori i
percepiile lor asupra realitii.

SCENARIU
Echipa PBlog a cltorit dea lungul Slovaciei, de la est la vest. Am
nregistrat cinci documentarepoveti despre proprietarii de locuine care au ndrznit si realizeze casele ntrun mod diferit, fapt
care se ntmpl n mod frecvent n Slovacia.
SCOP
Am oferit marelui public o perspectiv nou asupra arhitecturii.
Construirea unei case nu se refer doar la acoperiul de deasupra
capului, ci i la aventur i la contientizarea modului n care dorim
s locuim. Noi am nfiat aceast alternativ prin poveti adevrate despre oameni n situaii concrete.

Credite/ Credits
ONG & blog/ NGO & blog: PBlog.sk
Echipa/ Team: Peter Lnyi, Ondrej Kurek,
LenkaZbovsk, Pavla Lnyiov,
Marin Lacza, Slvka Bulkov

METOD
n loc s aducem oamenii la expoziie, am fcut ca expoziia s
vin ctre oameni. Am prezentat filmele noastre pe trei monitoare
amplasate ntrun pavilionremorc. Acesta ia fcut apariia peste
tot pe unde oraele sunt pline de via: prin trguri, n faa bisericilor,n piee.

Domografia is a project initiated

by PeterLnyi, Ondej Kurek, Lenka
Zbovsk, promoted by PBlog.sk, which
seeks to address urban problems in
Slovakia, engaging people and their
perceptions ofreality.
SCENARIO
The team of PBlog travelled through
whole Slovakia from east to the west. We
shot five documentaries stories of householders, which dared to build their homes in
different way, that is common in Slovakia.
AIM
We offered the general public fresh view
on architecture. The building of house is
not only about the roof above head, but also
about adventure and realizing how I want to
live. We showed this alternative by telling
real stories of real people.
METHOD
Instead of people coming to exhibition,
the exhibition came to people. We presented
our movies in three screens placed on our
sidecar pavilion. It appeared on every
place, where the city life is bustling: at fair,
in front of a church, at square.

86

Terenul nainte de
intervenie. Mai
2010. Foto: Obrat
The site before the
intervention. May
2010. Photo: Obrat

Dincolo de antier.
Martie 2011. Foto:
Suzana Kajba
Beyond a Construction
Site. March 2011.
Photo: Suzana Kajba

Constituirea lotizrilor.
Aprilie 2011. Foto:
Suzana Kajba
Making allotments.
April2011. Photo:
Suzana Kajba

Dincolo de
antier
O intervenie comunitar ntrun
spaiu degradat din Ljubljana,
Slovenia, revigoreaz ideea de
grdinrit ecologicurban.

Text: Obrat
Foto/ Photo: Obrat, Suzana
Kajba, Drago Kos, Gregor Gobec

Folosin alternativ
n colaborare cu locuitorii din vecintate i cu alte persoane interesate, am transformat o zon aflat n construcie, nchis de mult
timp, de pe Strada Resljeva din Ljubljana, ntrun spaiu comunitar
destinat grdinilor aculturii. Realizm astfel elul proiectului numit
Dincolo de antier, i anume examinarea i indicarea potenialului
zonelor urbane degradate, n scopul revalorizrii printro folosin
temporar i intervenii ale comunitii. n paralel, se recunoate
planificarea spaial i dezvoltarea unui mod participativ i procesual, alturi de creterea i promovarea posibilitilor pentru grdinrit ecologic urban.
antierul de construcie, mult timp izolat n mijlocul unei zone
rezideniale i nu departe de principala staie de cale ferat i de
Oraul Vechi, a devenit un loc aglomerat de slcii i mesteceni,
acoperit de gunoaie, dup ani de nefolosin. Fiind o zon degradat, dar i un simptom al speculaiilor imobiliare i al produciei
capitaliste de spaiu, ni sa prut c poate deveni spaiul ideal pentru
iniiativa noastr care subliniaz nevoia unei revitalizri urbane de
jos n sus, n care spaiul se manifest ca o dimensiune constitutiv
a aciunii sociale.

Beyond a
Construction
Site
A communitybased intervention
in a degraded urban space in
Ljubljana, Slovenia, revives
the idea of urban ecological
gardening.

Alternative use
In collaboration with neighbourhood residents and other interested people, we have
been transforming a longclosed construction site at Resljeva Street in Ljubljana into
a community space intended for urban
gardens, socializing, ecological projects,
education, and culture. In this way we are
realizing the goal of the project Beyond a
Construction Site, which is to examine and
show the potential of degraded urban areas
and the possibility of their receiving new
value through temporary use and communitybased interventions. Parallel to this
the goal of the project is to enable spatial
planning and developing in a participatory
and processual way as well as enhancing and
promoting possibilities for urban ecological
gardening.
The long fencedoff construction site,
in the middle of a residential neighbourhood and not far from the main railway
station and the Old Town, is a place that had
become overgrown with willows and birches
and covered in rubbish over years of sitting
idle. As a degraded site as well as a symptom
of real estate speculations and the capitalist
production of space it seemed to us to be an
ideal space for initiative, which highlights
the need for a bottomup driven urban
revitalization and in which space is the
constitutive dimension of social action.
Temporary public access
After determining the ownership of the
plot (the Municipality of Ljubljana) and
its official status (as a fenced site, it is not
regarded as public space), we invited anyone
who was interested and, in particular, the
residents of the neighbourhood to be part
of the planning, design, and use of the
site. Through informal conversations with
people who lived and worked in area especially at our first meeting with interested

participants in front of the stillclosed

construction site we tried to find out if our
proposal to transform the site into a green
space for the community made sense and to
listen to the desires, needs, and ideas of the
people who were most directly affected by
the site in their daytoday lives.
With the permission of the Municipality of
Ljubljana we opened the site for the duration of the festival Garden By the Way
organized by the Bunker Institute (second
half of August 2010) within which we
started the project. At the same time we
asked the municipality to grant us an extension on the permit for the use of the plot
without charge until the start of the anticipated construction. After installing a door
to allow access to the land, cleaning up the
site, learning about and preserving the trees
and wild plants that had taken root there,
and carting in the first cubic meters of soil,
we faced the question of whether or not we
needed a plan for organizing the space.

87

Participative practice
The role of the public and its more active
inclusion in decisions about the development and organization of the space have
been significant aspects of the project.
Within the project we use a planning process
based on the active engagement of the
neighbourhood residents and other interested people. But instead of searching for
general instruments that would introduce
a sort of a dialogue into architectural and
urban planning, we strive to formulate a
participative practice as an engaged altering
practice (a term coined by Doina Petrescu)
a critical spatial practice that is aware of
power relations, asks ethical questions,
takes social responsibility, supports building
knowledge through community action, is
committed in time and reinvents itself with
every new project in a different context.

Acces public temporar

Dup identificarea dreptului de proprietate asupra terenului
(municipalitatea din Ljubljana) i a statutului su oficial (ca zon
ngrdit, considerat nonpublic), am invitat pe oricine interesat,
n special pe localnici, s ia parte la planificarea, concepia i folosirea zonei. Pe baza unor discuii libere cu cei care triesc i lucreaz
n zon n special la prima ntlnire cu participanii interesai, n
faa antierului nc nchis am ncercat s aflm dac propunerea
noastr de a transforma antierul ntrun spaiu verde avea sens i s
ascultm dorinele, nevoile i ideile oamenilor care erau direct afectai de antier n viaa zilnic.
Cu permisiunea municipalitii din Ljubljana am deschis antierul
pe durata festivalului Garden By the Way organizat de Institutul
Bunker (n a doua jumtate a lunii august, 2010) n cadrul cruia
am iniiat proiectul. n acelai timp, am cerut municipalitii s ne
ofere extinderea permisiunii de folosire gratuit a terenului pn la
nceperea construciei anticipate. Dup instalarea unei ui pentru a
permite accesul pe teren, curarea locului, cunoaterea arborilor i
plantelor slbatice crescute acolo, n scopul proteciei lor, ncrcarea
primilor metri cubi de sol, neam ntrebat dac avem sau nu nevoie
de fapt de un plan de organizare a spaiului.
Spaiu comunitar
Practic participativ
Rolul publicului i al incluziunii sale mai active n deciziile privind
dezvoltarea i organizarea spaiului au constituit aspecte semnificative ale proiectului. n cadrul lui, iniiem un proces de planificare
bazat pe angajamentul activ al localnicilor i altor persoane interesate. Dar, n loc s cutm instrumentele generale care s introduc
un tip de dialog n architectur i urbanism, ne strduim s formulm
o practic participativ n calitate de practic transformatoare angajat (un termen inventat de Doina Petrescu) n sensul unei practici
spaiale critice care este contient de relaiile de putere, pune
ntrebri etice, adopt responsabilitatea social, sprijin acumularea
cunotinelor prin aciune comunitar, fiind angajat n timp i reinventat cu fiecare nou proiect, ntrun context diferit.
Lunile de var, toamn i iarn din 2010 au trecut cu un numr
redus de participani. Primvara 2011 a adus o nou energie proiectului, cnd localnicii au rspuns invitaiei noastre Fi propria
grdin, care anticipa dorina de grdinrit la scar mic, bazat pe
o bogat tradiie local n Slovenia. Peste douzeci de persoane au
venit atunci la ntlnire, iar acea zi a nceput entuziast cu aranjarea
substraturilor vegetale n pregtirea crora am urmat principiul
reciclrii i folosirii majoritare a materialelor disponibile la locul
respectiv, cum ar fi resturi de cherestea i pietre.

88

Workshop de
grdinrit ecologic.
Mai 2011. Foto:
Suzana Kajba
Ecological gardening
workshop. May 2011.
Photo: Suzana Kajba

n calitate de iniiatori ai proiectului, am definit trei reguli de

baz pentru folosirea n comun a terenului: fiecare persoan trebuie
si construiasc propriul substrat vegetal i nici un fel de chimicale nu vor fi folosite la grdinrit; n plus fa de ngrijirea propriei
grdini, fiecare participant a trebuit si asume ngrijirea unei pri
din zona comun. Am discutat regulile n grup i, dup semnarea
declaraiei de aderare, noii membri au primit cheile de la poarta
din fa i umbrarul cu unelte comune. n acest fel, locul a devenit
un spaiu comunitar i toi cei care erau acum parte a proiectului
Dincolo de antier venind din contexte i cu intenii diferite,
cu imprevizibilitatea, eterogenitatea i creativitatea specifice
participrii ntrun astfel de proiect sau alturat unei comuniti
experimentaletemporare.
Stabilirea unei grdini comunitare urbane n centrul Ljubljanei pe
un teren public reprezint o formul critic i o alternativ necesar
la noua politic a oraului de organizare i arendare a terenurilor mici
pentru cultivare. Politica actual a oraului implic o abordare rigid,
standardizat i excesiv de formalist, care a atribuit grdinile suburbiilor urbane i, mai mult, chiar se prevede c se va reduce drastic
terenul pentru grdinile comunitare.
Un model de regndire a spaiului verde urban
ntro perioad cnd apar toate semnele c o criz general
economic, financiar, de mediu i social urmeaz s se intensifice, cnd msurile decisive de stimulare a autogospodririi hranei
i dezvoltrii durabile sunt de neevitat i cnd e clar c finanarea
public din Ljubljana nu va permite continuarea organizrii grdinilor
pe terenuri mici n msura i n ritmul concepute iniial, este esenial s regndim politica actual a oraului cu privire la grdinritul
urban. n legtur cu aceasta, este necesar s regndim categoriile
noastre estetice de frumusee (deoarece zonele cu grdini autoconcepute au fost adeseori criticate ca fiind inestetice), s respingem
trivializarea minigrdinilor ca o recliv a trecutului rural i s fim
deschii ctre noi nelesuri ale spaiului verde public i comunitar i
s includem mai activ publicul n planificarea, conceperea i administrarea acestui spaiu.
Astzi, peste 80 de persoane cultiv n jur de 40 de mici grdini i
iau parte la diferite situaii cu caracter public n cadrul proiectului
Dincolo de antier. Proiectul e n plin desfurare, dei se afl
nc la nceput. Totui, putem spune c, dac l considerm drept
exemplu de organizare de jos n sus a unui spaiu urban degradat,
capabil s susin eterogenitatea i pluralitatea practicilor i esteticilor spaiale, sociale, culturale i de via, proiectul nostru poate fi
aplicat ca metod sau punct de pornire i altor amplasamente similare din Ljubljana.

Dincolo de antier.
Vara 2011. Foto:
Drago Kos
Beyond a Construction
Site. Summer 2011.
Photo: Drago Kos

The summer, autumn, and winter months

2010 went by with just a small number of
participants. The spring of 2011 brought
new energy to the project, when local
residents responded to our invitation to
Make Your Own Garden, which anticipated
the desire for smallplot gardening based
on rich local tradition of that practice in
Slovenia. More than twenty people came to
the meeting and that very day began enthusiastically setting up their vegetable beds
in constructing of which we followed the
principle of recycling and for the most part
used materials found on the site, such as
discarded lumber and stones.
Shared space
As the initiators of the project we defined
three basic rules for the shared use of the
site: each person would construct their own
vegetable bed or; no chemicals were allowed
to be used in gardening; and in addition to
taking care of their own garden, each participant also had to assume part of the care for
the common area. As a group we discussed
the rules and after signing the membership statement, the new members received
keys to the front gate and the common tool
shed. In this way, the space became a shared
space, and all of us who were now part of
Beyond a Construction Site with our
varied backgrounds and intentions as well as
with the unpredictability, heterogeneity, and
creativity that come from shared participation in such a project were joined together
in a temporary experimental community.
The establishment of an urban community
garden in the centre of Ljubljana on publicly
owned land also represents a critique of
and a muchneeded alternative to the citys
new policy of organizing and leasing small
garden plots. The citys current policy
represent a rigid, standardized, and overly
formalistic approach, it relegated gardens
to the city outskirts; and what is more,
it is predicted that there will be a drastic
reduction in the amount of land allotted to
community gardens.

89
A model for rethinking urban
greenspace

Credite/ Credits
Amplasament/ Location: str. Resljeva, Ljubljana,
Slovenia/ Resljeva Street, Ljubljana, Slovenia
Autori/ Authors: Obrat (Stefan Doepner, Urka
Jurman, Polonca Lovin, and Apolonija uteri)
Colaboratori/ Collaborators: Nina Vidi Ivani
and the participants of the Beyond a Construction
Site project/ Nina Vidi Ivani i participanii la
proiectul Dincolo de antier
Coproducie/ Coproduction: Obrat,
BunkerInstitute
Proprietarul terenului/ Plot owner:
Municipalitatea din Ljubljana/ The Municipality
of Ljubljana
Perioada de desfurare/ Duration: august
2010 prezent/ August 2010 present
website: http://onkrajgradbisca.wordpress.com/

At a time when everything indicates that

the general crisis economic, financial,
environmental, and social will only intensify, when decisive measures for increasing
food selfsufficiency and sustainable
development are inescapable, and when it
is clear that public funding in Ljubljana will
not allow for the continuation of organized
municipal smallplot gardens to the extent
and at the pace as was originally conceived,
it is essential to rethink the citys current
policy on urban gardening. In connection to
this it is necessarily to rethink our categories
of beauty (selfdesigned gardening areas
are often criticized for being ugly), to reject

the trivialization of smallplot gardening

as a holdover from the rural past, and to be
open to new understandings of public and
community green space and to include the
public more actively in the planning, design,
and management of such space.
Today more than 80 people are cultivating around 40 small gardens and taking
part in different, also public, situations at
Beyond a Construction Site. The project is
in full swing, although it is just at its beginning. Still, we can say that, as a bottomup
example of organizing a degraded urban
area which advocates for heterogeneity
and plurality of spatial, social, cultural, and
living practices and aesthetics, the project
could be transferred, as a method or a seed,
to other similar locations in Ljubljana.

Cinema n aer liber.

Iulie 2011. Foto:
Suzana Kajba
Open air cinema.
July 2011. Photo:
SuzanaKajba

Grdinrit.
Vara2011. Foto:
GregorGobec
Gardening. Summer
2011. Photo:
GregorGobec

Piaa verde
Green Square

90

Zona aferent unui terminal autobuz de sub Noul Pod din

Bratislava a fost transformat prin cea mai ieftin metod
de intervenie, n ncercarea de a schimba atmosfera unui
mediudisfuncional.
Calitatea ambientului din zona terminalului pentru autobuze de
sub Noul Pod din Bratislava las mult de dorit de foarte mult vreme.
Oamenii sunt nevoii si atepte mijloacele de transport ntro
zon cu totul nepotrivit i, dup prerea noastr, este ruinos c
oraul Bratislava i las cetenii i contribuabilii si desfoare
activitatea ntrun mediu att de necorespunztor. Caracteristicile
acestui spaiu afecteaz direct starea de spirit i comportamentul
utilizatorilor si i exist mai multe exemple de incidente i conflicte
care sau produs aici n trecut. Este greu de neles cum este posibil
ca un astfel de spaiu, aflat numai la civa metri de o pia istoric a
oraului, s rmn neobservat de edilii oraului i ignorat n aceast
stare o perioad att de ndelungat.
Dei se constituie ca o intervenie imediat, folosinduse soluia
cea mai ieftin, Piaa Verde se dovedete a fi prin stridena sa att
o provocare, ct i o invitaie la o abordare mai serioas a acestui
amplasament problematic. Nu implic doar metoda cea mai puin
costisitoare, ci i ncercarea cea mai vizibil de a schimba atmosfera
de sub pod i de a scoate n eviden acest mediu disfuncional pe
care toi l accept din pur obinuin.
Am vopsit o suprafa de aproximativ 1.000 m2 cu vopsea verde
pentru marcaj rutier. Vopseaua combin de fapt materialul standard
pentru marcaje cu un adaos de microperle din sticl pentru asigurarea capacitii reflectorizante i prevenirea alunecrii. A doua parte
a conceptului de proiectare a implicat creativitatea designerului
grafic Ondrej Gavalda care a folosit abloane temporare din band
adeziv pentru aplicarea vopselei.

