Notes on specific cases

8.1. Notes on specific cases

The example of the Youth Theatre in Novi Sad could serve as an illustration of the use of the electronic database. Based on the information uploaded to the website it is possible to gain direct insight into the state of the theatre, which clearly speaks of its practical use. The problems the theatres face needed to be systematized; they were grouped in three main areas of interest:

The principles of universal design have been followed only in a small number of cases, and not with great success. As universal design, among other, implies accessibility for all, this has been accomplished only in a modified or somewhat restricted physical shape. This is mainly in view of the ramps that are a recent addition, and provide access only to a limited number of building entrances. Reconstructions would take place in all parts crucial for uninterfered access of people with special needs, in regard to denivelation (primarily auditorium and toilets, etc.), [10] (Figure 6).

Figure 6. a), b), c) Building adaptation to suite the principles ofuniversal design.

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Consistency of reconstruction and refunctioning of the building.

Certain changes would be needed for spaces that have been assigned a clear function but are, at the moment, out of service or unusable. Precisely, the Youth Theatre in Novi Sad has been originally designed as a Community center, only to be reassigned the current function after the SWW. Apart from a series of problems, an inconsistent reconstruction of the service entrance is part of this problem. As a result, the decoration and other backstage work must be carried out through the main entrance. Although there exists a platform designed especially for the purpose of decor traffic, it is a t the moment closed and unusable, due to the narrow service road (Figure 7).

Figure 7. a), b), c) Impracticable service entrance for entering the decor

Ecological and safety measures. The analysis of the stage and auditorium space, as central and crucial spaces of every theatre, has shown that in most cases, they are potentially hazardous, due to the number of people circulating them at one time. It has been noted that the danger is mainly in regard to fire safety. It is of importance to rethink the existing evacuation lines that are closely connected to the above mentioned issue of universal design. Also, the energy needs of these spaces are the most prominent. In view of this, serious attention should be paid to this subject, considering the modern principles of energy consumption.

168 9. CONCLUSION

This database has proven its practical value. The information has been published in the proceedings book entitled”The architecture of theatre buildings in the Republic of Serbia” and presented at the conference with the same theme.

The importance of this project is, above all, in unification of the processes of theoretical research, practical work and teaching. This is an equally important activity parallel to the learning process in the Department for Architecture and Urbanism, FTN. This project was the first in line to deal with typological issues of public institutions that are to be dealt with in future projects.

The Ministry of Science and Technological Development of Republic of Serbia (now the Ministry of Education and Science) has recognized this project as one with a positive result and this method of research will therefore be applied in a future project which deals with the topic of community culture centers in Serbia. In addition, the project research proved equally important for establishing the European value system in Serbia and could, therefore, be viewed as our contribution to the forecoming European integration process.

It is important to note that this is an interactive database. It is anticipated that a more successful communication among institutions dealing with theatrical events would be established by regular updates of the database.

ACKNOWLEDGEMENTS

The research conducted in this paper is part of a science project titled: "The technical/technological state and potential of Cultural Houses in the Republic of Serbia" at the department of architecture of the Faculty of Technical Sciences in Novi Sad, supported by the Ministry of Education of the Republic of Serbia (Project TR 36051).

169 REFERENCES

[1] Dinulović, Radivoje, Arhitektura pozorišta XX veka, Clio, Beograd 2009, p. 20, 21

[2] Op.cit. str. 21 [3] Ibid str. 20

[4] http://www.oistat.org/content.asp?path=q9j7y2q (mart 2012) [5] http://www.yustat.org/onama/onama.html (September 2009) [6] http://www.scen.org.rs/sr/about_us (mart 2012)

[7] Dinulović R, Konstantinović D, Zeković M: "Arhitektura scenskih objekata u Republici Srbiji", Zbornik radova sa stručnog skupa, 2011, p. 12-14

[8] Diran J. N. L.,Pregled predavanja: Građevinska knjiga, Beograd, 1990.

[9] Pevsner Nikolaus, A History of Building Types, Thames&Hudson, London, 1976

[10] http://www.eca.lu/

170 S U B U R B A N D Y S T O P I A A N D S H O P P I N G A S A S O A P O P E R A

Gordan Savičić¹, Selena Savić²

1 Independent Researcher; Verboomstraat 174B, 3082JV Rotterdam, The Netherlands

2 Researcher, EPFL, Switzerland; Kneginje Zorke 67, 11000 Belgrade, Serbia

Abstract: With an approach between theatre, urban analysis, mapping and deconstruction, this 'glide' through Brasilia is an attempt to understand its urban tissue, formed through architectural action and spontaneous appropriation. In the city laid out between a modernist utopia of the 60ties and a capitalistic dystopia of today, we are mapping our field research of this modernist heaven, through a dynamic dialogue.

This theatrical experiment is performed on the street, in public and semi-public space. It is treating the existing urban tissue as found scenery, a stage design for everyday life. By engaging in a dérive through the city, the environment is analysed in spontaneous reactions to the surrounding. By doing so, the actors turn from passive observers into active participants and interpreters of an auto-instructed play, engaging with their body and mind with the flow of everyday life; transforming their dialogue into verbal research.

Two main questions from the title circulate throughout their conversations.

Shopping as a paradigm of contemporary life, can be seen as a shift from the ideological split between east and west to a collaborative relation in capitalising on citizens' consuming habits.

Secondly, two satellite cities - Samambaia and Ceilandia - are investigated in this research. An invisible wall stands between the planned city and its satellite settlements. Established already in the building phase of Brasilia and reinforced by the UNESCO heritage protection programme, it prevents any contemporary intervention in Plano Piloto. This lack of spontaneity is observed on all levels in the city, inhabitants divided trough geometric rationalism and activity concentrated in commercial zones. On the other side, the surrounding cities built as temporary settlements are based on opposite premises. Nonetheless, with minimum urban design they exhibit similar uniformity of space while constantly growing.

Keywords: Urbanism, Derive, Brasilia, Dystopia, Consumerism,

171 1. INTRODUCTION

Brasilia was inaugurated in April 1960, by the then President Juscelino Kubitschek de Oliveira. Already during his electoral campaign, Kubitschek announced his intention to build this city, as part of the plan

"integration through interiorisation". The city plan was designed by Lucio Costa, based on the idea of an intersection of two orthogonal axes. The city is built around them, all buildings designed by Oscar Niemeyer.

Already during the construction, satellite settlements emerged. They were formed mainly by the workers who were building the city and unemployed migrants from North-eastern parts of Brazil. These settlements were partially conceived as temporary dwellings for workers, who were supposed to be integrated in the city social structure, or returned home. But for various reasons, these settlements stayed and grew. Today, 500 000 people live in the Plano Piloto (the initially planned urban territory of Brasilia) and the other two million live in remote satellite cities.

Figure 1. Brasilia's metropolitan area, Tricephalous (F. de Holanda, R. Ribeiro, V. Medeiros, 2008).

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In the tradition of modernist planning conventions, zoning in Brasilia is applied through strict separation of activities. A hierarchy of urban functions is reflected in their distance from the centre. A public core is stretched along the Eixo Monumental, central axis dividing the city in two symmetrical ‘wings’. The other, perpendicular axis - Eixo Rodoviaria, serves as the main means of transportation (main communication axis) for two residential zones - Asa Sul and Asa Norte. More upper-class blocks are placed along the axis, the index of income decreasing with the distance from it. 'Work' here means working for the government, so the majority of residents were expected to be commuting towards the public core every day.