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173 172 157 156 130 164 140 131 121 120 186 187 194 141 195 206 7 FOREWORD  A Small Urban Neighborhood in the Global Spotlight Foreword Jürgen Krusche

In 1999, NATO bombed and, to this day, debate continues as to whether this represented a violation of human rights. The remnants of this attack can still be seen: for example, the bombed and burned-out Ministry of Defense in the city center. The “White City” has a difficult past to overcome; yet it has still managed to make progress in moving closer to Europe. A direct train connection with Vienna was reinstated at the end of 2014 and there are plans to further develop the line to Budapest, which will immensely benefit the freight transport industry. The People’s Republic of , which has strategically invested billions in diverse infrastructure projects for Southeastern Europe, has great interest in modernizing the railway from Belgrade to Budapest—and later extending it as far as the port of Piraeus. In the future, Chinese goods will be transported quickly and safely via this new route to Central Europe.1 looks set to benefit from Beijing’s global investment strategy, in which the country is seen as part of western Eurasia.2 This Chinese investment strategy benefits not only Serbia in general, but Savamala in particular. The Chinese play a significant role in improving the quality of life in Savamala—the neighborhood that this publication focuses on. For decades, heavy trucks have thundered down Karadjordjeva in the middle of the otherwise tranquil quarter. Most national and international north-south freight transport has to pass 11 Savamala o 1 n t uctInt rod io n Introduction to Savamala 13 Today, the central train and bus stations are located here, in a southern part of - Bureau Savamala mala that was once a swamp known as the Gypsy Pond. Next to the huge shopping mall and numerous offices, developers also plan to build over 5,000 new apartments Belgrade in the area over the next few years. With the goal of making this area presentable for Savamala

o such an ambitious project, the 1907 Geozavod Building was renovated. The streets Jürgen Krusche and sidewalks were also redesigned, and the surrounding area was decorated with hundreds of banners. (> 2) This summer of renovation gave one a sense of the effects that large, well-funded development projects can have on an area. Even during the

n t uctInt rod io n initial stages, that is even before anything has been built, large developments projects begin to change an area in a way that is at once both symbolic and superficial. This vision for the future represents an admirable and surprising conclusion to the project Bureau Savamala, for we at the project were able to follow the development of the quarter in depth, from its initial small changes, to the expansion of the design and club scenes, finally to this forward-looking vision. This project’s task and goal were to observe, document, and analyse the transformations taking place in Savamala until fall 2014 and these two years turned out to be a pivotal period in the quarter’s development. Introduction

At the End, the Future Bureau Savamala’s research was wrapping up in summer 2014 when an exhibition designed to inaugurate the future of Belgrade opened on Savamala’s central square. Abu Dhabi-based developer, Eagle Hills, presented its multi-billion dollar project. The presentation used a large-scale model and computer-gener- ated pictures, and took place in one of Belgrade’s most beautiful historic buildings, the Geozavod Building, formerly the Building.1 This vision for the future—Belgrade Waterfront—is slated to be built on the Sava riverfront, starting in 2015, with the support of the government and municipality. A 180-meter tower is planned as its central landmark and “will put the site at the top of the rankings of the must-see spots of the world”, as the project’s website proclaims.2 The whole development—which will house the largest shopping mall in the —plans to create an image of what the future could look like, not only for Belgrade but Serbia as a whole. (> 1) “We are changing Belgrade. We are changing the face of Serbia. The whole country will shine like this high-rise!” said Prime Minister Aleksandar Vučić at the exhibition’s grand opening.3 This vision of a marks the conclusion (for now) of a decades-long discussion about an area that has also been known as the “Sava Amphitheater”. 1 The Belgrade Waterfront project, computer rendering, 2014 methods should supplement these analyses. In contrast to gentrification processes, 19 4. Buildings AND Public Spaces upgrading is well suited to image-based research methods. Because upgrades can be Changes to the visible structure of Savamala’s public spaces—such as changes to seen as forerunners to gentrification—or, at least, there exists a causal relationship street spaces, façades, businesses, workshops, sidewalks, and parks—were captured between the two—analyzing upgrades can contribute to a better understanding not through comparative photo documentation from 2013 and 2014. In addition, maps Savamala only of gentrification but also of a quarter’s whole development path. Therefore, both o were used to document and record commercial changes, such as new stores, bars, and upgrading scenarios and gentrification processes played an important role in Bureau restaurants. Savamala’s work. 5. Media