91

Text & proiect/ Project:

Urban Interventions + ValloSadovsk Architects
foto/ Photo: Pato Safko

A bus terminal area under the New Bridge

in Bratislava was transformed through
the cheapest method of intervention, in
an attempt to change the atmosphere of
a dysfunctional environment.
The environment quality at the bus
terminal under the New Bridge in Bratislava
has been bad for a long time. People have
to wait for their bus connections in a
very unsuitable area, and we consider it a
disgrace that the city of Bratislava lets its
citizens and taxpayers function in such an
inadequate environment. The characteristics of this place directly affect the mood
and behaviour of its users, and several
disturbances and conflicts have happened
here in the past. It is difficult to understand
how such an area, only a few metres away
from a historic square, has remained unnoticed by city officials and for a long time
practicallyunchanged.
Although Green Square is an instant
intervention, the cheapest solution, it is
also by its loudness both a provocation
and a call for a more serious approach to this

problematic site. It is not only the cheapest

method but also, at the same time, the most
visible attempt to change the atmosphere
under the bridge, and to highlight the
dysfunctional environment that everyone
accepts out of habit.
We painted an area of about 1,000 m2
with green road paint. The painting was
made of standard material used for road
surface markings, and road safety glass
beads were applied to the surface to provide
reflectivity and prevent slipping. The second
part of the design concept was created by
graphic designer Ondrej Gavalda using adhesive tape that was painted over and then
peeled off.

Credite/ Credits
Amplasament/ Location: Noul Pod din Bratislava,
Slovacia/ New Bridge in Bratislava, Slovakia
Echipa de proiectare/ Project team: MatVallo,
Oliver Sadovsk, Duan Chup
Perioada de proiectare i realizare/ Design and
realisation period: 2011

94

Fiare vechi
sau locuri
pentru ora
Scrap iron
or places for
acity

Atelierul organizat la Cluj de

platforma pentru arhitectur
european Wonderland i
asociaia AREA3 a condensat
o serie de principii de
intervenie pentru revitalizarea
platformelor industriale din
perioadasocialist.
The workshop organized in Cluj
by Wonderland, the plaform
for European architecture, and
AREA3, condensed a series
of intervention principles to
revitalize industrial platforms
from the socialist era.

95
Text & Foto: AREA3

Workshopul ca resurs

The workshop as a resource

n ultima vreme, sau nmulit studiile despre potenialul zonelor

industriale din Romnia. Cea mai mare atenie o trezesc nc
(evident) ansamblurile de dinainte de 1940, nscrise ca monumente
sau cu potenial de a ajunge astfel. Motenirea industrial socia
list sa bucurat de mult mai puin atenie, fiind considerat de
aproape toat lumea ca neavnd valoare arhitectural (ceea ce de
multe ori nu este deloc adevrat). Dincolo de aceasta, vorbim totui
despre un ansamblu uria de teritorii, aflate n ora i cu un potenial
urbanuria.
Workshopurile nu nlocuiesc n mod evident studiile de lung
durat. ns, atunci cnd merg bine, componena interdisciplinar
i, de obicei, cea internaional, termenul scurt i concentrarea
intensiv asupra unor probleme reuesc s defineasc principii i
s aduc idei remarcabile. Este i cazul acestui atelier organizat
la Cluj. Asociaia AREA3 studiaz aceast problem de mai mult
vreme, iar acest atelier este acum integrat ntro lucrare de mai
mari proporii. O colaborare din 2010 cu reeaua Wonderland a dus
la realizarea evenimentului prin integrarea programului Project
Space1. Atelierul sa referit la Cluj, ns concluziile sale generale sunt
perfect valabile pentru ntreaga Romnie i, n mare msur, pentru
Europapostsocialist.

There are numerous studies, lately, about

the potential of the industrial areas in
Romania. Most notable are (obviously) still
the compounds before 1940, registered as
monuments or with the potential for that.
The socialist industrial heritage had less
attention, being seen by mostly everyone
as of no architectural value (which is many
times not true). Beyond that, we do speak of
a huge set of territories, located in the city
and of a huge urban potential.
Workshops cannot replace, clearly, the
long term studies. However, when they go
well, the crossdisciplinary element, usually
an international one, and the short term and
intensive focus on certain issues manage
to define principles and bring remarkable
ideas. This is the case of this workshop
organized at Cluj. The AREA3 Association
studies this issue for some time, and this
workshop is now integrated in a wider
context. A cooperation in 2010 with the
Wonderland network resulted in the Project
Space1 programme integrated event. The
workshop is about Cluj, but its general
conclusions are perfectly applicable to the
whole Romania and, to a great extent, to
postsocialist Europe.

Context. O logic a abandonului, nlocuirii i fragmentrii

Oportunitile i oportunismul regimului economic capitalist au
nvlit peste structura urban sistematizat n regimul comunist,
fragmentnd, pe alocuri n mod extrem proprietile industriale.
Unele mai sunt nc utilizate permanent ca locaii pentru producie

The only specific EastEuropean element is the generalized

fragmentation of the property.

Singurul aspect cu adevrat specific esteuropean este

fragmentarea generalizat a proprietii.

96

Exemplul Clujului. Dincolo de

valoarea arhitectural i de
uz al cldirilor, aceste teritorii
dezarticulate sunt extrem de
importante la scara oraului

The example of Cluj. Beyond

architectural and usage value,
these destructured territories are
extremely important at the scale of
the city

la diverse scri, logistic, depozitare, activiti comerciale, servicii,

chiar cazare sau organizare de evenimente. Altele au fost utilizate
temporar sau alternant, dar o parte nsemnat este pur i simplu
neutilizat, eventual traficat pe piaa imobiliar, cu un istoric
greu de urmrit de transferuri, dezmembrri etc. Legat de fondul
construit din cadrul acestor proprieti, abordarea cel mai des ntl
nit a fost cea a comercializrii elementelor de dotare, structurale
i infrastructurale, pe piaa utilajelor tehnologice i a materialelor
de construcie uzate, respectiv ca material feros reciclabil. Sa ajuns
astfel la peisajul postindustrial dominat de platforme betonate i
schelete de beton armat ocupate n proporie tot mai mare de vege
taie, garduri, pori mai mult sau mai puin improvizate i accesibile.
Persist totui forfota activitii pe unele proprieti, cu eventuale
investiii n extinderi, reabilitri, modernizri de calitate suspicioas,
drumurile de acces i parcajele fiind totdeauna nentreinute. Exist
propuneri de reabilitare sau noi investiii (proiect de idei, P.U.Z.,
P.U.D. sau masterplan) proporia de realizri coerente la nivelul rii
este ns foarte redus, majoritatea interveniilor fiind paradoxal,
abordri greenfield: noi hale pentru retail etc.

Context. The logic of abandon,

replacement and fragmentation
The opportunities and the opportunism
of capitalism invade the standardized urban
fabric of the communist regime, splitting,
sometimes to the extreme, the huge indus
trial properties. Some are still permanently
used, as locations for production at various
scales, logistics, deposits, trade, services,
even accommodation or event organiza
tion. Others have been used temporarily or
alternatively, but some are simply unused,
perhaps traded on the estate market, with
a history difficult to follow of transfers,
dismantling etc. For constructions, the most
common approach was to trade their facili
ties, structure and infrastructure, on the
market of used technology and construction
materials, or as recyclable iron. One reached
thus the postindustrial landscape domi
nated by concrete platforms and reinforced
concrete structures mostly covered in vege
tation, fences, gates more or less improvised
and accessible. There is some activity on
some properties though, with possible
investments in extensions, rehabilitation,
rather doubtful quality modernization, the
access and the parking being badly main
tained. There are proposals to rehabilitate

Tema atelierului, formulat prealabil, a atras atenia asupra structurii

fragmentate a proprietii. Cu ocazia vizitrii zonei industriale sa
ajuns la concluzia c tocmai caracterul fragmentat al proprietii
asigur ansa de dezvoltare n condiiile crizei economice: cu ct
unitile nchiriate sunt mai mici, cu att mai degrab sunt utilizate
ca birou, ateliere de producie, service auto, spltorie, depozit i
anexele aferente (magazin, plcintrie, restaurantcantin etc.).
Aspectul lor dezolant relev dezinteresul fa de spaiile publice,
semipublice/ semiprivate, caracterul improvizat i la nivel minim
al investiiei n imobilele nchiriate sau meninute n proprietate cu
scop speculativ, i este dominat de ntinse zone inactive. Sa ajuns
rapid la prerea c planul urbanistic general i planuri urbanis
tice zonale i de detaliu, realizate cu implicarea proprietarilor i a
chriailor, ar putea clarifica situaia proprietilor i a caracterului
public/privat al spaiilor. Interdiciile de demolare a cldirilor valo
roase sau cu potenial nsemnat de reutilizare, cuplate cu reglemen
tri administrative financiare de stimulare a investiiei, ar putea
soluiona pe termen mediu i lung o parte dintre probleme.

gradarea spaiului public: implementarea spaiului semipublic i

semiprivat, prin regulamentul urbanistic; ngrdirea va fi restrns
cazurilor justificate, parcelele private cu destinaie public i
semipublic consistent vor fi n msur s negocieze beneficii
cuadministraia.
Sa convenit asupra faptului c potenialul de dezvoltare n cadrul
economiei bazate pe cunoatere, asigurat de reeaua de educaie
universitar, precum i colapsul activitilor industriale pot favoriza
relansarea tradiiei locale de producie, dezvoltare tehnologic i
concepie de articole noi. Aceste lumi pot mpri cldiri neutilizate
i pot lansa germene de organizare microeconomic i dezvoltare
comunitar, n structurile spaiale specifice, cu ateliere la parter i

Cu ocazia primului Blind Date2, de la Viena, sa ajuns la concluzia

c situaii similare sunt i n vestul Europei: doar scara problemei
difer. Singurul aspect specific esteuropean este tocmai fragmen
tarea generalizat a proprietii.
O serie de idei i instrumente
Sau formulat o serie de posibile reglementri urbane care ar putea
contribui la reintegrarea n complexitatea urban a zonei industriale
i exploatarea la nivelul potenialului pe care l ofer. Aceste instru
mente pot fi implementate i n alte cazuri, unele fiind utilizate n
orae din Europa, pentru consolidarea ncrederii n autoriti i a
interesului comunitar asupra divergenei intereselor individuale.
Un scenariu pentru acest tip de zone ar prevedea:
ocuparea prioritar a nodurilor de patrimoniu istoric, listate sau
nu: cldirile neutilizate la nivelul valorii lor vor fi ocupate i puse
n valoare n primul rnd, cu o proporie nsemnat de funciuni
publice, preferabil de ctre administraie i organizaii nonguver
namentale, n parteneriate publicprivate;
competiia pentru ocuparea imobilelor: proprietarii privai i
publici sunt nevoii s subnchirieze/valorifice imobilele spre a fi
dezvoltate chiriaului care propune planul de dezvoltare mai viabil,
cu cantitatea mai mare de funciuni i spaii publice, n echilibru cu
cele destinate locuirii; investiiile ce depesc un anumit volum vor
organiza un concurs de soluii, jurizat de specialiti i reprezen
tanii administraiei;
gradarea scrii construciilor: scara coeficienilor de ocupare i
utilizare a terenului va crete dinspre zonele centrale ctre perife
riile urbane, att pe plan orizontal, ct i pe cel vertical; totui, se
asigur peste tot densitate relativ mare;
impozitarea incremental a proprietii: impozitul terenu
rilor nedezvoltate va crete de la an la an; dup 3 ani, admi
nistraia propune un chiria sau impune comercializarea
dezmembrat conform planului urbanistic n parcele mai mici,
adaptate cerinei de pe pia; impozitul poate fi reinvestit n
decontaminareaterenului;
reutilizarea obligatorie: nu numai cldirile cu valoare de patri
moniu, ci toate structurile existente vor fi reutilizate att timp ct
starea acestora permite utilizarea i transformarea; reutilizarea va
fi subvenionat din fonduri locale i naionale, iar pentru inves
tiiile mari n reutilizarea administraiei, vor avea loc negocieri
cu investitorul; acest punct corespunde unei logici normale i
aplicate n multe locuri din Occident conform creia un teren
neutilizat, nici mcar decontaminat timp de dou decenii, este
act de specul imobiliar nociv fa de proprietile nvecinate i
comunitate, dar i semn al dezinteresului, complicitii sau incapa
citii administraiei;
garania de demolare i decontaminare: se va depune n momentul
solicitrii autorizrii construciei n zona industrial pentru
evitarea renunrii la investiii;

or invest (ideas projects, Local Development

Plan, Specific Detail Plan or masterplan),
the ratio of coherent achievements in the
country is very low though, most of the
interventions being, greenfield ones: new
retails spaces etc.
The topic of the workshop, defined
beforehand, drew the attention on the
fragmented structure of the property.
Visiting the industrial area, we concluded
that, in these times of crisis, the very
fragmented character of the property
provides the opportunity for develop
ment: the smaller the rented units are, the
more they are used for office, production
space, car service, laundry, warehouse and
connected appendices (shop, pie shop,
canteenrestaurant etc.) Their upsetting
image indicates the lack of interest to the
public, semipublic/ semiprivate spaces,
the improvised character and the minimum
investment in the rent spaces or kept as
property for speculations, and is dominated
by wide inactive areas. We quickly reached
the opinion that the Development Plan
document and the Zonal Development plans
or Specific Development plans, carried out
with the involvement of owners or tenants
may clarify the case of properties and the
public/ private character of spaces. The
interdictions to demolish valuable buildings
or those with a remarkable reusage poten
tial, in addition with financial administrative
regulations to stimulate investment may be
the medium and long term solution for some
of the issues.
For the first Blind date2 in Vienna, the
conclusion was that there are similar cases
Western Europe: only the scale of the issue
is different. The only specific EastEuropean

element is the very generalized fragmenta

tion of the property.

97

A series of ideas and tools

Certain possible urban regulations were

defined, which could contribute to reinte
grating the industrial area in the urban
complexity and making use of it at the
potential it offers. Those instruments could
be applied in other cases as well, some of
them in European cities, to consolidate
the trust in authorities and the community
interest over individual divergent interests.

A scenario for that type of areas

wouldcover:
a first step occupation of historical
heritage knots, listed or not: unused
buildings at their value will be occu
pied and first of all capitalized, with
a major share of public functions,
preferably by the administration and
nongovernmental organizations, in
publicprivatepartnerships;
a competition to occupy the buildings:
the private or public owners have to
subrent/ capitalize the buildings to be
developed for the tenant who comes up
with the most viable development plan,
with the maximum public function and
spaces, in balance with those meant
for housing; investments over a certain
volume will go into a solutions competi
tion, evaluated by experts and members of
the administration;
the gradual scale of constructions: the
scale of plot ocupation and use will rise
from the centre to the margins, both hori
zontally, as well as vertically; however,
a relatively high density will be covered
allover;

Este necesar o strategie economic i administrativ, destinat

implementrii investiiilor n locuine. Evocnd modelul apreciat i
azi al oraului medieval autosuficient la nivel comunitar, este timpul
reinterpretrii esutului consacrat, realizat cu tipologia locuinei
urbane multifuncionale: atelier public, depozitare, locuin privat,
individual sau colectiv, cu sau fr curte interioar, n funcie de
densitatea urmrit. n mod similar, modul de organizare comunitar
existent pn la secolul XX peste tot n Europa, bazat pe vecinti,
ce mai persist pe alocuri n oraele mediteraneene, poate netezi
excesele individuale prin aportul reprezentrii mult mai directe al
interesului comun n cadrul administraiei. Structurarea comuni
tar a spaiului i a activitilor urbane va implementa ierarhizarea
semiprivat/semipublic a spaiului i va crea condiiile eliminrii
tensiunii dintre interesul privat/individual i responsabilitatea asupra
proprietii publice.

98

n final, sa menionat faptul c inovaia i pionieratul n utilizarea

spaiului sunt att de importante, nct cei care ocup i utilizeaz un
teren sau o cldire (squatters) n Olanda, au dreptul de a negocia cu
proprietarii imobilului vacant.
Rezultatele atelierului au fost formulate de ctre dou echipe. O
echip a procesat imagini realizate cu ocazia turului zonei indus
triale n trei serii de cri potale colectibile, material de campanie i
promoie. Prima serie formuleaz problemele oraului legate de zona
industrial vacant, a doua serie identific potenialul, iar a treia
prezint soluii posibile. Cealalt echip a realizat conceptul unui
atelier de aprofundare a spiritului i cunotinelor antreprenoriale,
intitulat SpringLab, eveniment ancorat turnului fabricii Clujana,
cel mai important punct de reper al zonei industriale, gol la rndul
su. Materialul de promovare realizat descrie acest nou proiect, la
realizarea cruia participanii au consimit s colaboreze n 2012 i
anii urmtori.

the incremental taxation of property: the

tax on undeveloped areas will rise from
one year to the next one; after 3 years,
the administration suggests a tenant or
imposes the separate trading, according to
the urban plan, in smaller areas, adjusted
to the market needs; the tax can be rein
vested in land decontamination;
compulsory reusage: not only the listed
buildings, but all existing structure
are to be reused as long as their state
allows the usage and transformation; the
reusage will be subsidized by local and
national funding, and for great invest
ments in reusage, the administration will
negotiate with the investor; that point
follows a normal logic applied in many
areas in the West according to which
an unused land, nondecontaminated
for two decades, stands for toxic estate
speculation to the neighbouring proper
ties and the community, and also for a
sign of apathy, complicity or incapacity
ofadministration
the guarantee for demolition and decon
tamination: will be submitted when
the construction permit is asked for
in the industrial area, to avoid giving
upinvestments;
grading the public space: the implemen
tation of semipublic and semiprivate
space, through urban planning regula
tions; the restriction will be limited to
applicable cases, private lots with a
consistent public or semipublic destina
tion will be able to negotiate benefits with
the administration.
We agreed on the fact that the develop
ment potential in the knowledgebased

A community and
antipeculative strategy,
that would combine
financial, legal and
planning measures.

Malurile Someului pot fi transformate ntro fie verde de

recreere, destinat traficului pietonal i de biciclete, conectat
reelei de transport public i auto, cu locaii dezvoltate n apropiere
ce pot include hale pentru sport amenajabile cu costuri reduse i n
timp relativ scurt. Trasee tematice de explorare industrial, ecolo
gic, de agricultur urban pot fi amenajate n relaie cu nodurile
perimetrale i cele din interior.

