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Skip to main content. Log In Sign Up. Imposing dull simplified geometric structures and urbanistic concepts appropriate to the climate and social needs of the main investor from the Middle East, the project radically changes visual identity of the Serbian capital profiled over the last two centuries of independent architectural development.
Devoid of the common, plain typology, morphology and customary coloring of the Euro-Mediterra- nean urban tradition, it interacts with aleksanxar existing spatial-cultural matrix in a degradative way.
This is es- pecially the case in countries burdened with economic crisis, where the basic principles of heritage protection are ignored for the sake of attracting foreign investments and creating new jobs.
Mainly initiated without public competitions, these voluntaristic undertakings are usu- ally justified by the support obtained in the elections. Guided by the interests of daily politics declarative and publicthe initiators of these globalization recastings usually avoid local creative forces, engaging foreign branded design companies.
Aleksandae to the leveling of the land and partial recovery of wetlands in the waterfront area, a modest port zone Liman developed, which in the following decades expanded and adapted for the purposes of defense, water management, transportation, industry, trade and customs. The Sava Amphitheater is a geographical term that comprises the terrain from the Belgrade Ridge in the northwest under the Fortressover Terazije and partially Krunska street,toward the St.
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Michael the Archangelconveying a strong political message Fig. Moreover, it kadijevid not until the beginning of the twentieth century that it became the subject of comprehensive studies and regulatory plans. It suffered from frequent floodings and war activities, which delayed the making of strategic decisions about its regulation.
Representative buildings constructed on the right bank of the river, covering more or less the area of the Amphitheater, have become key factors of cultural identity in the demograph- ically enlarged capital of the state. However, the urban- istic and architectural activities on the waterfront were not all techni- cally balanced.
This is evident in the partial implementation of the Master Plan of Belgrade from made by Russian emigrant architect Geor- gije Kovaljevski, which specified construction of a promenade and a Fig.
Although architectural and ur- banistic interventions within the Sava River waterfront after did not significantly change the existing situation, the key problems of its Fig.
Transporta- tion infrastructure retained the pri- macy on the right bank and continued to hinder direct contact of the citizens with the Sava River, while on the left bank gradually grew a Le-Corbusier-like modern city. The first project designed for both banks of the Sava River was a commissioned conceptual design of the administrative center of the Non-Allied Movement, which was not further elaborated for political reasons.
Namely, the general approach to thesection on both banks of the Sava River covering the area from apart of the highway passing through Belgrade to the confluence of the Sava and the Danubein the north offered the possibility for the capital to compensate for chances missed throughout the history for consolidation of fragmented parts in this area. It can not be neglected, but in Serbia rarely emphasized, that the central zone of New Belgrade, for ideological reasons, was directed predominantly north-south, marching thus toward the historical city on the right bank.
Only this can explain why the waterfront on both sides the Sava River was constructionally neglected for decades, and not regardedas the point of meeting or connection. The project was not made public, although it contained some innovative and technically applicable solutions for the area along the right bank of the Sava River.
In the second half the s, preparations for a major public competition under the auspices of the International Union of Architects UIA historically went wrong because the government authorities of the Republic of Serbia were on the downward path at that time. In the beginning, there were not any public reactions or doubts raised regarding the project, and even today its author is unknown. In that first version, including several varieties set out later, the specified constructions were of much less capacities and parameters than it is the case today when resi- dential, commercial and infrastructure facilities of extensive square footage are predominant Fig.
Regarding the scheme, the structure of the initial project has been gradually changed, first by adding a meters high cucumber-liketower on the river bank and a less spacious shopping mall.
In later modifications not supported by valid explanations to Belgrade profes- sional community and institutions the tower height was increased to meters and its shape changed to a tabular tower with two rotated segments Fig. The shopping mall has changed the location and got enormous proportions. The main architectural and urbanistic impression regarding the project originally defined by the model and only then elaborated in ablueprint is that it is a densely built-up apartment-commercial complexwith individual high-rise buildings 15—25, and morewhat in the globalization architectural practice has become a code generated for opposing the local heritage.
A globalization dull architectural style is evidently being imposed to Belgrade through an extremely simplified geometric forms and urbanistic concepts appropriate to the climate and Fig.
Devoid of the common, plain typology, morphology and customary coloring of the Euro-Mediterranean urban tradition, inherent to the visual identity of Belgrade, the project considerably modifies the centuries old cultural matrix. A large number of buildings shown on the model have a multy-storey construction of unclear purposeat this moment, from which only aleksanvar of the building volume go upward.
An earlier version of the Belgrade Waterfront that purpose. In this sense, it would be inappro- Fig. Photo of a part of the model behind the railway station priate to talk about the treatment of toward the Sava River bank the heritage on the spot. In the first place, on the basis of the model and elements of the presented blueprint, 5 It was reported on 26 April, that, according aleksajdar the contract signed with the investor from the Middle East, half of the specified facilities should be build in the next twenty years, and the rest later.
It is very likely that, over the course of time, the problematic nature of the plan of regulation will lead to the producton of an incoherent urban structure in the most elite location. This can be easily checked by comparing the cross sections perpendicular to the Sava River simultaneously in old and new city blocks, starting from the river to the higher levels of the city in the area of Slavija Square.
Heritage as a whole is completely left aside, reduced to the preservation of a few free-standing objects in situ, but actually excommunicated from the urban context due to the excessive contrast with the powerful symbols of globalization. Hence the assent given by those in charge ofthe protection of cultural monuments to the implementation of the project can be considered unexpected. Only a few institutions provided a principled resistance to the abusive alterations of visual identity of Belgrade, and these are: Although such analogy is civilizationallyun- founded due to the proportions of the area occupied laeksandar that district, it can be found in apolo- getic announcements of pragmatic daily politics.
Daily newspaper Politika in its Sunday issue of March 22,on page 13, presented publicly for the first time a computer-generated image of the new city district as seen from the opposite, right bank of the Sava River Fig. It was commissioned by the newspaper and was not a part of the marketing campaign of the investors. The image shows an obvious disparateness compared to the rest of the city in the scene, primarily because of a false logic of putting the highest buildings on the slope at the lowest vertical alignment.
EPILOGUE Regardless of multiple objections, the investors still insist on the construction of objects that are, according to the common attitude of the most competent experts from Belgrade, inap- propriate for any layer of local cultural tradition8. Hence, it would be perhaps the most appropriate that the investor constructs some other build- ings in that area or out of it on a wide stretch of the Danube waterfront or in New Belgrade. In the meantime, the hastily made political decisions about not limiting the number of floors should be re-examinedand some reputable domestic designers should be hired.
In the end, a view of Belgrade can be blocked and obstructed only once. Kako se ne gradi grad? Rijeka Sava u povijesti zbornik radova. Vizuelnost i kreiranje gradskog identiteta —Beograd: Reka i gradski prostori u Srbiji. The quest for the desired city image. Remember me on this computer. Enter the email address you signed up with and we’ll email you a reset link.
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