Six Research Areas t uctInt rod io n The project team also regularly perused various daily newspapers and online maga- The following six research areas were established in order to identify and capture the zines in order to document discussion around Urban Incubator and the media’s devel- neighborhood’s changes on as many levels as possible: oping perception of Savamala. Two tag clouds from 2013 and 2014 visually present these results. 1. Urban Incubator Projects TheUrban Incubator projects were evaluated via interviews and surveys of the project 6. Statistics leaders and participants about their goals, methods, and impact. In addition to verbal The Statistics Bureau made census data available to the team, specifi- surveys, a PDF questionnaire was sent to all project leaders. cally 2002 and 2012 data concerning Savamala’s demographic changes. The team supplemented and improved this data by studying real estate and rental fluctuations 2. Savamala Residents in Savamala. Interviews: Standardized interviews were conducted with Savamala residents and visitors, as well as with those who work in the area. A series of surveys were conduct- ed in May and October 2013, as well as in July and August 2014. The 2013 surveys were carried out as interviews while the concluding surveys in 2014 were printed out and distributed in Savamala in the form of questionnaires. Appeal Profile: The surveys included a so-called appeal profile that gauged the ap- peal the area held for respondents by asking them to express their feelings about the quarter with a list of adjectives. Substitutional Photo Inquiry: A substitutional photo inquiry of Savamala resi- dents accompanied the interviews and surveys. The results were presented as a street exhibit in front of Bureau Savamala on 19 July 2013; they were also pub- lished in the magazine Kamenzind.8 Nightwatch: On 19 June 2013, a so-called nightwatch took place; assessing the area’s expanding nightlife scene, changes were tracked from the afternoon long into the night.

3. Experts The specialists who made their expertise available to project members included city planners and architects, as well as the head of the Savski Venac district administration. Publication Contents 21 Philipp Klaus’ text, “The Role of Art and Culture in Gentrification and Upgrade of the Savamala Neighborhood” conveys the main outcomes of Bureau Savamala’s ex- This publication provides insight into the work and outcomes of Bureau Savamala, plorations. The many interview series and appeal profiles, as well as data on real estate as well as selected Urban Incubator projects. It opens with an introduction to the purchase prices and rental prices, form a detailed picture of the transformation that Savamala development of Belgrade and concludes with a discussion of the city’s future with o has taken place. These analyses are supplemented by two maps that illustrate changes reference to the controversial Belgrade Waterfront mega-project. in businesses, bars, restaurants, and workshops since fall 2012.

Introduction Urban Incubator Projects

Vladimir Dulović introduces the vicissitudes of Belgrade’s urban history—a city t uctInt rod io n The book’s third chapter depicts five selected Urban Incubator projects that are repre- caught between the power struggles of the Habsburg and Ottoman Empires, a city sentative of many Savamala activities from 2013. They approach a shared goal with that was repeatedly destroyed and created anew. He demonstrates that Savamala— heterogeneous methods. with its central location on the Sava and its flourishing harbor—was once the heart Belgrade architect, Ivan Kucina, introduces his project, C5. With students of Bel- of the city and the residential seat of Belgrade high society; this sheds new light on grade’s architectural school, he began a participatory project with the goal of collabo- recent interest in this small neighborhood. rating with the inhabitants of No. 5 Crnogorska to repurpose the rental property’s in- Gentrification has become a worldwide phenomenon. Cities wishing to improve ner courtyard and transform it into a communal space. Kucina describes the project their economic situation must increasingly think and act in a global and neo-liberal span, including the inhabitants’ resistance and the project’s ultimate failure, and he manner. Upgrading is a legitimate means of making a city more attractive and par- lists possible reasons for this failure. taking in global competition. The associated phenomenon, gentrification, seems to Selman Trtovac, a co-founder of Belgrade artist group Treći Beograd/Third Belgrade, be practically unavoidable. Philipp Klaus’ text gives insight into the term’s origins, its details the project We Also Love the Art of Others and its background. According to his development, and the various ways gentrification manifests itself today. concept of a micro-utopia, Savamala was declared a utopian space; through exhibi- tions, workshops, talks, and other events, this action aimed to change its residents’ Bureau Savamala’s Outcomes consciousness and enable them to take their fate into their own hands. In particular, The book’s second part establishes Bureau Savamala’s outcomes. Jürgen Krusche’s one of these exhibition projects, Old in Savamala, is described in detail at the photographic documentation demonstrates the visible changes that took place be- conclusion of this chapter. tween 2013 and 2014. This extensive image section depicts Savamala visually and Old Kafanas in Savamala is a project by Belgrade artists, Nina Todorović and Predrag gives the reader a sense of the quarter’s atmosphere. Simultaneously, the juxtaposi- Terzić. It is a research and exhibition project on the , a typical Belgrade phe- tion of the photographs—which originated in two different years—makes evident nomenon. The two artists identified these traditional coffeehouses in over 90 loca- the changes that took place. The accompanying captions are short; apart from these, tions in Savamala and documented them using dated photos. They juxtaposed this the images show clearly enough without explanation what forms of upgrading have image of old Belgrade, which could be easily romanticized, with today’s reality. Their taken place in the city: from small repairs and subtle changes to large-scale renova- contribution portrays selected kafanas then and now. tions and new construction projects. Architects, Maja Popović and Boba Stanić, present their project Model for Sava- The photo survey “Like/Dislike Savamala” is an additional attempt to integrate im- mala. With careful and painstaking attention to detail, they gathered a large quan- ages into the research process, and it serves not as an illustration of discursive data tity of data, assisted by students and other helpers, and generated a 3D model that but as its own data set that “shows” what the texts cannot “say”. The substitutional portrays the historical, sociological, economic, and political reality of Savamala. In photo inquiry can express respondents’ subjective feelings through imagery. The subsequent workshops, different groups—from residents to business owners—were photographs and the accompanying commentary represent the voices of Savamala introduced to the model and became familiar with it so that they could use it for residents. various tasks and projects; it aims to be a 3D model for Savamala, not just of it. Kratak pregled 25 A Brief Overview of istorije i izgradnje Belgrade’s History and Savamala Beograda o Development