O strategie comunitar
i antispeculativ, care
s mbine msurile
financiare, legale
iurbanistice.

birouri la etaj. Semne ale acestui proces pot fi identificate deja i pot
fi amplificate printro strategie bazat pe reglementri urbanistice,
cooperarea ntre administraie i proprietari, sistem de subvenii
i finanri, realizarea unor funciuni de suport i mbuntirea
infrastructurii.

economy, covered by the higher education

network, as well as the collapse of industrial
activities may be work for relaunching the
local production tradition, the technological
development and design of new goods.
Those areas could share unused buildings
and may launch seeds for microeconomic
organization and community development
in specific spatial structures, with work
shops at the ground floor and offices at the
upper ones. The signs of that process may
already be found out, and may increase
through a strategy based on urban planning
regulations, the cooperation between the
administration and the owners, a system of
subsidies and funding, carrying out support
functions and improving the infrastructure.
In Cluj specifically, the Some river banks
can be turned into a green area for recrea
tion, meant for pedestrian and bike lanes,
connected to the public and car transport
network, with areas developed close by
which may include gym halls that can be set
up with low costs and in a relatively short
while. Thematic routes for industrial, envi
ronmental usage or urban agriculture could
be arranged in relation with perimetric
knots and those inside.
An economic and administrative strategy
is required, meant to implement the invest
ments in housings. Referring to the model,
valued today as well, of the medieval
selfsustainable city as a community, it is
time to reinterpret the established fabric,
based on the typology of a multifunctional
urban house: a public workshop, a storage
area, a private housing, individual or collec
tive, with or without a inner yard, depending

At the end, it was mentioned that innova

tion and pioneering in using the space are so
important, that those who occupy and use
an area or a building (squatters) have the
right to negotiate with the owner a stagnant
building in the Netherlands.
The results of the workshop were
expressed by two teams. One team worked
out images taken after the tour of the indus
trial area in three series of collectible post
cards, a campaign and promotion material.
The first series defines the issues of the city
connected to the vacant industrial area,
the second identifies the potential, and the
third presents possible solutions. The other
team developed the concept of a workshop
to further explore entrepreneurial spirit
and knowledge, called SpringLab, an event
linked with the tower of Chiajna factory,
the top reference point of the industrial area,
yet void as well. The resulted promotion
material features that kind of new project,
for which participants agreed to cooperate in
2012 and the coming years.

A possible model: a mix

of workshops (inclusding
for creative industries),
offices and dwellings.

Un posibil model:
amestecul de ateliere
(inclusiv pentru industrii
creative), birouri
ilocuire.
on aimed density. Similarly, the way to
organize a community until the 20th century,
all over Europe, based on neighbourhoods,
which still persists in Mediterranean cities,
may smoothen individual excesses through
the contribution of a more direct representa
tion of the common interest in the admin
istration. The communitarian structuring of
space and urban activities will implement the
semiprivate/ semipublic hierarchy of the
space and will create the conditions of elimi
nating the tensions between the private/
individual interest and the responsibility over
the public property.

1 Project Space o serie de ateliere organizate de Wonderland pentru studierea

unor probleme la nivel european, n cadrul unor echipe internaionale,
multidisciplinare, participarea fiind legat de concurs internaional de
justificare a interesului fa de temele i locaiile propuse anual. Tema
general a anului 2011 adresa Spaiile golite (Vacancy).
2 Blind Date alt program al platformei Wonderland, ce a dus la cuplarea
asociaiei AREA3 cu asociaia Umbauwerkstatt.atw, preocupat de salvarea
Fabricii de Tabac (proiectat de atelierul lui Peter Behrens) din Linz.
CREDITE
Atelier Wonderland: Blind Date + PROJECT SPACE
Organizat de: wonderland platform for european architecture, AREA3
Finanat de: arch+ing, Bm.U.K.K., U.A.R. fondul cultural asigurat din timbrul
pentru arhitectur, Forumul Cultural Austriac, Bucureti, Planwerk, blipsz!
www.wonderland.cx
www.area3.ro
Participanii la atelierul Project Space Cluj: Ronald Boer i Jonmar van
Vlijmen/ placemakers (NL), Roland Krebs/ urban issues (AT), Levente
Polyk (HU), Erika Barth/ coop pe strad (RO). Lydia Wissa (AT), din partea
Wonderland i membrii umbauwerkstatt.atw, Lorenz Potocnik i Gunar
Wilhelm, tinerii arhiteci din Cluj Camelia i Tams Sisak, Marius Moga/
Atelier MASS, Sebastian Ionescu i organizatorii locali Istvn Benedek, Zsolt
Sznsi, Istvn Psztor/ AREA3, blipsz! sau alturat procesului de studiu
condus de Bahanur Nasya/ wonderland (AT). Procesul a fost documentat
de Yilmaz Vurucu (CAN) i kos Kn (RO). Aventura a durat 3 zile i 4 nopi,
ntre 31 august i 4 septembrie, fiind lansat printrun Blind Date tematic.
La conferina de lansare a atelierului la Fabrica de Pensule, au participat:
Irina Iamandescu, preedinte al A.I.R. Asociaia pentru Arheologie
Industrial, Corina Bucea/ Fabrica de Pensule, Eugen Pnescu/ Planwerk,
O.A.R. Transilvania, A.C.E., Szabolcs Guttmann, O.A.R. Transilvania. Atelierul,
organizat n spaiul .P.A.C./ Atelier Protokoll a durat dou zile, cu prezentarea
final n seara zilei de 3 septembrie.

1 Project Space a series of workshops organized by wonderland to explore

certain issues at European level, in international, crossdisciplinary teams, the
participation being connected by the international competition to ground the
interest for the themes and the locations proposed annually. The overall theme
of 2011 was Vacant spaces.

99

2 Blind Date another programme of wonderland platform, leading to the

connection of AREA3 association with umbauwerkstatt.atw, preoccupied by
saving the Tobacco Factory (designed in Peter Behrenss workshop) in Linz .

CREDITS
Atelier Wonderland: Blind Date + PROJECT SPACE
Organized by: wonderland platform for European architecture, AREA3
Funded by: arch+ing, Bm.U.K.K., Union of Romanian Architects a cultural
fund covered by the architecture stamp, Austrian Cultural Forum, Bucharest,
Planwerk, blipsz!
www.wonderland.cx
www.area3.ro
Participants to Project Space Cluj workshop: Ronald Boer and Jonmar van
Vlijmen/ placemakers (NL), Roland Krebs/ urban issues (AT), Levente Polyk
(HU), Erika Barth/ coop on street (RO). Lydia Wissa (AT), from Wonderland
and members of umbauwerkstatt.atw, Lorenz Potocnik and Gunar Wilhelm,
young Cluj architects, Camelia and Tams Sisak, Marius Moga/ Atelier MASS,
Sebastian Ionescu and local organizers, Istvn Benedek, Zsolt Sznsi, Istvn
Psztor/ AREA3, blipsz! Joined the study lead by Bahanur Nasya/ wonderland
(AT). The process was documented by Yilmaz Vurucu (CAN) and kos Kn (RO).
The adventure lasted 3 days and 4 nights, between 31 August 4 September,
being launched in a thematic Blind Date. At the launch taking place at The
Paintbrush Factory, the following participated: Irina Iamandescu, chair of
Association for Industrial Archaeology, Corina Bucea/ Fabrica de Pensule,
Eugen Pnescu/ Planwerk, O.A.R. Transilvania, A.C.E., Szabolcs Guttmann,
O.A.R. Transilvania. The workshop, organized at .P.A.C./ Atelier Protokoll
lasted two days, with a final presentation on 3 September.

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98

Text: tefan Ghenciulescu

Mai mult dect un festival un program urban

Dup tiina mea, Street Delivery e singurul festival urban independent din aceast parte a Europei, legat n mod direct de un
proiect de regenerare urban. Scopul principal al acestuia este
transformarea poriunii de est a strzii Artur Verona (unde are loc
festivalul) ntr-un spaiu pietonal i crearea unei legturi pietonale
mai puternice cu partea de vest a strzii: o ax urban cultural ntre
partea de est i cea de vest a centrului. Dincolo de PUZ-ul aprobat
(i oarecum ngheat), prima aciune oficial a avut loc sub forma
amenajrii unei mici piaete n zona Bisericii Anglicane.

europalei i un banner publicitar cu harta Bucuretiului a celor de

la studioBASAR) au avut un mesaj clar i puternic.
Operaiile concrete n acel loc sunt n impas, ns se ncearc o
ntrire a proiectului comunitar. Mi-a plcut cum nc un proprietar
(societatea TIAB) i-a dat jos tabla de dup gard i a deschis curtea
ctre strad (vizual cel puin, iar n cele trei zile ale Festivalului,
i fizic, prin gzduirea unor activiti). Principalii iniiatori ai
proiectului, librria Crtureti i OAR i-au invitat pe ceilali vecini
de pe strad la o discuie i un prnz; nu au venit muli, iar dialogul
la care au participat lucru rarissim - i doi arhiteci-efi), dar e
un nceput bun. E nevoie de mai muli parteneri i de o relansare
susinut a proiectului, mai ales n condiiile n care, din nou, toat
lumea vorbete n mod obsesiv despre autostrzi, maini, fluidizri
i aa mai departe.

More than a
festival anurbanprogram

Proiectul Verona a fost iniiat de un grup de arhiteci i asumat ntre

timp de Ordinul Arhitecilor i este printre foarte puinele aciuni de
activism urban din Romnia care au i nregistrat primele rezultate
concrete i permanente.
Aici e i miza, de fapt: s i asumi un proiect de lung durat i s
nu rmi doar proiectant, ci i administrator, comunicator, negociator, partener ntr-un proces.
Festivalul e o parte esenial a acestui proiect pe termen lung:
arat ce bine e ca strada s devin pietonal, dar a devenit i o
platform pentru proiecte i luri de poziie nrudite: de la proiecte
ecologice la asociaii promovnd mersul pe biciclete, de la expunerea
de proiecte urbane alternative la salvarea patrimoniului, promovarea
meteugurilor etc.
ntre timp, pe strad a aprut nu doar scuarul amintit, ci i vreo
trei terase noi (permanente), iar evenimentul a devenit din ce n
ce mai popular. Poate prea popular, zic unii care au criticat aprig
evoluia trendy i comercial a ultimelor ediii.
2012 din nou un party cu atitudine
Eu zic c e bine c se ntmpl o superpetrecere acolo timp de
3 zile. Petrecerile inteligente i haioase produc uneori mai mult
comunitate dect un milion de simpozioane.
Sunt dou lucruri care mi-au plcut n mod special la
aceastediie:
n primul rnd, tonetele cu hand-made-uri au disprut, iar
festivalul i-a rectigat caracterul bazat pe ateliere, pe performance-uri i pe exprimarea unor poziii (uneori, virulente):
Roia Montan, de exemplu, a fost foarte prezent n acest an.
Majoritatea interveniilor (cum a fost i spectaculoasa piscin din

To my knowledge, Street Delivery is the

only independent urban festival in this
part of Europe, directly linked to an urban
regeneration project. The key aim is to turn
a part of Artur Verona Street (where the
festival takes place) in a pedestrian area and
the setting of a stronger pedestrian connection with the Western side of the street: a
cultural urban axis between the East and the
West of the centre. Beyond the approved
Local Development Plan (somehow in a
deadlock), the first official action included
the setting of a small square in the area of
the Anglican Church.
The Verona project was initiated by a
group of architects and meanwhile adopted
by the Order of Romanian Architects, and
is one of the very few actions of urban
activism which recorded the first real and
permanent results.
This is where the stakes are, actually: to
take responsibility for a long term project
and be more than a mere designer, but also
administrator, communicator, negotiator,
partner in a process. The festival is an
essential part of this long term project: it
shows how good is when the street becomes
a pedestrian space, and also becomes a
platform for related projects and positions:
from environmental projects to associations
promoting the use of bikes, from the display
of alternative urban projects heritage saving
to the promotion of crafts etc.
Meanwhile, on the street, there were
more than the small square mentioned, that
is about three new (permanent) cafes with
terraces; the event becomes increasingly
popular. Perhaps too popular, some say,
which criticized fiercely the trendy and
commercial progress of the last editions.

2012 once again, a party with attitude

99

I think its good for a super-party to take

place there for 3 days. Smart and fun parties
generate sometimes a better community
than a million symposia.
There are to things which I appreciated
especially to this edition:
firstly, the hand-made product stands
disappeared, and the festival reclaimed its
workshop character, performances and the
expression of positions (sometimes rather
forceful): the Roia Montan ecological
and heritage scandal was very present this
year. Most of the interventions (including
the spectacular pool studioBASAR made
of euro pallets and a promotional banner
with the map of Bucharest) had a clear
and strong message
real interventions there are in a deadlock,
but the community project seems to be
strengthened. I liked the way an owner
(TIAB) took off the iron behind the fence
and opened the courtyard to the street
(at least visually, and, for the three days
of the festival, also physically, by hosting
certain activities). The key initiators of
the projects, Crtureti Bookshop and the
Order of Architects in Romania invited
the other neighbours on the street to a
lunch and a debate; not many came, yet
the dialogue they engaged in extremely
rare included two head-architects), but
this is a good start. Several partners are
needed, as well as a sustained relaunch
of the project, especially given the conditions in which, once again, everybody now
talks about obsessively about highways,
cars, fluent traffic, and so on.

100
Un pavilion comunitar n
Bochum, Germania, devine
platform pentru stimularea
imaginaiei n ceea ce privete
viitorul unui cartier suburban i
locuitorii acestuia.

Proiect, Text & Foto:

Apolonija uteri
Amplasament,
Brunnenplatz

Site, Brunnenplatz

A community pavilion in
Bochum, Germany becomes
a platform for stimulating the
imagination about the future of
a suburban neighbourhood and
itsinhabitants.

Workshop cu
locuitorii din
Hustadt, 01.2009

Workshop with
Hustadt inhabitants,
01.2009

Grdinrit pe zona
verde public

Gardening on
publicgreen

Lectur public

Public reading

Context

Context

Hustadt este un cartier suburban situat la limita sud-estic a

oraului Bochum. Acesta a fost construit spre sfritul anilor 60
(68), ca un model de cartier care urmeaz standardele urbane
generale, pentru a satisface necesitile unui numr de aproximativ
6.000 de locuitori. Hustadt a fost planificat cu o varietate de uniti
de locuit astfel nct s asigure locuri adaptate diferitelor necesiti
i condiiilor de trai complexe. Zona a fost gndit pentru a constitui
aa-numita Universittsrahmenstadt centura rezidenial din jurul
campusului Universitii Bochum n dorina de a oferi profesorilor,
studenilor, cadrelor universitare i angajailor publici posibilitatea
locuirii n vecintate.
Oricum, n timp, Hustadt a suferit mai multe transformri ca
rezultat al diferitelor dezvoltri sociale, economice i politice relaionate cu situaia global actual, aflat n permanent schimbare.
A trecut prin schimbri dramatice n ceea ce privete locuitorii si,
iar cei aflai n prezent n Hustadt au venit din toate colurile lumii.
Aproximativ 56 de naionaliti diferite coexist n acest cartier,
reprezentnd diferite culturi, moduri de via i obiceiuri, genernd
astfel un microcosmos multinaional la bine i la ru.
Nu mai este necesar s spunem c, n afara cartierului n sine,
Hustadt are reputaia de a fi un ghetou. A dobndit un renume
negativ, care a stigmatizat zona vreme ndelungat. Rata ridicat de
omaj, durata extins a procesului de integrare i comunitatea aflat
n continu schimbare limiteaz posibilitatea locuitorilor si de a se
raporta la acest loc ca la o cas a lor.

Hustadt is a suburban neighbourhood on

the south-east edge of the city of Bochum.
It was built in the late 1960s (1968), as a
model neighbourhood following general
urban standards, to fulfil the needs of
approximately 6000 inhabitants. Hustadt
was planned with a variety of housing units
in order to provide a place for different
needs and a complex living situation. The
area was intended to be the so-called
Universittsrahmenstadt a residential
area framing the campus of the Bochum
University intended to offer professors,
students, academics, and public employees
the possibility to live in the vicinity.
However, along the way Hustadt has
undergone several changes as a result of
various social, economic, and political
developments related to todays changing
global situation. It has seen dramatic
changes in its population and the people
living in Hustadt today come from all over
the world. Approximately 56 different
nationalities live in the neighbourhood,
with many different cultures, lifestyles, and
habits coexisting every day in close proximity to each other, creating a microcosm of
the world for good and for bad.
It goes without saying that outside of
the neighbourhood itself Hustadt has the
reputation of being a ghetto. It has gained
a bad name, which has stigmatized the area
for quite some time. The high unemployment, lengthy integration processes, and
constantly changing community limit the
possibility of its inhabitants beginning to
relate to the place as their home.

Intenii
n 2008, am primit o invitaie din partea primriei oraului Bochum
de a realiza un proiect de art pentru Hustadt, cartierul suburban cu
un nceput interesant i o istorie recent turbulent. Proiectul planificat s dureze nou luni s-a transformat ntr-un proces de negocieri, discuii i aciuni de-a lungul a trei ani. Comandat mai nti de
ctre municipalitatea oraului Bochum ca un proiect de art public
convenional, a devenit apoi o iniiativ autoorganizat, cu sprijinul
militanilor locali (Aktionsteam), i a fost acceptat n cele din urm
n planul de regenerare urban pentru Innere Hustadt, constituind o parte din Stadtumbau West Programul de Regenerare
Urban pentru Hustadt, Bochum. Am realizat diferite activiti
pentru aceast zon cu scopul de a testa amplasamentul, pentru a
folosi rezultatele ca argumente n discuiile politice i pentru a pune
n practic n cele din urm ideea noastr referitoare la Pavilionul
Comunitii Brunnenplatz 1 infrastructur multifuncional
pentru piaa principal din Hustadt.

Workshop pentru
reparaii de biciclete
Bicycle repair
workshops

101

Intentions
In 2008, I received an invitation from the
city of Bochum to make an art project for
Hustadt, a suburban neighbourhood with an
interesting beginning and turbulent recent
history. The project, which was planned to
last nine months, turned into a three-year
process of negotiations, discussions, and
actions. First commissioned by the City
of Bochum as a conventional public art
project, it became a self-organized initiative
together with local activists (Aktionsteam)
and was finally accepted in the urban
regeneration plan for Innere Hustadt
as part of Stadtumbau West Urban
Regeneration Program for Hustadt, Bochum.
We developed different activities for the
neighbourhood in order to test the location,
use the results as arguments in political
discussions, and finally realize our idea for
the Community Pavilion Brunnenplatz 1
multifunctional infrastructure for the main
square in Hustadt.

102
1

Pavilionul comunitar,
aciune cu inscripii
pe tabl, 09.2011

Community Pavilion,
blackboard action,
09.2011

Intervention
5

Plan parter
Ground floor plan
1.

2.

Scen ecran
Stage screen
Scri locuri
deedere
Stairs seating

3.

4.

5.

6.

Punct de ntlnire
Meeting point
Buctrie
Kitchen
Perete de afiaj
Info wall
Grdin de ierburi
Herb garden

Seciune caracteristic
Characteristic section

The Hustadt Project is not only an architectural object or urban infrastructure but
mainly a process composed of several parts,
which was concluded with the opening of
the Community Pavilion Brunnenplatz 1.
Parts of the process: research of then
existing situation, including many formal
and informal meetings, discussions, and
workshops with people living in Hustadt.
The aim of this research was to create the
conditions for unofficial public participation
and, together with a group of inhabitants,
make a proposal that could influence and
would definitely shift the official urban
regeneration process in Hustadt.
Public participation was realized through
various actions taking place on the main
square Brunnenplatz: Sunday brunch, flea
market events, bicycle repair workshops,
dance workshops, storytelling and public
readings, gardening on public greens,
lectures and presentations, exhibitions,
festivals, and building a temporary pavilion
as part of the trial project.

Intervenie

Construcia
pavilionului
temporar, var 2009

Building Temporary
Pavilion, summer
2009

Proiectul Hustadt nu este numai un obiect arhitectural sau o

infrastructur urban, ci n principal un proces format din mai multe
pri, care s-a ncheiat cu deschiderea Pavilionului Comunitii
Brunnenplatz 1.
Prile acestui proces au fost constituite de cercetarea situaiei
existente la momentul respectiv, inclusiv de multe ntlniri oficiale i
neoficiale, prin discuii i ateliere cu oameni care locuiesc n Hustadt.
Scopul acestei cercetri a fost acela de a crea condiii pentru o
participare public neoficial i, mpreun cu un grup de locuitori,
de a face o propunere capabil s influeneze i s schimbe categoric
procesul oficial de regenerare urban din Hustadt.
Participarea public s-a realizat prin diferite aciuni care au avut
loc n piaa principal Brunnenplatz: gustarea de duminic, organizarea de trguri de vechituri, ateliere de reparare a bicicletelor,
cursuri de dans, lecturi publice i depnare de poveti, grdinrit
pe pajitile publice, conferine i prezentri, expoziii, festivaluri i
construirea unui pavilion temporar ca parte din proiectul de prob.
Proiectul Hustadt se bazeaz pe aciune i negociere ntre autoritile oraului i iniiativa local. ntregul proces a dus la schiarea unei
propuneri pentru Pavilionul Comunitii Brunnenplatz 1 un loc de
ntlnire pentru oamenii care locuiesc n Hustadt; pentru a-i ncuraja
s acioneze i s reacioneze la condiiile actuale independent de
instituiile sociale oficiale, s creeze ei nii un loc pentru ei nii.
Evaluare

Pavilionul comunitar,
autoorganizare
la faa locului,
var2011

Community Pavilion,
self-organized
building site, summer
2011

Pavilionul comunitar,
cinema, vara 2011

Community Pavilion,
cinema, summer 2011

Proiectul Hustadt a devenit o platform care a stimulat imaginaia

privind viitorul locului i al locuitorilor si. El se axeaz i se refer la
distribuirea puterii n spaiul public, la rolul artistului/ arhitectului
n cadrul proiectelor de regenerare urban, la ideea de echitate
spaial, i abordarea spaiului public n funcie de felul n care
acesta este neles de diferii actori.
Pavilionul Comunitii Brunnenplatz 1 reprezint o reea de
activiti sugerat de locuitorii nii: o buctrie de var, un loc de
aezat, o mic scen de spectacol, un cinematograf n aer liber, un
atelier de reparat biciclete i multe altele. Scopul a fost acela de a
crea un loc care s stimuleze i s-i inspire pe toi cei care locuiesc
n zon.
Pavilionul Comunitii Brunnenplatz 1 a devenit o miniinstituie
cultural autoorganizat, care va continua s lucreze pe viitor n
strns legtur cu locuitorii si (Festivalul de Film al Verii Hustadt
2012). Custodele Pavilionului Comunitii a devenit UmQ e.V.
Universitatea ntlnete Querenburg, Asociaia pentru Cultura
Strzii, care se va ocupa de Pavilion i pe viitor.
Proiectul Hustadt a dat natere unei discuii de amploare n cadrul
comisiei legislative a oraului. Nu a fost un proces uor. Am reuit s
mrim bugetul iniial cu 500% i am transformat o comand de art
public convenional ntr-un proces participativ sustenabil.

The Hustadt Project is based on action

and negotiation between the city authorities and the local initiative. The entire
process has been leading to the drafting
of a proposal for the Community Pavilion
Brunnenplatz1 a meeting place for people
living in Hustadt; to encourage them to act
on and react to present conditions, outside
of official social institutions, to create a
place by themselves and for themselves.
Evaluation
The Hustadt Project has become a
platform that has stimulated the imagination about the future of the place and its
inhabitants. The project is focused on and
addresses distributions of power in public
space, the role of the artist/architect
within urban regeneration projects, the
issue of spatial justice, and the appropriation of public space as understood by
differentactors.
The Community Pavilion Brunnenplatz1
is a network of activities suggested by the
inhabitants themselves: a summer kitchen, a
sitting place, a small performance stage, an
outdoor cinema, a bicycle repair workshop,
and much more. The goal was to create
a place that would stimulate and inspire
everyone living in the neighborhood.
The Community Pavilion Brunnenplatz1
became a self-organized mini cultural institution that will continue in the future to
work closely together with its inhabitants
(Summer Film Festival Hustadt 2012). The
custodian for the Community Pavilion has
become the UmQ e.V. University meets
Querenburg, Association for Street Culture,
which will also care for the Pavilion in
thefuture.
The Hustadt Project has provoked a huge
discussion within the city legislature. It
has not been an easy process. We managed
to expand the initial budget by 500% and
turned a conventional public art commission
into a sustainable participatory project.

103

Credite & info/ Credits & info:

Pavilionul comunitar,
2011

Community Pavilion,
2011

Titlu/ Title: Proiectul HU_stadt, Pavilion

comunitar, Brunnenplatz 1/ HU_stadt Project,
Community Pavilion, Brunnenplatz 1
Amplasament/ Location: Hustadt, Bochum,
Germania/ Hustadt, Bochum, Germany
Autor/ Author: Apolonija uteri
Colaborare/ Collaboration: Aktionsteam
oreea informal de activiti din Hustadt/
Aktionsteam an informal network of
Hustadtactivists
Arhitect peisagist/ Landscape architect:
Christine Wolf, Landscape architects wbp GmbH,
Bochum
Structur/ Structural engineers: MEYER &
PARTNER Bauingenieure, Bochum
Sprijin financiar/ Finances: Programul
Stadtumbau West, Municipalitatea din Bochum,

Fondurile BKVB Olanda, Ministerul Culturii RS,

Fundaia IKEA i munc individual voluntar/
Stadtumbau West Program, Bochum City
Council, Fonds BKVB The Netherlands, Ministry
of Culture RS, IKEA Foundation and hours of
individual voluntary work
Suprafaa amenajat/ Floor surface: 106 m2
Materiale de construcie/ Construction
materials: perei de beton, structuri de lemn
(molid), panouri acrilice/ concrete walls, wooden
construction (spruce), acryl-glass plates
Mobilier/ Furniture: lemn de molid + lemn de
esen tare recuperat de la o pergol veche/
spruce wood + recycled hardwood from an
oldpergola
Grdin/ Garden: grdin de ierburi replantate/
herb garden re-planted

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86

Micro-intervenii
urbane cu
readymades

Urban
Microintervention
with Ready-mades

LIKEarchitects is an award-winning practice

focused on the design of ephemeral architectural objects and on socialy relevant
international competitions. The collective
of architects, of an experimental, provocative and innovative nature, is formed by the
young Portuguese architects Diogo Aguiar,
Joo Jesus and Teresa Otto and seeks to
combine their basilar architectural knowledge acquired in the renowned Faculty of
Architecture of Oporto with other more
radical architectural experiences they have
had in worldwide reference studios such as
UNStudio and OMA in The Netherlands and
RCR Arquitectes, in Spain.
The proposed projects, which are attentive to the current socio-economic scenario,
aim to boost places and involve the community in a critical participation of urban space,
having Installation, Happening and Urban
Art as references. LIKEarchitects work
has been awarded several prizes and been
published both in national and international
specialized magazines and books.

Frozen Trees ephemeral Installation for the

ChristmasLighting

Dinis Sottomayor
Text & Proiecte: LIKEarchitects

Mult-premiatul birou de arhitectur LIKEarchitects se axeaz pe

proiectarea obiectelor arhitecturale temporare i pe participarea
la competiiile internaionale axate pe aspecte sociale. Animat de
un spirit explorator, stimulator i inovator, echipa este alctuit
din tinerii arhiteci portughezi Diogo Aguiar, Joo Jesus i Teresa
Otto, cutnd s mbine cunotinele de baz dobndite n renumita
Facultate de Arhitectur din Porto cu experienele arhitecturale
mai radicale ctigate n birouri internaionale de referin, precum
UNStudio i OMA din Olanda i RCR Arquitectes, din Spania.
Urmrind scenariile socio-economice actuale, proiectele propuse
au drept scop dezvoltarea locurilor, implicnd comunitatea prin
raportarea critic la spaiul urban, avnd ca puncte de referin
instalaia, evenimentul i arta urban. Lucrrile elaborate de
LIKEarchitects au primit o serie de premii, fiind publicate n cri i
reviste de specialitate, att naionale, ct i internaionale.

Copacii ngheai instalaie temporar de iluminat

pentruCrciun
Copacii ngheai reprezint o instalaie temporar pentru perioada Crciunului, situat n piaa D. Pedro IV din Lisabona, alctuind
un peisaj ngheat de iarn, iluminat, cu aspect fractalic, menit s
influeneze trectorii. Treizeci de cilindri lmpi stradale structurate, autonome sunt desfurate n toat piaa, desennd un alt fel
de peisaj i context ce propune trectorilor noi experiene spaiale.

87

Frozen Trees is a temporary installation for Christmas in D. Pedro IV square

in Lisbon, creating an illuminated, frozen
and fractal landscape that affects and the
passers by. Thirty cylinders structured,
self-sufficient streetlights are placed
throughout the square, drawing a new landscape and context and inviting the visitors
to new spatial experiences.
Designed from the creative association
of Rationell Variera piece by K. Hagberg/
M. Hagberg (IKEA 1,5 ), and taking
advantage from its shape, Frozen Trees
brings a domestic object to the scale of
the town thus dissociating it from its
original function and leading to the loss
of its identity as a single element, making
a general call for creativity in the current
socio-economicconjecture.
These volumes made of polypropylene
plastic, flexible and non-inflammable,
define an ethereal presence in the square.
By day, the trees make surprising shadows
and the ensemble makes an abstract, white
and tracery landscape; by night, illuminated
from inside by LEDs, the elements, as street
lamps, explode with white light, creating a
Christmas ambience with variable intensity.
The plastic piece dimension (160 x 450
mm) defines the structural module. Each
of the 30 trees is the same height (3,6 m),
although three different diameters coexist
(5, 10 or 15 pieces in the bottom) totalling
ten units on each of the three sizes. The
light metal structure is made of vertical
profiles and horizontal triangular rings; the
first receive the IKEA pieces, the latter the
illumination network made of monochromatic LEDs.

 Dinis Sottomayor

88

Avnd la origine o asociere creativ a piesei de mobilier Rationell

Variera a lui K. Hagberg/ M. Hagberg (IKEA 1,5 ) i exploatndu-i
forma, instalaia Copacii ngheai reuete s aduc un obiect
casnic la scara oraului disociindu-l astfel de funcia inial i avnd
ca rezultat pierderea identitii ca element individual, fiind totodat
un apel la creativitate n actuala conjunctur socio-economic.
Volumele alctuite din plastic polipropilenic flexibil i ignifug
ajung s defineasc o prezen eteric n pia. Ziua, copacii deseneaz umbre surprinztoare, iar ansamblul alctuiete un peisaj
abstract, cu model decorativ alb; noaptea, iluminat din interior cu
LED-uri, elementele explodeaz ntr-o lumin alb, crend ambiana
specific de Crciun, la diferite intensiti.
Dimensiunea piesei de plastic (160 x 450) mm definete modulul
structural. Toi cei 30 de copaci au aceeai nlime (3,6 m), dar
diametrele difer n trei dimensiuni (5, 10 sau 15 piese la baz)
nsumnd cte zece componente la fiecare dintre cele trei dimensiuni. Structura metalic uoar este realizat din profile verticale
i inele triunghiulare orizontale; primele gzduiesc piesele de
mobilier IKEA, iar ultimele, reeaua de iluminare realizat din leduri
monocromatice.
Copacii ngheai constituie o instalaie uor de produs i asamblat, care apare pe neateptate i dispare la fel de rapid dintr-un
ora, fr s produc nicio pagub. n privina raportului efect
obinut costuri, alegerea unui obiect standard s-a dovedit a fi o
soluie eficient cu un rezultat estetic unic, la un pre foarte competitiv. Pe de alt parte, elementele din plastic polipropilenic ofer
avantajul unui material refolosibil i uor de reciclat.

Credite & info/ Credits & info:

Plan i seciune prin
amplasament
Site plan and section

Copacii ngheai / Frozen Trees (2011)

Amplasament / Location: Praa de D. Pedro IV,
Lisabona, Portugalia / Lisbon, Portugal
Autori / Authors: LIKEarchitects (Diogo Aguiar +
Teresa Otto)
Beneficiar / Client: Cmara Municipal de Lisboa;
MUDE Museu do Design e da Moda
Constructor / Construction: OutrosMercadus

Detaliu instalaie
Installation detail

89

DamnWorks Creative Motion Studio

Credite & info/ Credits & info:

Axonometrie
Axonometric drawing

Stivuiete i cldete / Stack n Build

(2012)

Amplasament / Location: Jardim de Serralves,

Porto Portugalia / Oporto, Portugal
Autori / Authors: LIKEarchitects (Diogo Aguiar +
Teresa Otto + Joo Jesus)
Curator / Curatorship: Brand New
Box UnitedTalents
Beneficiar / Client: Unicer / SuperBock
Producie / Production: Francisco Andrade,
Metalomecnica
Suprafaa construit / Floor area: 44 m2

Stivuiete i cldete pavilion temporar pentru

Serralves em Festa 2012
Un fel de Lego este pavilionul temporar creat pentru grdina
Muzeului Serralves. Realizat din combinarea multor navete de
bere SuperBock, acest element i propune s marcheze prezena
iconic a Premiului pentru industrii creative din cadrul festivalului
Serralves em Festa printr-un obiect artistic distinct. Utiliznd
calitile oferite de forma grtarului iniial din plastic, am creat un
perete curbat, dantelat, construit pe principiul jocului Lego, prin
adugarea unei buci din metal, special proiectat i produs n
acest scop. Noul element care adaug o abordare high-tech esteticii low-cost, permite asamblarea i demontarea pavilionului fr
deteriorarea grilajelor existente. n plus, realizarea unui sistem de
construcie discret, precum i rezistena considerabil a elementelor
utilizate, sugereaz posibilitatea reutilizrii acestuia i n alte locuri,
cu multiple configurri. Forma curbat a pavilionului faciliteaz
efortul structural, n aceeai msur n care i uimete vizitatorii
prin geometria surprinztoare. Culoarea roie, caracteristic pentru
acest brand, reprezentativ pentru navetele din plastic care creeaz
pavilionul, marcheaz prezena acestui element n grdinile nverzite
din Serralves, profitnd de caracterul complementar culorilor.

Frozen Trees is a fast production and

easy set-up installation, able to pop-up and
disappear without destroying or damaging
anything. Regarding the effect/cost ratio,
choosing a standard object proved to be
an effective solution, allowing for a unique
aesthetic result for a very competitive price.
On the other hand, polypropylene plastic
pieces are reusable and highly recyclable.
Stack n Build temporary pavilion for
Serralves em Festa 2012
Stack and Build is a temporary pavilion
created for the garden of the Serralves
Museum. Designed by combining multiple
crates of beer SuperBock, this element
seeks to mark the iconic presence of the
Creative Industries Award at the event
Serralves em Festa with an artistic and
distinctobject. Taking advantage of the
formal qualities of the original plastic grate,

we designed a laced curved wall, which is

built in a very simple system, Lego-type
mounting, by the addition of a metal piece,
designed and produced for this purpose.
This new element, that adds an high-tech
approach to a low-cost aesthetic, enables
the assembly and disassembly of the
pavilion without damaging the existing
grids. Moreover, the development of a
building system which is non-intrusive and
the high strength of the elements used,
suggest the possibility of re-use of this
system in other places with new multiple
configurations. The curved shape of the
pavilion facilitates the structural effort at
the same time that surprises visitors by its
unexpected geometry. The red color, characteristic of this brand strongly present on the
plastic crates that design the pavilion, mark
the presence of this element in the green
gardens of Serralves, taking advantage of
the complementarity of these colors.

 Teresa Otto

Francisco Nogueira

Credite & info/ Credits & info:

Party Animal! (2011)

90

Amplasament / Location: Praa de S. Paulo,

Lisabona, Portugalia / Lisbon, Portugal
Autori i design iluminare / Authors and
lightning design: LIKEarchitects (Diogo Aguiar +
Teresa Otto)
Beneficiar / Client: Ordem dos Arquitectos
Organizator de eveniment / Event
Organization: Ordem dos Arquitectos +
Associao Parafernlia
Structur / Structure: OutrosMercadus
Constructor / Construction: Burkhardt Leitner
constructive
Suprafaa construit / Floor area: 80m2

Francisco Nogueira

Party Animal! o cutie pentru artiti

Party Animal! a box for artists

n ciuda evidentei valori arhitectonice i istorice, precum i a

amplasrii sale n centrul Lisabonei, piaa S. Paulo a fost ntotdeauna un loc de tranziie spre cluburile i barurile subterane
din zona central paradoxal izolat i pustie, dei amplasat n
inima oraului. Profitnd de srbtorirea patronului oraului
Sf.Antnio care are loc pe tot parcursul lunii iunie, asociaia cultural Parafernlia i-a unit forele cu cele ale Ordinului Arhitecilor
pentru a revitaliza i reactiva acest sit, reaezndu-l n rndul
itinerariilororaului.
Am pornit de la ideea unei intervenii concentrate n special asupra
unei scene atractive care s devin platforma pentru spectacole a
artitilor invitai. Trebuia s fie un singur obiect temporar realizat
cu costuri reduse, capabil s dinamizeze acest nou centru destinat
evenimentelor culturale. n ciuda resurselor limitate i a scrii volumetrice mari necesare pentru scen, aceast structur uoar (realizat din prefabricate modulare) a fost proiectat s se impun drept
catalizator urban iconic, totodat meninnd i respectnd ierarhia
spaial a pieei.
Faada scenei seamn cu cldirea istoric din apropiere Casa dos
Bicos i cu obinuitele baloane ale manifestrilor de Sf. Antnio.
Formele sale pitoreti au fost obinute prin suprapunerea structurilor standard mbrcate n material textil, vopsit n culoarea roie.
Simplu adpost contra ploii, din plastic transparent, scena-cutie nu
obtureaz vederea spre monumentul istoric din fundal Biserica St.
Pauls parte integrant a interveniei i perfect vizibil din orice
parte a pieei.

Regardless of its obvious architectonic

and historic value and its central location
in the city of Lisbon, the square of S. Paulo
has been merely a passage site on the way
to the underground clubs and bars on the
downtown area paradoxically marginal
and desert in the centre of the city. Taking
advantage of the celebrations of the patron
saint of the city St. Antnio that take
place during the whole month of June, the
cultural association Parafernlia joined
forces with Ordem dos Arquitectos in order
to revitalize and reactivate this site placing
it again on the city routes.
The idea was that the intervention would
focus mainly on an attractive stage to be
the platform for the invited artists to act.
It should be a single low-cost object with

Diagram conceptual
Conceptual diagram

the ability to be the engine of this new

centre of cultural events. Despite the scarce
resources and the large volumetric scale
desired for the stage, this lightweight structure (made out of prefabricated modular
parts) was designed to impose itself as an
iconic urbancatalyser while retaining and
respecting the consolidated spatial hierarchy of the square.
The front of the stage resembles the
historic building of Casa dos Bicos, just
nearby, and also the typical balloons of the
St. Antnio festivities. Its picturesque forms
were attained by the superimposition of
standard structures coated of textile material dyed in red. As it is just a cover for the
rain, it is transparent (plastic), letting the
historical monument behind it St. Pauls
Church to be part of the intervention and
fully visible from all over the square.

91

Francisco Nogueira

Bar provizoriu

Temporary Bar

Barul a aprut ca rezultat al unui concurs avnd drept scop reprezentarea Facultii de Arhitectur din Porto. Amplasamentul (Parque
da Cidade, Porto), construcia rapid i bugetul redus au reprezentat
cteva dintre premizele pe care a trebuit s le lum n considerare
la proiectarea acestei structuri provizorii care trebuia ridicat ntr-o
sptmn, cu ajutorul studenilor.
Pornind de la conceptul IKEA construiete-i singur, proiectul
const ntr-un paralelipiped realizat din cutii cu diferite adncimi,
care n final s-au ntruchipat ntr-o construcie modular cu nveli
texturat, alctuind o referin vizual. Dimensiunile cutiei (300 x
420 mm) reprezint modulul structural al ntregului proiect. n afara
calitilor compoziionale evidente, cutiile din plastic polipropilenic
translucid servesc i ca fundament al logicii structurale a proiectului,
devenind un nveli structural n sine. Proiectul este mprit n patru
tipuri de module (grupuri de cutii fixate pe cadre structurale din
lemn) asamblate n ateliere i apoi transportate la locul de amplasare: 16 module a cte 4 x 3 cutii (168 cm x 90 cm); 20 de module a
cte 3 x 3 cutii (126 cm x 90 cm); 6 module a cte 2x3 cutii (84 cm
x 90 cm) i 4 module a cte 1x3 cutii (42 cm x 90 cm). Cutiile au fost
aplicate pe structura primar din cadre de oel (302 cm x 302 cm x
480 cm) deja amplasat pe sit.
Forma convex a cutiilor i implicit a modulelor, plus dorina de
meninere a spaiului interior complet gol au obligat la un detaliu
personalizat, i-anume utilizarea articulaiilor ntinse. Reeaua de
LED-uri din spaiile interioare concave alctuiete un tipar de lumin
exterioar care modific semnificativ aspectul barului: ziua apare
ca un volum alb, abstract i nchis, iar noaptea devine o cutie cu
jocuri de lumini reglate de DJ. Noapte de noapte, stocul de buturi a
fostepuizat.

This bar was a result of a competition aiming to represent the Faculty of

Architecture in Porto. The given implantation (Parque da Cidade, Oporto), the fast
construction and the low budget were some
of the premises which had to be considered
for designing this temporary structure that
should be built in just one week with the
help of students.
Departing from IKEAs concept build-byyour-own, the project is a parallelepiped
made out of different depth storage boxes
resulting in a modular building with a
textured skin, standing as a visual reference.
The dimensions of the applied storage box
(300 x 420 mm) are the structural module
of the entire project. In addition to the fact
of its evident compositional qualities, the
boxes, made of a resistant polypropylene
translucent plastic, serve as well as basis of
the structural logic of the project, therefore assuming as structural membrane.

Theproject is divided in four types of modules (groups of boxes fixed to wooden structural frames) applied in workshops and then
transported to the implantation site. Thus,
the 420 boxes are organized in a total of 46
modules with considerably reduced weight
and size: 16 modules of 4 x 3 boxes (168 cm
x 90cm); 20 modules of 3 x 3 boxes (126 cm
x 90 cm); 6 modules of 2 x 3 boxes (84 cm
x 90 cm) and 4 modules of 1 x 3 boxes (42
cm x 90 cm). The boxes were applied to the
primary steel frame structure (302 cm x 302
cm x 480 cm) already implanted on the site.
The convex shape of the boxes and therefore of the modules, plus the aim to maintain the interior space completely empty,
obliged a custom detail of the stretched
hinges. The LED network in the concave interior spaces results in an exterior pattern of
light, dramatically changing the bar appearance: by day a white abstract and closed
volume; and by night a box of changing light
following the DJ set. Night over night, drinks
were sold out.

92

Diagram constructiv
Constructive diagram

Plan i seciune
Plan and section

Credite & info/ Credits & info:

Bar provizoriu / Temporary Bar (2008)

Sandra Neto, Diogo Aguiar

Amplasament / Location: Parque da Cidade,

Porto, Portugalia / Oporto, Portugal
Autori & design grafic / Authors & graphic
design: LIKEarchitects (Diogo Aguiar+TeresaOtto)
Beneficiar / Client: Associao de Estudantes da
Faculdade de Arquitectura (AEFAUP)

Structur i instalaii / Structure and

installations: Acstica F.E.S., Lda Estruturas,
Iluminao e Som, n colaborare cu studenii de
la AEFAUP / with the colaboration of students of
AEFAUP
Suprafaa construit / Floor area: 9m2

93

Sandra Neto, Diogo Aguiar

 Dinis Sottomayor

Credite & info/ Credits & info:

Ecranul colorat / Chromatic Screen (2012)
Amplasament / Location: Edifcio da Alfndega,
Porto, Portugalia / Oporto, Portugal
Autori / Authors: LIKEarchitects
(DiogoAguiar+Teresa Otto+ Joo Jesus)
Curator / Curatorship: design factory*
Producie / Production: Francisco Andrade,
Metalomecnica

94

Chromatic Screen ephemeral installation for OportoShow '12

Dinis Sottomayor

Chromatic Screen states LIKEarchitects

presence in the space called Point of View
in Oporto Show' 12, by invitation of design
factory*. For this annual design show, we
designed an intervention representative
of our (ephemeral) work that lies on the
border between architecture, design, urban
installation and art. Starting from the (re)
interpretation of a common object of daily
use, Chromatic Screen builds a distinct
element, spatial organizer, that involves all
who visit it into a chromatic experience with
different moments of opacity and transparency. Designed from 2000 hangers for
children's clothes from IKEA Bagis , in
four different colours blue, green, pink and
orange that merge into multiple tonalities,
Chromatic Screen results in a kinetic and
very joyful experience.

Ecranul colorat instalaie temporar pentru

PortoShow'12

Atacul fntnilor un proiect pentru Guimares 2012

Capital Cultural European

Ecranul colorat indic prezena echipei LIKEarchitects n spaiul

numit Punct de vedere de la Porto Show' 12, prin invitaia fabricii
de design*. Am pregtit pentru expoziia de design din acest an o
intervenie reprezentativ din cadrul lucrrilor noastre (provizorii),
care se situeaz la grania dintre arhitectur, design, instalaie
urban i art. Pornind de la (re)interpretarea unui obiect obinuit
de uz cotidian, Ecranul colorat realizeaz un element distinct,
un organizator de spaiu care i implic pe toi cei care-l viziteaz
ntr-o experien cromatic cu diferite momente de opacitate i
transparen. Realizat din 2000 de umerae pentru haine de copii
de la IKEA Bagis , n patru culori diferite albastru, verde, roz i
portocaliu contopite n multiple tonuri, Ecranul colorat ofer o
experien cinetic i foarte vesel.

Situat pe interiorul Portugaliei, Guimares prezint un numr mare

de fntni, n ncercarea de a reduce ntr-o anumit msur cldura
din timpul verii. Propunerea noastr, prevzut a fi implementat n
lunile cele mai clduroase, este aceea de a interveni asupra acestor
fntni, mbuntind folosirea lor prin crearea unor noi zone acvatice cu oportuniti urbane.
Extinznd noiunile actuale de spaiu public, locuitorii din
Guimares sunt invitai s profite la maxim de aceste mo(nu)mente
(acvatice). Ideea este aceea de a promova o ocupare a spaiilor
publice cu ap prin redefinirea limitelor fizice ale oraului i nlturarea frontierelor sociale predefinite. Acest proiect nu se refer la
frumusee, ci la reinventare i actualizare.

Fountain Hacks a project for

Guimares 2012 European Capital
ofCulture
Located in the interior of Portugal,
Guimares presents a high number of fountains with the quest to reduce somehow
the summertime heat. Our proposal, to be
implemented during the hottest months, is
to intervene on these fountains, enhancing
their use by creating a new (water)land of
urban opportunities.
Extending the current notions of public
space, the inhabitants of Guimares are
invited to take the maximum profit of these
(waterful) mo(nu)ments. The concept is to
promote an occupation of the water public
spaces by redefining citys physical limits
and deleting the social predefined boundaries. This project is not about beauty, but
reinvention and upgrade.
Fountain Hacks is an interventive system that takes advantage of the
dichotomy between traditional and newadding new elements to valorise the preexistence. (Re)Using standard pool stairs,

typical waterslides or domestic showers,

Fountain Hacks is far away of being a
project pentru an average place.
Like Anita Ekberg's scene at Fontana
di Trevi in Federico Fellinis La dolce vita
(1960), Guimares inhabitants will be free
to experience the city fountains in a real,
uninhibited, way. Taking advantage of the
fountains centrality in public spaces, this
project seeks to promote these daily actions
as a freshly (!) social happening fountains
will become the stage where citizens and
tourists are the real-time actors.
Quick and simple to implement, low-tech
urban hacks shows city-users they must be
part of the city urban planning, calling for a
use of public space where hacking becomes
an energetic, optimistic design approach.
Fountain Hacks is a bizarre strategy for
extraordinary gathering that goes beyond
the long-time established, surprising people
with the unexpected and inviting to unforeseen actions. Calling for the contribution of
passers-by, Fountain Hacks (re)creates the
contemporary use of the public space in a
constant dynamic of surprise.

Dinis Sottomayor

95

Dinis Sottomayor

96
Dinis Sottomayor

Atacul Fntnilor este un sistem de intervenie care profit de

dihotomia ntre elementele tradiionale i cele nou adugate, pentru
a valorifica ceea ce este preexistent. (Re)folosind scri standard de
piscin, tobogane acvatice tipice sau duuri de uz casnic, Atacul
Fntnilor este departe de a fi un proiect pentru un loc obinuit.
Precum n scena cu Anita Ekberg la Fontana di Trevi, din filmul lui
Federico Fellini, La dolce vita (1960), locuitorii din Guimares vor
fi liberi s experimenteze fntnile oraului n mod concret, fr
rezerve. Profitnd de amplasamentul central al fntnilor n spaiul
public, acest proiect ncearc s promoveze aceste activiti zilnice
ca noi evenimente sociale fntnile vor deveni scene unde cetenii
i turitii sunt actori n timp real.
Rapid i uor de implementat, interveniile urbane low-tech arat
utilizatorilor oraului c trebuie s ia parte la planificarea urbanistic
a oraului, ndemnnd la utilizarea spaiului public, unde intervenia
devine o abordare energic i optimist a proiectrii.
Atacul fntnilor este o strategie bizar pentru adunri extraordinare care merg dincolo de ceea ce a fost dintotdeauna stabilit,
surprinznd oamenii prin neprevzut i invitndu-i la aciuni
neateptate. Apelnd la contribuia trectorilor, proiectul (re)
creeaz utilizarea contemporan a spaiului public, ntr-o constant
dinamic a neprevzutului.

Dinis Sottomayor

Diagrame constructive
Constructive diagrams

97
Nuno Alves

Credite & info/ Credits & info:

Atacul fntnilor / Fountain Hacks (2012)
Autori / Authors: LIKEarchitects +
RicardoDourado
Amplasament / Location: Guimares,
Portugalia/ Guimares, Portugal
Credite & info/ Credits & info:
Logo locuibil / LiveableLOGO (2012)
Amplasament / Location: Jardim da Associao
Nacional de Jovens Empresrios, Porto,
Portugalia/ Oporto, Portugal
Autori / Authors: LIKEarchitects (Diogo Aguiar +
Teresa Otto)
Beneficiar / Client: Canal 180
Suprafaa construit / Floor area: 44 m2

Logo locuibil pavilion demontabil pentru Canal 180

Echipa LIKEarchitects a rspuns provocrii de a proiecta o instalaie
ieftin cu prilejul comemorrii a zece luni de existen a postului TV
portughez de cultur i creativitate Canal 180. Inspirai de logo-ul
original la postului, liveableLOGO este o scen multifuncional
pentru manifestrile artitilor vizuali i muzicienilor. Asemntor
ecranelor TV goale, dar gata s fie activate prin creativitate, ntregul
logo devine o platform spaial de tip open-source, care preuiete
spiritul liber promovat de postul TV. Manifestrile artistice pot avea
loc n toate cele patru spaii ncadrate, sugestive pentru diferitele
feluri prin care pot fi nsuite creativ i folosite pentru happeninguri. Atunci cnd spectacolele nu au loc, instalaia vopsit n
culorile primare RGB ncadreaz privelitile mprejurimilor.

LiveableLOGO temporary pavilion

for Canal 180
LIKEarchitects were challenged to create
a low-cost installation for Canal 180 tenth
month commemoration. Inspired by the
original logo of the TV channel, liveableLOGO
is a multi-performative stage for artists
and musicians. Assuming the full logo as TV
blank screens, ready to be filled with creativity, liveableLOGO is an open-source spatial
platform that values the open spirit of the
channel. The performances can take place in
all different four spaces that are suggestive
of different kinds of creative appropriations
and happenings. When the performances
do not happen, the liveableLOGO painted
in RGB colors frames different views of
thesurroundings.

Pulska
Grupa
Praksa este o cooperativ de natur tehnic, orientat pe proiectare,
urbanism i arhitectur, avnd un caracter socioeconomic. Aplic
principiile democratice n toate activitile desfurate, inclusiv n
proiectele realizate prin cooperare. Organizaia are la baz principii
directoare precum solidaritatea, ajutorul reciproc, integrarea impli
crii culturale i politice n sfera produciei, educaia, schimbul de
cunotine i competene.
Praksa a fost fondat de membri ai Pulska Grupa n mai 2011
ca prima cooperativ tehnic din Croaia, membrii acesteia avnd
experiena multor ani de lucru n domeniul arhitecturii, fotografiei,
designului i jurnalismului.
Pulska Grupa este un grup informal de arhiteci din oraul croat
Pula. n prezent, 8 persoane lucreaz n interiorul grupului Ivana
Debeljuh, Vjekoslav Gasparovic, Emil Jurcan, Jerolim Mladinov,
Marko Percic, Sara Perovic, Helena Sterpin i Edna Jurcan. Grupul e
activ din anul 2006, cnd a organizat un workshop zona demilitari
zat Katarina, din oraul Pula. De atunci, grupul a produs publicaii,
a organizat demonstraii i expoziii pe tema urbanismului autoor
ganizat i a problemelor specifice litoralului Adriatic.

Praksa is an engineering cooperative for

design, urbanism and architecture. As
socioeconomic association Praksa employs
direct democracy regarding all activities,
including collaborative work projects.
Solidarity, mutual help, integration of
cultural and political engagement in the
sphere of production, education, exchange
of knowledge and skills are some of the
cooperatives guiding principles.
Praksa was founded by members
of Pulska Grupa in May 2011 as the first
engineering cooperative in Croatia. It has
members with several years of experience
working in domain of architecture, photog
raphy, design and journalism.
Pulska Grupa is an informal group of
architects from Pula, Croatia. Currently
8 persons work inside the group Ivana
Debeljuh, Vjekoslav Gaparovi, Emil
Jurcan, Jerolim Mladinov, Marko Peri,
Sara Perovi, Helena Sterpin and Edna
Jurcan. Group acts since 2006. when it

Pulska grupa,
Mecanism de lupt
concentrat (2012)
Pulska grupa,
Struggle machine
assembled (2012)

organized student workshop in ex mili

tary zone Katarina in Pula. Since then the
group has produced publications, organ
ized demonstrations and exhibitions for
selforganized urbanism regarding current
Adriatic coastline problems.
Urban activism a matter that leads
to heated debate
Text: Cosmin Caciuc
Urban activism is something new in
Romania. We do not have a tradition in
this regard, on the contrary, public opinion
seems rather suspicious about this topic
and sees in activists some brakemen
(annoying, of course) in the way of
progress. False progress is defectively
associated with the aggressive expansion
of the private in the public space, with
individual interest in contempt to the
collective one and with the indifference to
the idea of social solidarity. I think that the

67
8

Activismul urban o chestiune care se las cu

dezbateriaprinse
Text: Cosmin Caciuc
Activismul urban este ceva nou n Romnia. Nu avem vreo tradiie n
acest sens, dimpotriv, opinia public pare mai degrab suspicioas
cu privire la acest subiect i vede n activiti nite frnari (ener
vani, bineneles) n calea progresului. Falsul progres se asociaz
defectuos cu extinderea agresiv a privatului n spaiul public, cu
interesul individual n dispreul celui colectiv i cu indiferena fa
de ideea de solidaritate social. Cred c expoziia Activri urbane n
Romania organizat la MNAC, n Bucureti, anul trecut, a avut un rol
benefic n clarificarea acestor probleme adesea ignorate de main
streamul nostru. De vreme ce devastarea meticuloas a spaiilor
publice urbane (dar i a celor naturale) se extinde progresiv, ntre
brile eseniale ar fi (1) cine apr n mod legitim aceste spaii? (2)
cum se gndete/ teoretizeaz responsabil aceast rezisten? (3)
cum se organizeaz ea la nivel practic, prin strategii i tactici? (4) ce
propunem n urma activismului?
La toate aceste ntrebri, Cooperativa Praksa ofer rspun
suri pertinente n contextul specific al coastei adriatice. Sunt mai
radicali dect expozanii romni de la Activri urbane, atrgnd
atenia vizitatorilor i multe controverse n pavilionul Croaiei la
Bienala de la Veneia din acest an. Grupul exemplific cu rigoare o
serie de practici urbane bazate pe cartografierea cognitiv i pe
buzunarele de rezisten (gndindum n primul rnd la Fredric
Jameson, dar i la situaioniti), cuplate la o robust practic

exhibition Urban Activations in Romania

organized last year at MNAC, in Bucharest,
played a beneficial role in clarifying these
issues often ignored by our mainstream.
Since the meticulous devastation of urban
public spaces (and of the natural ones, too)
is progressively expanding, the essential
questions would be (1) who legitimately
protects these spaces? (2) how to respon
sibly think/ theorize this resistance? (3)
how to organize it on a practical level,
by strategies and tactics? (4) what do we
propose following the activism?
To all these questions, Pulska Grupa
offers relevant answers in the specific
context of the Adriatic coast. They are
more radical than the Romanian exhibitors
from urban Activations, drawing visitors
attention and many controversies in the
Croatian pavilion at the Venice Biennale
this year. The group rigorously exemplifies
some urban practices based on cognitive
mapping and pockets of resistance (Im

nelegem noiunea de
komunal drept teritoriul
unde valoarea comun,
odat ce este transformat
din valoare nonmaterial
n valoare de utilizare,
nu poate fi exploatat i
transformat n valoare
deschimb.
We understand komunal
as the land where
common value, once
it is transformed from
nonmaterial to use value
cannot be exploited and
turned into exchange value.

teoretic (n sensul descris de Louis Althusser). Acest tip de acti

vism are drept int nedreptile legate de statutul locurilor urbane
i atitudinile ignorante sau iresponsabile ale politicienilor, adminis
tratorilor i proiectanilor care reduc arhitectura sau urbanismul la
servilism comercial, individualism furibund i sectarism arogant.
Pe de alt parte, tradiia gndirii de stnga ca surs a practicii
teoretice a ridicat multe ntrebri fr rspuns i controverse justifi
cate dea lungul istoriei postbelice a teoriei de arhitectur. n acest
numr al revistei noastre, noi sperm c publicarea Declaraiei
komunal i a proiectelor de cartografiere a rezistenei/ conflictelor
urbane, realizate de Pulska Grupa, va fi urmat de mai multe dezba
teri captivante la seciunea Urban report, capabile s lrgeasc
orizontul critic i din stnga i din dreapta. Eu cred c, pentru
a energiza un dialog autentic i democratic, lectura Declaraiei
komunal trebuie nsoit i de alte discursuri teoretice precum
fenomenologia (Henri Lefebvre i Kenneth Frampton), teoria
aciunii comunicative (Jrgen Habermas) sau de studiile asupra
societii informaionale i globalizrii (Manuel Castells). Apoi, a fi
deosebit de interesat s neleg cum sar putea articula noiunea de
komunal a grupul Praksa cu importantul conceptul transdisciplinar
de thirdspace al urbanistului Edward William Soja. Urban report
rmne deschis clarificrii temelor dezideologizrii culturale,
dezvoltrii postcapitaliste a oraelor, criticii sociale i formulrii
unui cod civil al nsuirii urbane, n care privatul i publicul se pot
totui echilibra, sub valori comune, responsabile i pluraliste.

68

thinking primarily about Fredric Jameson,

and the Situationists), coupled to a robust
theoretical practice (in the meaning
described by Louis Althusser). This type of
activism aims at injustices related to the
status of urban locations and at ignorant
or irresponsible attitudes of politicians,
administrators and designers, who reduce
architecture or urbanism to commercial
servility, furious individualism and arrogant
sectarianism.
On the other hand, leftthinking tradi
tion as a source of theoretical practice has
raised many unanswered questions and
justified controversies during the postwar
history of architectural theory. In this issue
of our magazine, we hope that the publica
tion of the Declaration of Komunal and of
the projects of mapping urban resistance/
conflicts, accomplished by Pulska Grupa,
will be followed by several exciting debates
in the Urban report section, capable to
broaden the critical horizon from the left
and from the right. I believe that in order
to energize a genuine and democratic

dialogue, the reading of the Declaration of

Komunal has to be accompanied by other
theoretical discourses like phenomenology
(Henri Lefebvre and Kenneth Frampton), by
the theory of communicative action (Jrgen
Habermas) or by the studies on information
society and globalization (Manuel Castells).
Thereafter, I would be very interested to
understand how the notion of komunal of
the Praksa group could be articulated with
the important transdisciplinary concept
of thirdspace of the urban planner Edward
William Soja. Urban report remains open
to clarifying the issues of cultural deideol
ogization, postcapitalist development of
cities, social criticism and formulation of a
civil code of urban acquirement, wherein
the private and the public sector can still be
balanced under common, responsible and
pluralist values.

S ne imaginm un alt fel de a administra resursele

spaiale, distribuind plusvaloarea i genernd propriile
noastre instituii.
Let us try then to imagine adifferent way of operating
spatial resources, distributing surplus value and creating
our owninstitutions.
Mecanism de lupt concentrat. Teritoriu unit prin lupta
comun(2012)
Text: Pulska Grupa
Interconexiunile dintre diferitele confruntri ntre munc i spaiu
public liber sunt reprezentate printrun ansamblu de orae n
care aceste conflicte au loc, anulnd, prin urmare, distana lor
geografic real. Rezistena care conecteaz teritoriile creeaz un
ora imaginar constituit dintro reea de confruntri numit apoi
Mecanism de lupt concentrat.
Greva studenilor nceput n 2009 a cuprins aproape toate
universitile din Croaia, legitimnd ocuparea cldirilor universi
tare prin practicarea formelor democratice directe de luare a decizi
ilor, manifestate prin adunri cotidiene deschise tuturor cetenilor.
Aceast blocad a ctigat o larg susinere public, n primul rnd
din partea celor care au luptau deja pentru locuri de munc i pentru
resurse materiale, i a dezvoltat o platform prin care ideea de
democraie direct ar putea fi realizat i n alte puncte focale de
lupt mpotriva capitalismului.
n acelai an, n oraul Pula a avut loc o conferin intitulat
Oraul postcapitalist, ocazie cu care diferite grupuri de lucru au
redactat mpreun Declaraia komunal care fixa liniile directoare
ale redobndirii oraului de ctre cetenii si.
Un an mai trziu, n 2010, a fost atins punctul culminant prin
conflictul de la Zagreb, din strada Varavska, ocazie cu care mai
multe grupri care se confruntau cu aceeai problem a privatizrii
terenurilor sau relaionat, ulterior transformnduse ntro reea
mai larg numit Forumul pentru spaiu, care include acum iniia
tive civice n diferite orae.

Struggle machine assembled. Territory

connected by common fight (2012)
Text: Pulska grupa
Interconnections between different labor
and free public space struggles, are repre
sented by an assemblage of the cities where
these conflicts are taking place, therefore
negating their real geographical distance.
This resistance which connects territories
creates an imaginary city, constituted by
this network of struggles, which we can
then call Struggle machine assembled.
Student strike which started in 2009
included almost all of the universities in
Croatia, and legitimized the occupation
of the university buildings by practicing
direct democratic forms of decision making
through daily assemblies opened to all citi
zens. This blockade gained a broad public
support, in the first place from those who
were already fighting for their workplaces
and material resources, and developed a
platform through which the idea of direct
democracy could be realized in other focal
points of struggle against capitalism.
In the same year a conference
Postcapitalist Ciy was held in Pula
where different collectives cowrote a
Declaration of Komunal consisting of
guidelines for reappropriation of the city
by its citizens.

??

69

Pulska grupa,
Panul rou pentru
oraul Pula o
hart a activitilor
nereglementate n
ora (2008)
Pulska grupa, Red
plan of Pula a map
of informal activities
in the city (2008)

Astzi, dup trei ani de interconectare intens a multora dintre

confruntri, reeaua prin care se comunic diferite proteste i se
rspndesc informaii, indiferent de blocajul politic i mediatic
aplicat de regim, este intensificat prin susinere reciproc, schimb
de experien, tactici i strategii, i prin conectarea de aa manier
nct s se realizeze o punte ntre acestea i s se comprime punc
tele focale ale luptelor ntrun spaiu unic de apariie spaiul aci
unii politice.
Informaiile cuprinse pe harta Mecanismului de lupt
concentrat sunt coroborate printro serie de interviuri cu unii
dintre protagonitii conflictelor actuale din Croaia. Aceast hart
este nsoit de un material vizual creat de regizorii de film Igor
Bezinovi i Hrvoslava Brkui i reproduce atmosfera acestor
lupte colective, n timp ce revendicrile acestor grupri privind
modul alternativ de gestionare, distribuire a valorii i spaiului
liber sunt testate pe teritoriul oraului Pula prin intermediul unor
dispozitivespaiale.

A year after, in 2010, conflict in Varavska

Street in Zagreb culminated. Through
this conflict many collectives, faced
with the same problem of land privati
zation, connected. This later became a
wider network called Forum for space
which now includes civic initiatives in
differentcities.
Today, after three years of intense
interconnecting of many of the confron
tations, the network through which
different protests communicate and spread
information regardless of political and
media blocking by the regime is intensi
fied by supporting each other, exchanging
experiences, tactics and strategies and
by connecting in such a way, bridge the
distance between them and compress focal
points of struggles into unique space of
appearance space of political action.
Informations shown on the map
Struggle machine assembled are gathered
through a series of interviews with some
of the protagonists of current conflicts
in Croatia. This map is accompanied by a

visual material created, by film makers

Igor Bezinovi and Hrvoslava Brkui, and
reproduces the atmosphere of these collec
tive struggles, while demands coming from
those collectives for alternative kind of
managing, distribution of value and free
space are tested within the territory of the
city of Pula through spatialdevices.

Redobndirea
instrumentelor pentru
meninerea unei
comunicri open
source, poate dezvolta
autovalorizarea.
Reappropriating the tools
to maintain open source
communication can
develop selfvalorization.

Declaraia komunal: democraia nemijlocit solicit un

spaiu nemijlocit (2009)
Text: Pulska Grupa, Hackitectura.net (Sevilla), Observatorio

Metropolitano (Madrid)
Ne imaginm oraul ca un spaiu colectiv al celor care triesc n
el, care au dreptul s gseasc acolo condiii de realizare pe plan
politic, social, economic i ecologic, n acelai timp asumndui
ndatoririle solidaritii. Acest concept al oraului este blocat de
dialectica de sorginte capitalist, bazat pe distincia dintre propri
etatea public i cea privat. Din aceti doi poli ies la iveal Statul i
Piaa drept subiecte unice. Ne dorim s scpm de aceast dialec
tic, nu s ne concentrm pe un al treilea subiect, ci pe un grup
de subiectiviti colective i pe aspectele comune pe care le produc.
Aspectul comun este neles ca valoare nonmaterial produs prin
diferene, comunicare i experien social. Numai dac aceste
valori comune reuesc s nu fie acaparate de dialectica publicprivat
de tip capitalist, valoarea lor nonmaterial rmne deschis, i
astfel ele au potenialul necesar pentru a deveni productive, pentru
a deveni mijloace de producie.
nelegem noiunea de komunal drept teritoriul unde valoarea
comun, odat ce este transformat din valoare nonmaterial n
valoare de utilizare, nu poate fi exploatat i transformat n valoare
de schimb. n consecin, acest teritoriu comun exist n afara
formelor actuale de exploatare a oraului bazate pe proprietate i
speculaii imobiliare. Acesta i ntemeiaz valorile sale generale pe
acces, utilizare, activitate sau asisten.
Cuvntul komunal a fost utilizat n accepiune clasic pentru a
denumi resursele naturale gestionate de ctre utilizatori indepen
deni. Acest tip de gestionare a spaiului este tot mai mult ntlnit
n cazul spaiilor abandonate din ora, unde apar diferite zone
autonome. Dei aceste zone exist astzi la extremitile sociale, le
considerm locuri poteniale pentru apariia de noi utopii i imagi
naie colectiv. S ncercm atunci s ne imaginm un alt fel de a
administra resursele spaiale, distribuind plusvaloarea i genernd
propriile instituii.
Komunal, teritoriul comun, zona autonom, locul unor noi
utopii ar putea fi dezvoltat ntrun nou concept de ora bazat pe
patru principii:
1) Dreptul la mobilitate: toate persoanele au dreptul egal de
a accesa beneficiile poteniale pe care oraul le ofer. Dreptul la
mobilitate nu este doar un drept de a accesa ceea ce exist deja n
ora, ci reprezint i dreptul de a ocupa i de a folosi spaiul, precum
i de a crea alte spaii noi.
2) Flexibilitate n organizare: spaiile cu activitate i utilizare
flexibil din orae sunt n prezent cele mai incriminate, deoarece
nu respect urbanismul administrativ oficial bazat pe previziuni pe
termen lung. Recunoaterea acestor activiti flexibile ar putea fi
primul pas n procesul ieirii de sub monopolul urbanismului actual.

70

Dreptul la mobilitate nu este doar un drept

de a accesa ceea ce exist deja n ora, ci
reprezint dreptul de a ocupa i de a folosi
spaiul, precum i de a crea alte spaii noi.
Right to mobility is not merely a right to
access what already exists in the city, but
a right to occupy and use space as well as
create new ones.

Declaration of Komunal:
UnmediatedDemocracy Demands
Unmediated Space(2009)
Text: Pulska grupa,

Hackitectura.net (Sevilla),

Observatorio metropolitano(Madrid)
We imagine city as a collective space which
belongs to all those who live in it and
who have the right to find there condi
tions for their political, social, economic
and ecological fulfillment at the same
time assuming duties and solidarity. This
concept of the city is blocked by capitalist
dialectic based on public and private
ownership. From these two poles, State and
Market emerge as the only two subjects. We
want to escape this dialectic, not to focus
on the third subject, but on a group of
collective subjectivities and the common
they produce. We understand common
as nonmaterial value produced through
differences, communication and social
interaction. Only if these common values
manage to escape being captured by the
capitalist publicprivate dialectic they keep
their nonmaterial value open and they
have the potential to become productive, to
become means of production.
We understand komunal as the land
where common value, once it is trans
formed from nonmaterial to use value
cannot be exploited and turned into
exchange value. Therefore, this common
territory exists outside current forms of
city exploitation based on property and
land speculation. It bases its general values
in the field of access, use, activity or care.
Word komunal was traditionally used
for natural resources which were managed
by selforganized users. This kind of space
managing is more and more frequent in
the abandoned spaces in the city where
different autonomous zones are emerging.
Although these zones exist today on the
social margins we consider them potential
places for appearance of new utopias and
collective imagination. Let us try then to
imagine a different way of operating spatial
resources, distributing surplus value and
creating our own institutions.
Komunal, common territory, autono
mous zone, place of new utopias could be
developed into a new concept of the city
guided by 4 principles:
1. Right to mobility: all persons have
equal right to access potential benefits
offered by the city. Right to mobility is not
merely a right to access what already exists
in the city, but a right to occupy and use
space as well as create new ones.
2. Flexibility of organizing: spaces
which practice flexible activity and usage
in cities are currently mostly being crimi
nalized because they dont follow official

administrative urbanism which is based

on long term projections. Recognitions
of these flexible activities could become
the first step in building freedom from
urbanism of today.
3. Reappropriation of tools:
reappropriating the tools for constructing
our own physical space so that we can
develop selfconstruction, reappropri
ating the tools for constructing our own
social networks so that we can develop
selforganization and reappropriating
the tools to maintain open source
communication so that we can develop
selfvalorization.
4. City of many ecologies: basic thesis
of ecology is that more diverse the system
the more stable it is. This thesis can extend
to other spheres which are still not consid
ered as part of ecology mental ecology
can express human subjectivities, social
ecology can build new social relations,
environmental ecology can develop diverse
form of life, ecology of knowledge can
avoid ignorance
Komunal, imagined this way, doesnt
have a form but a matrix, founded on
common set of values. We want to imple
ment these values in the cities where we
live and act, but also on new territories,
new settlements and new places. We
hope that, by doing so, we will be able
to exitcurrent capitalist blocking of
socialdevelopment.

Pulska Grupa: Zoran Angeleski izo, Ivana

Debeljuh, Vjekoslav Gaparovi, Edna Jurcan,
Emil Jurcan, Ida Kriaj, Iva Mareti, Jerolim
Mladinov, Marko Peri, Sara Perovi, Helena
Sterpin, Dejan tifani
Declaration of Komunal este un document
elaborat n timpul i dup congresul Oraul
postcapitalist, fiind un jointventure ntre
Hackitectura.net (Sevilla), Observatorio
metropolitano (Madrid) i Pulska grupa
Declaration of Komunal is a document
made during and shortly after the congress of
Postcapitalyst City and it was a joint venture
of Hackitectura.net (Sevilla), Observatorio
metropolitano (Madrid) and Pulska grupa.
Mecanism de lupt concentrat i Spaiul
public trebuie s fie accesibil, lipsit de
bariere comerciale fac parte din cercetarea
n curs Unmediated democracy demands
unmediated space, desfurat de Pulska
grupa n colaborare cu Igor Bezinovi, Jovica
Lonar, Jelena Milo, Igor Livada, MASA i
Mrea solidarnosti (Network of Solidarity)
Struggle machine assembled and Public
space has to be accessible without commercial
barriers are made as part of an ongoing resarch
Unmediated democracy demands unmediated
space by Pulska grupa in collaboration with
Igor Bezinovi, Jovica Lonar, Jelena Milo, Igor
Livada, MASA and Mrea solidarnosti (Network
ofSolidarity)
www.praksa.hr

71
Protest n strada
Varavska Zagreb,
2010
Protest in Varavska
Street Zagreb, 2010
Boris Cvjetanovi

Pulska grupa,
Aceasta este
lumea mea
reconstrucia unui
pod ntre zona civil
i cea cea militar n
oraul Pula, 2010

Pulska grupa, This

is my world
reconstructing a
bridge between civil
and military area in
Pula, 2010
Pulska grupa

3) Redobndirea instrumentelor de lucru: redobndirea instru

mentelor necesare construirii propriului spaiu fizic, astfel nct
s putem dezvolta autoconstrucia, redobndirea instrumentelor
pentru construirea propriilor reele sociale, astfel nct s putem
dezvolta autoorganizarea, i redobndirea instrumentelor pentru
meninerea unei comunicri open source, astfel nct s putem
dezvolta autovalorizarea.
4) Oraul multiecologic: conform unui principiu de baz al
ecologiei, cu ct este mai divers sistemul, cu att este mai stabil.
Acest principiu poate fi extins la alte domenii care nc nu sunt
considerate ca fcnd parte din ecologie ecologia mental poate
exprima subiectivitile omului, ecologia social poate construi noi
relaii sociale, ecologia mediului poate dezvolta diverse forme de
via, ecologia cunoaterii poate evita ignorana...
Komunal, imaginat n aceast manier, nu are o form, ci
doar o matrice, fondat pe un set comun de valori. Dorim s imple
mentm aceste valori n oraele n care trim i acionm, dar i n
alte teritorii, aezri i locuri. Sperm c prin aceasta vom fi capabili
s ieim din actualul blocaj capitalist al dezvoltrii sociale.

Recunoaterea activitilor flexibile

n orae ar putea fi primul pas n
procesul ieirii de sub monopolul
urbanismuluiactual.
Recognitions of flexible activities
could become the first step in building
freedomfrom urbanism of today.

Lemn,
caliantsocial.
Hellowood 2012
unexperiment
ndesfurare
Wood as
aSocialBond.
Hellowood 2012
an Experiment
Under Progress

84
Endre Vnyols

Proiecte mici, dar ingenioase, 1 km de

ipci de lemn i design motivat de o
atitudine responsabil, receptivitate i
implicaresocial.
Small projects, but ingenious, 1 km of
wooden slats and a design motivated by
aresponsible attitude, perceptiveness, and
social participation.

Dragonul
pentrurufe
ClothesDragon
Arhiteci/
Architects: Pter
Borbs, AndrsCseh,
Endre Vnyols
Foto/ Photo:
AndrsCseh

Tigrul de lemn
Wooden Tiger
Artist
plasticsculptor/
Artistsculptor:
GborSzke
Foto/ Photo:
BotondMrton

Loc de joac
Playground
Arhitect/ Architect:
Kay Srasser
Foto/ Photo:
Erzsbet Gulys

1
Septembrie 2012. Localnicii din Szakcsi, un sat dintro zon izolat
i defavorizat din nordul Ungariei, reprimesc o sculptur mpru
mutat ca exponat la Festivalul Sziget din Budapesta. Sculptura,
un Tigru de lemn, fusese creat de ctre un grup de studeni,
arhiteci i artiti plastici i donat apoi satului. Contrastul nu putea
fi mai mare: una dintre cele mai srace comuniti rurale sa aflat
fan fa cu organizatorii unui festival urban renumit. ntlnirea
red cu o precizie extrem, printrun amestec absurd de seriozitate
pragmatic i zmbet senin, esena nebnuit a unui experiment
social, Hellowood 2012.
2
Iarna 2009 primvara 2010. La coala de arhitectur MOME
(Universitatea de Art i Design MoholyNagy Budapesta), tnrul
arhitect Pter Pozsr, cadru didactic, n urma anulrii unui festival
de art i arhitectur de lemn din Danemarca, la care urma s parti
cipe mpreun cu un grup de studeni, iniiaz organizarea unui
eveniment alternativ, care primete denumirea de Woodfest 2010.
Atelierul MOMEline afiliat universitii a asigurat cadrul organiza
toric i instituional nc de la prima ediie de la Csongrd, n sudul
Ungariei. Tabra de creaie pentru studeni i tineri artiti, arhiteci,
peisagiti va fi precedat de una destinat familiarizrii copiilor
culemnul.
Dup cea dea doua ediie, odat cu creterea numrului de
participani i simultan a vizibilitii mediatice prin asocierea cu
festivalul de art Kapolcs, dar i cu festivalul Sziget, se produce
o metamorfoz identitar. Festivalul devine un experiment cu un
pronunat caracter socialcomunitar prin participarea celor de la
Reflekt Stdi, un birou specializat pe astfel de proiecte, intervenii,
ndeosebi n zone defavorizate cu comuniti de rromi. n paralel
sunt invitate coli de art i arhitectur i din afara Ungariei, din ri
nvecinate, dar i din coluri mai ndeprtate ale continentului.
3
Iulie 2012. Promovarea responsabilitii, a importanei implicrii
sociale prin instalaii, obiecte de design confecionate din lemn
pentru apte comuniti srace, a reprezentat ideea central a
celei dea treia ediii, desfurat la Ddstapolcsny, localitate
la grania cu Slovacia, cu participarea concomitent a mai multor
ateliere: de arhitectur, peisagisitic, tipografie, upcycling, film,
new media, literatur. Obiectele din lemn rezultate au fost montate
mpreun cu localnici n punctecheie ale spaiului public din
fiecaresat.

1
September 2012. People from Szakacsi, a
village in a poor remote area of northern
Hungary have taken back a sculpture lent as
an exhibit for Sziget Festival in Budapest.
The sculpture, a Wooden Tiger, had been
carved by a group of students, architects
and artists, and then it was donated to the
village. The contrast could not be greater:
one of the poorest rural communities
had met the organizers themselves of a
renowned urban festival. The meeting
accurately renders through an absurd
mixture of pragmatic seriousness and
serene smile, the unsuspected gist of a
social experiment, Hellowood 2012
2
Winter 2009 Spring 2010. At MOME archi
tecture school (MoholyNagy University
of Art and Design in Budapest), the young
architect Peter Pozsr, also a teacher,
further to the cancellation of a wood art
and architecture festival in Denmark, which
he should have attended along with a group
of students, has initiated an alternate event
called Woodfest2010. MOMEline workshop
affiliated to the university has provided
the organizational and institutional frame
work since the first edition in Csongrd, in

85

southern Hungary. The Creative Camp for

students and young artists, architects, and
landscape architects has been preceded
by another one aiming at getting children
acquainted with the wood.
After the second edition, an iden
tity metamorphosis occurs along with an
increase in participants number and media
visibility, associating it with Kapolcs art
festival, and also with Sziget festival. Thus,
the festival turns into an experiment of a
strong social and community nature due
to Reflekt Studio participation a studio
specialized on such projects and interven
tions, particularly in poor areas inhabited
by Roma communities. Simultaneously,
schools of art and architecture based in the
neighboring countries outside Hungary, and
also in more remote corners of the conti
nent are invited.
3
July 2012. The key theme of the third
edition, held in Ddstapolcsny, a village
on the Slovakian border, consisted in
promoting responsibility and the impor
tance of social involvement through instal
lations along with design objects made
of wood for seven poor communities.

86
Nou obiecte semnal ce redescoper i marcheaz nou locuri dife
rite ale celor apte comuniti: (1) Dragonul pentru rufe, inspirat
de festivalul dragonului din satul Bdvalenke, a fost montat n jurul
fntnii comunitare, unde se ntlnesc femeile i copii la splatul
i uscatul rufelor, i faciliteaz aceast rutin zilnic; (2) Tigrul de
lemn din Szakcsi este o sculptur totem, ntruchiparea puterii,
menit s ofere protecie spiritual comunitii; (3) Locul de joac
din Beret a venit n completarea casei de cultur redeschise n sat
dup 15 ani de pauz, ca spaiu public n aer liber, ca un nou loc de
ntlnire pentru diferitele generaii, de ntrire a legturilor fami
liale, comunitare; (4) Noriiplnie din Btonyterenye deservesc
cola alternativ, constituinduse ntro scen acoperit pentru
reprezentaiile de teatru ale elevilor; (5) Pontonul de la Lzbrc,
un pavilion extrem de fin configurat, propune prin acel bazin inte
rior o nou legtur cu lacul de acumulare, reconectarea cu apa,
cu tradiia bilor publice; (6) Turnul de observare de la Uppony
e finalizarea, materializarea unui proiect comunitar nceput i
neterminat, ce marcheaz locul poziionat privilegiat n apropierea
satului il individualizeaz prin texturi, culori, jocul de lumini i
umbre; (7) Landscape box e o cutie de lemn aezat pe malul
lacului Lzbrc, funcionnd ca pavilionrefugiu; (8) Btanet
este o structur spaial modular flexibil din elemente de lemn
ce mobileaz peisager o poian de lng comuna Borsodbta, reea
care va putea fi completat treptat de ctre localnici prin inseria
n aceast structur a propriilor obiecte, instalaii, evenimente; (9)
Banca uria din Uppony particularizeaz o staie pe un traseu
cicloturistic de importan naional (linia albastr), devenind un
loc de ntlnire preferat al btrnilor din sat.

Noriplnie
Funnel Clouds
Arhiteci/
Architects:
OliverSales,
BencePap
Foto/ Photo:
MrkPter Vargha

Ponton
Pier
Arhiteci/
Architects:
AndrsHuszr,
Nndor Nagy,
BulcsSzab
Foto/ Photo:
CsabaLzr

Landscape box
Arhiteci/
Architects: BlaGl,
Zsolt Frikker,
ronVassEysen
Foto/ Photo:
ronVassEysen

Turn de observare/
Outlook Tower
Peisagiti/
Landscape
architects: Csaba
Rohoska, Norbert
VasvryNdor
Foto/ Photo:
AnnaLugbauer

Anumber of workshops attended the event:

architecture, landscape architecture,
typography, upcycling, film, new media,
and literature. The wooden objects that
came out were fitted along with the aid
of local people in key areas of the public
space, in each village.
Nine signal objects that rediscover and
mark nine different locations of the seven
communities: (1) The ClothesDragon
inspired by the Dragon Festival in
Bdvalenke village has been installed
around the community fountain where
women and children meet to wash and dry
laundry, and facilitates this daily routine;
(2) The Tiger in Szakacs is a wooden
totem sculpture, the symbol of power
meant to provide spiritual defense to the
community; (3) The Playground in Beret
complemented the Culture House reopened
in the village after a 15year break as
an outdoor public space, a new meeting
place for different generations aiming
at strengthening family and community
relationships; (4) The Funnel Clouds
in Btonyterenye serves the alternative
school and represents a covered stage
for students theatre performances; (5)

Btanet
Arhiteci/
Architects:
ronLosonczi,
BenceTurnyi
Foto/ Photo:
AnnaLugbauer

87

88

Enunul iniial, de start, este unul clar: cu resurse puine, mini

male (1 km de ipci de lemn de 4 x 4 x 400 cm), s faci un design
de bun calitate, care nu fie atributul exclusiv al elitelor (sociale,
culturale, profesionale etc) i care s devin accesibil, deschis unui
public mai larg. Obiectele de lemn sunt simple, dar inovatoare sub
aspect tehnictehnologic, limbaj formal, de utilizare funcional.
Amplasate, montate n spaii publice din mediul rural, rmn n grija
localnicilor pentru ai servi, pentru a le mbogi viaa cotidian.
Sunt intervenii punctuale, cu efect imediat, dar cu promisiunea
intrinsec de a a produce efecte pe termen mediu, ca generatoare de
evenimente, de viitoare proiecte comunitare.

https://www.facebook.com/HelloWood

Roata Demowood
Demowood wheel
Arhiteci/ Architects: Andrs
Huszr, Sndor Erss, Barna Berta

Demowood, seciunea pentru

copii a taberei de creaie
Demowood, children section of
creative camp
Foto/ Photo: Hellowood MOMEline

Banca uria
Huge bench
Arhiteci/
Architects:
DiaHarcsa,
TiborDkny,
dmHatvani
Foto/ Photo:
AnnaLugbauer

Cristal Glocal REV

Demowood,
atelierul de
peisagistic
Demowood,
landscape workshop
Peisagiti/
Landscape
architects/
Peisagiti:
TamsSndor,
TamsDmtr,
AnnaBorbla Lenkai
Foto/ Photo:
MrkPter Vargha

The Pier in Lzbrc, a finely configured

pavilion proposes through that interior
pool a new link with the reservoir, a recon
nection with water and old public baths;
(6) The Outlook Tower in Uppony is the
completion, the substantiation of a started,
though unfinished, community project
which marks the privileged located place
near the village and customizes it through
textures, colors and a play of lights and
shadows; (7 ) The Landscape box is a
wooden box located on the shore of Lzbrc
Lake and used as a shelter lodge; (8) The
Botanet is a selfsupporting modular
structure made of wooden elements that
fits up the landscape of a clearing nearby
the village of Borsodbta, a network to be
gradually filled up by the local community
by inserting their own objects, instal
lations and events into this structure;
(9) The huge bench in Uppony custom
izes a station on a touristcycling route
of a national importance (the blue line),
serving as a favorite meeting spot for the
villageelderly.
The original starting statement is
clear: with few minimal resources (1 km of
4 x 4 x 400 cm wooden slats), some high
quality design which is no more the exclu
sive attribute of elites (social, cultural,
professional, etc.), can be accessible and
open to a wider audience. The wooden
objects are simple, though innovative in
technical and technological terms, a formal
language of functional use. Located and
installed in public spaces in rural areas,
they will be looked after by local people;
they will serve and enrich the residents
everyday life. There are specific interven
tions with immediate effect, yet holding an
intrinsic promise to produce mediumterm
effects as sources of events and future
community projects.

SOMARO
O iniiativ social
i implicaiile
saleurbane
A social initiative
and its urban
implications
Despre risip, demnitate i importana de-a fi client
SOMARO vine de la SOcialMArketRomnia. Dup modelul organi
zaiei SOMA Austria, e vorba despre o reea de magazine sociale
care vinde persoanelor cu venituri mici produse obinute prin spon
sorizare. Ideea principal nu e de a oferi acestor persoane donaii,
ajutoare, ci de-a le permite s mearg cu adevrat la cumprturi.
Preul e subvenionat, ns cei vizai achit, aleg, devin clieni;
importana pentru demnitatea personal este enorm.
Sustenabilitatea este un alt principiu fundamental: produsele
sunt donate de productori, retaileri etc. Ele nu mai pot fi vndute
n sistemele obinuite, fiindc nu (mai) respect standardele de la
etichete greite la mrimi sau aspecte necorespunztoare (fructe
i legume) etc., ns nu sunt alterate n vreun fel. n loc s fie arun
cate, pot servi societii.
Sumele obinute prin vnzarea preferenial acoper costurile
de funcionare SOMARO. Clienii sunt selectai n urma unor criterii
obiective (situaie financiar, numr de membri ai familiei etc.) prin
colaborri cu serviciile sociale locale. Exist pn acum magazine la
Bucureti (sectorul 1), Satu Mare i Sibiu.
Locuri (i) pentru ora
Evident, dincolo de cerine funcionale, de spaiu i protecie,
criteriul fundamental de alegere a unui spaiu este cel al oferirii
lui gratuite. ns echipa se bucur cnd primete un loc n centru:
nu doar c n centru ajungi mult mai uor i mai ieftin (preul unui
bilet nu este neglijabil pentru muli dintre clieni), ns centralitatea
favorizeaz i imaginea de normalitate dorit.
n plus, localizarea n centru poate aduce avantaje nebnuite
pentru vecintate. La Bucureti, magazinul este situat n Piaa
Matache, n noua hal acoperit. Cei peste 600 de clieni nre
gistraivin aici din tot oraul; muli dintre ei nu se mrginesc la
vizita la SOMARO, ci profit de situaie pentru a mai cumpra cte
ceva de la o tarab sau alta. Astfel prezena magazinului social
devine profitabil pentru ceilali comerciani. O funciune pe care,
din pcate, muli oameni nc i-ar dori-o ct mai deprtat de
ei i ct mai ascuns devine aici un factor urban pozitiv: pentru
arhiteci i urbaniti, o lecie despre mixitate, dincolo de ideologii
deplanificare.
Arhitecii?
C tot vorbeam despre ei ar fi binevenii. Echipa SOMARO i d
perfect seama c ncepe s aib nevoie de ei. S amenajezi magazine
(care devin locuri de ntlnire) cu un buget 0, s recuperezi, s rein
ventezi, s aduni for de munc. O tem foarte tare.

tefan Ghenciulescu
SOMARO

About waste, dignity and the

importance of being a customer
SOMARO stands for the SOcial MArket
Romania. Following the model of SOMA
Austria, this is about a network of social
shops selling to people with low incomes
products coming from sponsorship. The
main idea is not to offer those people dona
tions, aids, but to allow them to really go
shopping. The price is subsidized, but those
targetted pay, choose, turn into customers;
the importance for personal dignity is huge.
Sustainability is another basic prin
ciple: products are donated by producers,
retailers etc. they can no longer be sold
in the usual systems since they do not
(longer) comply with standards from the
wrong labels or sizes to an inappropriate
look (fruits and vegetables) etc. but they
are not damaged in any way. Instead of
throwing them, they can serve the society.
The amounts coming from the prefer
rential trade covers the operational costs
of SOMARO. The customers are selected
following objective criteria (financial situ
ation, number of members in a family etc.)
through the cooperation with local social
services. So far there are shops in Bucharest
(1st district), Satu Mare and Sibiu.
Places for the city (as well)
Obviously, beyond the functional require
ments, related to space and protection,
the key criterion to select a space is that to
offer it for free. But the team is glad when
they get a place in the centre: not only that
one gets in the centre easier and cheaper

(the price of ticket is not to be ignored for

many customers), but also a central loca
tion favors the wished image of normality.
Moreover, being in the centre may
bring unsuspected advantages to the neigh
bourhood. In Bucharest, the shop is placed
in Matache Market, in the new covered hall.
Over 600 registered customers come here
from all over the city; many of them do not
simply visit SOMARO but make use of the
case to buy something from one stand or
another. Thus, the presence of the social
shop turns profitable for the other traders.
A function which, unfortunately, many
people would like to see being as far and
as hidden as possible becomes here a posi
tive urban factor: for architects and urban
planners, a lesson about blending, beyond
planning ideologies.

89

Architects?
As we talk about them they would
be welcome. The SOMARO team real
izes perfectly that they start to need
them. Toorganise a shop (turning into a
meetingplace) with a 0 budget, to recover,
to reinvent, to get labour force... A very
hottopic.

Finanatori ai proiectului: Fundaia Privat

Katharina Turnauer, ERSTE Foundation
Parteneri: Autoriti locale (primrii i servicii
sociale) din sectorul 1, Satu Mare i Sibiu,
Confederaia Caritas Satu Mare, Isovolta AG,
Ambasada Austriei, furnizorii produselor.
Project funders: Katharina Turnauer Foundation,
ERSTE Foundation
Partners: Local authorities (town halls and social
services) in Sector 1, Satu Mare and Sibiu, Satu
Mare Caritas Confederation, Isovolta AG, Embassy
of Austria, products suppliers.
www.somaro.org

102

O expoziie de art n cartierul Husby

din Stockholm exploreaz manifestrile
sociale n sfera public i procesele
democratice care modeleaz urbanitatea
i identitatea colectiv.
An art exhibition in the Husby district of
Stockholm explores social manifestations
in the public sphere and the democratic
processes modeling urban nature and the
collective identity.

Husby Channel
(Nomeda &
Gediminas
Urbonas + Giacomo
Castagnola, Daniela
Lazoroska, Mirko
Lempert, Nathalie
Wuerth, Rut
Karin Zettergren,
Ami Kohara,
Valentin Brutaru,
JacquelynDavis)
Foto / Photo:
BjornLarsson

Performing
theCommon

ARTA PUBLIC NU ESTE DOAR O DECORAIE CONVENABIL!

PUBLIC ART IS NOT JUST

ACONVENIENTORNAMENT!

TEXT: Cosmin Caciuc, Cosmina Goagea

TEXT: Cosmin Caciuc, Cosmina Goagea
Sfera privat i cea public sunt n continu transformare, producnd din ce n ce mai multe zone gri n contextul diversificrii
practicilor culturale, sociale i economice. Noile generaii de artiti
cartografiaz aceste zone i activeaz n zona ambigu (i poate nu
prea bine neleas nc de publicul larg de la noi), dar foarte fertil
din punct de vedere conceptual, situat ntre art, activism, design,
arhitectur i urbanism. Mizele acestor investigaii sunt chiar
democraia i modernizarea, din ce n ce mai mult puse la ndoial
pe fondul dificultilor economice europene. Legitimitatea interveniilor arhitecturale i urbanistice depinde acum n mod esenial
de participarea efectiv i constant a locuitorilor la aciunile de
modernizare urban, nu doar de votul democratic, de alegerea
reprezentrii la conducerea oraului sau de dezbaterile publice.
Un eveniment precum Performing the Common, focalizat
pe locuire, art i relaiile de putere administrativ, atinge aceste
chestiuni i chiar chestioneaz delimitrile locale sau naionale ale
democraiei: n acest punct critic al intereselor globale, explorarea
relaionrilor transnaionale devine inevitabil, n contextul supraexpunerii mediatice. Cartierul modernist Husby (Rinkeby-Kista)
din Stockholm, construit la nceputul anilor 70, caracterizat
acum de o mare diversitate cultural i etnic, a fost n aceast
var scena unei serii de aciuni iniiate de un grup mai larg artiti
dintre care menionm doar pe Anna Hasselgren (Open Space),
Shiva Anoushirvani (Edge City Talkshow), Nomeda & Gediminas

The private and the public spheres are

constantly changing, creating increasingly
more grey areas on the background of
diversified cultural, social and economic
practices. The new generations of artists
survey these areas and are active in an
ambiguous territory (which perhaps is not
very well understood by the Romanian
public yet), which proves however very
potent in conceptual terms, a territory at
the border between art, design, architecture and urban planning. What is at stake
here is the very essence of democracy and
modernization, which are increasingly
questioned on account of the European
economic crisis. The legitimacy of the
architectural and urban interventions
essentially depends now on the actual and
constant participation of the inhabitants
to the urban modernization actions, on
the election of representatives in the city
council and on public debates and not just
on the democratic vote.

103

An event such as Performing the

Common focused on dwelling, art and
administrative power relations tackles
these issues and even questions the local
or national delimitations of democracy:
in this critical context of global interests,
the exploring of transnational relations
becomes unavoidable, given the media
overexposure. This summer, Husby
(Rinkeby-Kista), a modernist district of
Stockholm built at the beginning of the
70s, characterized now by a great cultural
and ethnic diversity, was the scene of a
series of actions initiated by a large group
of artists, out of we will only mention a
few: Anna Hasselgren (Open Space),
Shiva Anoushirvani (Edge City Talkshow),
Nomeda & Gediminas Urbonas+ Giacomo
Castagnola, Daniela Lazoroska, Mirko
Lempert, Nathalie Wuerth, Rut Karin
Zettergren, Ami Kohara, Valentin Brutaru,
Jacquelyn Davis (Husby Channel), Shakir
Attiyah (A Place for All), Per Hasselberg
(Husby Neighborhood Council),
sa Andersson Broms (Potemkins
Faade), Siri Tolander (Self-Portret)
and tefan Rusu (Floating Balcony).
For more details about their work
please consult the event dedicated site:
http://performingthecommon.se/public/.

Urbonas + GiacomoCastagnola, Daniela Lazoroska, Mirko Lempert,

Nathalie Wuerth, Rut Karin Zettergren, Ami Kohara, Valentin
Brutaru, Jacquelyn Davis (Husby Channel), Shakir Attiyah (A
Place for All), Per Hasselberg (Husby Neighborhood Council),
sa Andersson Broms (Potemkins Faade), Siri Tolander
(Self-Portret) i tefan Rusu (Floating Balcony), pe care v
invitm s-i urmrii n detaliu pe website-ul dedicat evenimentului:
http://performingthecommon.se/public/.
Performing the Common este iniiat de Karin Hansson,
doctorand la Universitatea din Stockholm n Kista / Institutul Regal
de Arte Frumoase, n prelungirea cercetrii acesteia asupra conceptului de e-democracy, desfurat la Departamentul de Informatic
al Universitii din Stockholm i la Facultatea de Arhitectur i
Urbanism din cadrul Institutului Regal de Tehnologie. Acest proiect
urmrete cultivarea unor modele de cetenie activ i cuprinde
o platform de cercetare, o expoziie, programe media, o serie de
seminarii, un website i un blog, instalaii contextuale i happening-uri propuse de artiti i activiti urbani.
tefan Rusu (1964, Kietu, Moldova) este artist vizual, curator,
editor i cineast stabilit la Chiinu i Bucureti. Agenda sa artistic
i curatorial este strns legat de procesele i schimbrile survenite
n societile post-socialiste de dup 89 ncoace. Instalaia Floating
Balcony ar fi trebuit s activeze conceptul social de empowerment,
cu referire la constituirea imaginii de sine a comunitii urbane din
Husby, ncercnd s catalizeze spiritul civic i evenimentele spontane, specifice locului de amplasare.

Seminar Art &

Society as Material
26/8/2012
Foto/ Photo: sa
Andersson Broms

104
BALCONUL
ALCONUL FLOTANT

TEXT
XT I INTERVENIA
INT
SITE-SPECIFIC
SITE-SPECIFIC:
E-SPEC : tefan
fa Rusu
R
LOCAIE:
C
Cartierul Husby (Rinkeby-Kista), Stockholm
DIMENSIUNI
MENSIUNI PRELIMINARE:
PRELIMINA 3800 mm (h)) x 220
2 mm x 2150 mm
Balconul flotant este o structur mobil, uor de instalat, care
refolosete / i nsuete tipologia specific a blocurilor de locuine
din cartierul Husby. Acest balcon e destinat instalrii n sfera
public pentru a fi folosit ca o platform i drept invitaie pentru ca
cetenii s-i poat exprima ideile, dorinele i de unde s poat
face declaraii cu caracter politic.
Aceast structur poate fi interpretat n dou moduri i
deservete dou funcii: este pe de o parte un instrument prin care
publicul dobndete autonomie, iar pe de alt parte servete ca
platform de pe care poziiile artitilor s poat fi exprimate ntr-un
spaiu public.
Structura este o instalaie temporar i o invitaie la activism
civic sau implicare, un instrument de modelare a atitudinilor politice
i sociale ale oamenilor. De fapt sfera politic nu este pe undeva, ci
este exact n buctriile i balcoanele noastre.

EX POST-FACTO

COSMINA GOAGEA:
Care a fost impactul instalaiei asupra publicului vizat
(respectiv locuitorii din Husby) n general?
TEFAN RUSU:
A ncepe prin a meniona c amplasamentul iniial pentru
balconul flotant urma s fie centrul civic al cartierului Husby,
al crui specific este marcat de blocurile de locuit interconectate cu o reea de ci pietonale i cteva enclave scuaruri

Procesul de
gentrificare se face
vizibil prin cteva
zone de blocuri
aflate n reabilitare
The gentrification
process is especially
visible in several
areas where the
blocks are being
renovated
Foto / Photo:
tefanRusu

Modernizarea
cartierului Husby
designul balconului
transparent (sticla
cu imprimeu)
Refurbishment of
Husby district the
design of the
transparent balcony
(printed glass)
Foto / Photo:
tefanRusu

5
Floating Balcony
(tefan Rusu)
Foto / Photo: sa
Andersson Broms

Performing the Common is initiated by

Karin Hansson, PhD candidate at Stockholm
University in Kista / Royal Institute of
Fine Arts, continuing her research on
e-democracy at the Department for
Computer and System Science at Stockholm
University and the School of Architecture
and Urban Planning at the Royal Institute
of Technology. This project aims at cultivating active citizenship models and
includes a research platform, exhibition,
media programs, a series of seminars, a
website and a blog, contextual installations
and happenings proposed by urban artists
andactivists.
tefan Rusu (b. 1964 in Kietu,
Moldova) is a visual artist, curator, editor,
and filmmaker based in Chisinau and
Bucharest. His artistic/curatorial agenda is
geared towards the processes of transformation and changes in post-socialist societies after 1989. The Floating Balcony
installation was meant to activate the
social concept of empowerment with focus
on the creation of the self image of the

urban community of Husby, in an attempt

to facilitate the manifestation of the civic
spirit and spontaneous events, specific to
the location of the installation.

FLOATING BALCONY

TEXT AND SITE-SPECIFIC INTERVENTION:

tefan Rusu
LOCATION: Husby (Rinkeby-Kista) neighbourhood, Stockholm
PRELIMINARY DIMENSIONS: 3.800 mm(h) x
220 mm x 2.150 mm
Floating balcony is a portable, easy to
install structure that recycles the aesthetic
expression of the buildings in Husby.
This balcony is installed centrally in
the public sphere in order to function as
a platform and an invitation to express
and stage protest, ideas, desires and
politicalstatements.

The structure has two functions: it is a

tool to support public empowerment and
self-expression, but also a space for artistic
activities. The structure is a temporary call,
a way to remind us about peoples potentially civic positions and the ubiquitous
involvement with the everyday political.
The political sphere is not somewhere
else; it is here in our kitchens and at
ourbalconies.

EX POST-FACTO

COSMINA GOAGEA:
What was the general impact of the
installation on the target audience
(the people of Husby)?
TEFAN RUSU:
I would like to start by saying that
the initial location of the floating
balcony was to be the civic centre
of the Husby district, characterized

verzi minimaliste inserate n zonele dintre blocurile construite

n anii 70-80, populate acum de imigrani din Africa, Iran,
Turcia (Kurdistan), Mongolia etc.
Balconul flotant conceput iniial ca o platform adresat
locuitorilor din Husby, pe de o parte afectai de procesul de
gentrificare a zonei, iar pe de alta segregai n aceast zon
a oraului, n final i-a gsit o alt destinaie. Procesul de
gentrificare se face vizibil prin cteva zone de blocuri aflate
n reabilitare, n timp ce locuitorii acestor blocuri de familiti
sunt relocai temporar, pentru a se rentoarce ulterior n apartamentele renovate, evident urmnd s achite de-acum ncolo
un pre ceva mai mare dect cel anterior. n timp ce segregarea
presupune plasarea imigranilor preponderent n cartierul
Husby, alturi de cartierul Kista un fel de Silicon Valley
suedez, asistm la un proces instrumentat de autoritile locale
i un discurs care nu se regsete deocamdat n sfera public.
Instalaia urma s creeze un loc de articulare a opiniei publice
pentru imigranii stabilii n Husby i s funcioneze ca o
platform ce ar stimula activismul civic, lucru care nu s-a
ntmplat, deoarece strategia curatorial s-a axat pe logica
evitrii zonei conflictuale. Prin urmare, balconul-tribun a
euat n zona verde din preajma Centrului comunitar de art
HusbyGuard.
CG: Dintre toate reaciile obinute, poi s ne redai una
anume,caracteristic pentru contextul respectiv sau pentru c
a fost neateptat?
R: Reaciile au fost diverse; unii au recunoscut tipologia balconului, iar alii se ntrebau retoric: Care
Ca
Car ar fi destinaia piesei?
Printre
tre cei care au recunoscut c este o replic-balcon a faadei
din anii 70-80, s-au numrat totui
locuitorii care se bucur
to
mai mult de modernizarea cartierului
cartierulu i de faptul c designul
balconului
le convine mai
conului transparent (sticla cu imprimeu)
impr
mult,
t, adic exact n spiritul reabilitrii.
reabilitr Doar unul dintre trectori a presupus o posibil relaionare
relaionar cu problema statutului
zonei verzi care se afla n dezbatere public de ceva timp.
Zona verde a fost proiectat n anii 70 ca o zon-tampon
ntre cartierele adiacente, iar n prezent urmeaz a fi absorbit de o mn de dezvoltatori n ideea extinderii cartierelor
de locuit, diminund astfel spaiile vezi i micornd parcul
natural la doar cteva insule minuscule. Orientat ctre aceast
problem, balconul-tribun este deschis unor interpretri ce
in de critica proiectului de lichidare a zonei verzi, dar i de
potenialitile legate de revendecarea zonei de ctre locuitorii
din Husby.

106

CG: n ce msur cei care de regul nu au voce (public) au reuit

s-i formuleze explicit probleme / idei relevante, odat ce
acest lucru a devenit posibil?
R: Activarea balconului-tribun a rmas o proiecie virtual,
deoarece nu i-a gsit locul n zona civic din cartierul Husby
i astfel a rmas n afara ateniei publice (a locuitorilor,
activitilor urbani). Un alt feedback din partea publicului a fost
o intervenie oarecum neateptat pentru societatea suedez:
ntr-o diminea, balconul a fost gsit demolat de necunoscui, fiind reinstalat n aceeai zi. Ulterior balconul a rezistat
n zona verde i dup finalizarea expoziiei nefiind tulburat
de nimeni.

Open Space (Anna

Hasselgren)
Foto / Photo:
BjornLarsson

Edge City
Talkshow (Shiva
Anoushirvani)

by blocks of flats interconnected by

a network of pedestrian routes and
a number of enclaves minimalist
green squares inserted in the areas
between the blocks built in the 70s
and 80s and now inhabited by immigrants from Africa, Iran, Kurdistan,
Mongolia etc.
The Floating balcony, which was
initially conceived as a platform
addressed to the people of Husby, on
the one hand affected by the gentrification of the area and on the other
segregated in this part of the city,
came in the end to serve a different
purpose. The gentrification process
is especially visible in several areas
where the blocks are being renovated,
while the inhabiting families are
temporarily relocated, to later return
in the refurbished apartments, for
which they will obviously start paying
a higher price. While segregation
implies the placement of immigrants
mainly in the Husby district next
to Kista a sort of Swedish Silicon
Valley, we witness a process
managed by the local authorities and a
discourse which has so far been absent
from the public sphere.
The installation was to create a space
where the immigrants settled in
Husby could voice their public opinion
and to serve as a platform aimed at

Foto / Photo:
MartinHulten

stimulating civic activism, which did

not happen because the curatorial
strategy was focused on the logic of
avoiding the conflict area. As a result,
the balcony-stand was forlorn in the
green line near the Art Community
Center Husby Guard.
CG: Out of all the reactions brought
about by this installation, can you
think of one that was characteristic
of the respective context or that was
unexpected?
R: The reactions were quite varied; some
recognized the balcony typology,
while others would ask rhetorically: What is the purpose of this
thing? Among those who recognized
the balcony-replica of the faade
specific to the 70s and 80s, there
were however people who enjoyed
the refurbishment of the district and
who were rather keen on the design
of the transparent balcony (printed
glass), which matched exactly the
spirit imposed by the rehabilitation
process. There was one passer-by
who assumed a possible connection
with the problem of the green line
status, on public debate for some
time. The green line was designed in
the 70s as a tampon space between
neighboring districts and currently
it is to be absorbed by a bunch of

Open Space (Anna

Hasselgren)
Foto / Photo:
BjornLarsson

107
Potemkins Faade
(sa Andersson
Broms)
Foto / Photo:
BjornLarsson

developers who want to extend the

blocks of flats to the detriment of the
green areas and to reduce the natural
park to just a few minuscule islands.
As far as this issue is concerned, the
balcony-stand is open to interpretations related to the critique brought
to the project aimed at putting an end
to the green area, but also to the
potential reclaiming of this area by the
Husbycitizens.
CG: To what extent people who usually
do not have a (public) voice,
managed to explicitly formulate
relevant issues/ ideas once this option
becameavailable?

R: The activation of the balcony-stand

remained a virtual projection since
it failed to appropriate a place in the
civic area of the Husby district and
thus it was not the focus of public
attention (it failed to capture the
attention of the citizens or of the
urban activists). Another feedback
received from the public was a somewhat unexpected intervention for the
Swedish society: one morning the
balcony was found demolished by
unknown persons, being reinstalled
on the same day. Later the balcony
remained in the green line after
the exhibition was closed, where
its stayed untouched up to the end
ofNovember.

Perioada / Period:
25.08.201223.09.2012
Locuri / Places: Galeria de
Art din Husby (Rinkeby-Kista,
Stockholm), Muzeul de Art
Modern din Stockholm, Institutul
Cultural Romn / Husby Konsthall
(Rinkeby-Kista, Stockholm), The
Studio at Moderna Museet, the
Romanian Cultural Institute
Artiti / Artists: tefan
Rusu, AnnaHasselgren, Shiva
Anoushirvani, Thomas Liljenberg,
Johanna Gustafsson Frst,
Shakir Attiyah, Nils Claesson, Per
Hasselberg, sa Andersson Broms,
Karin Hansson, Shida Shahabi, Siri
Tolander, Ingrid Jansson, Nomeda
& Gediminas Urbonas + Giacomo
Castagnola, Daniela Lazoroska,
Mirko Lempert, Nathalie Wuerth,
Rut Karin Zettergren, Ami Kohara,
Valentin Brutaru, Jacquelyn
Davis, Greta Weibull, Patricia &
NataliaAramburu

Expoziia este realizat de

Departamentul de Informatic
al Universitii din Stockholm
i Institutul Regal de Art din
Stockholm, sprijinit de Formas
i n colaborare cu Association for
Temporary Art, Institutul Regal
pentru tehnologie, Institutul
Cultural Romn, Centrum fr
gestaltning, Academia de Arte
Dramatice din Stockholm, Husby
Grd i Muzeul de Art Modern
din Stockholm
The exhibition is made by the
Department of Computer and
System Sciences (DSV) at Stockholm
University and The Royal Institute
of Art in Stockholm, supported by
Formas and in collaboration with
Association for Temporary Art,
KTH Royal Institute of Technology,
the Romanian Cultural Institute,
Centrum fr gestaltning, Stockholm
Academy of Dramatic Arts, Husby
Grd andModerna Museet
www.performingthecommon.se