Vladimir Dulović Vladimir Dulović n t uctInt rod io n

Iako vrlo star grad, Beograd je imao tu nesreću da su mu istoriju obeležili brojni Although it is a very old city, Belgrade has the misfortune of having a history of nu- diskontinuiteti. Rimski nestao je u naletu Huna, srednjovekovni merous discontinuities. Singidunum, Belgrade’s Roman predecessor, vanished from Beograd je „preobraćen“ u osmansko uporište da bi vek i po kasnije islamski the map in the face of advancing Huns. Medieval Belgrade was “remodeled” as an šeher do temelja uništili katolički Habzburzi. Nakon što je između 1688. i Ottoman stronghold and, a century and a half later, the Catholic Habsburgs razed 1791. tri puta prelazio iz ruku Osmanlija u ruke Habzburga i obratno, Beograd the Islamic town to the ground. Having changed hands between the Habsburgs and je početak XIX veka dočekao kao mala, zapuštena varoš od tek nekoliko hiljada Ottomans three times between 1688 and 1791, Belgrade entered the nineteenth duša u senci velike tvrđave na granici dvaju zaraćenih carstava i dveju civilizacija. century as an all but deserted small town of a few thousand souls in the shadows of a U prethodnim krvavim i razornim sukobima nestalo je skoro sve iz njegove great fortress on the boundary between two warring kingdoms; indeed, between two prošlosti. Taj težak trenutak njegove istorije, kada je pao niže no u mnogim civilizations. Almost everything from its past had disappeared in bloody and destruc- stolećima pre toga, ujedno je i polazna tačka njegovog modernog razvoja. tive conflicts. This difficult period of the city’s history, harder perhaps than any in the Istorija savremenog Beograda neraskidivo je povezana sa istorijom samostalne srpske preceding centuries, was also the starting point for its modern development. države. Seme njene samostalnosti posejano je 1804. Prvim srpskim ustankom a The modern is inexorably linked with the history of an indepen- utvrđeno sultanovom potvrdom autonomije 1830. Suprotno očekivanjima Srba i dent Serbian state. The seeds of Serbia’s independence were sown in 1804 with the njihovog predvodnika kneza Miloša, Porta je tim fermanom u beogradskoj tvrđavi , later to be reaffirmed with the granting of autonomy in 1830. zadržala turske vojnike a u varoši muslimansko stanovništvo. Beograd je ostao By the same decree that granted Serbian autonomy—and contrary to the expecta- podeljen grad sa dve uprave koje su zajedničke probleme teško rešavale. No dok se tions of the Serbs and their leader, Prince Miloš—the Sublime Porte also retained a muslimanski Beograd polako mirio sa sudbinom i propadao, srpski (koji je prilično Turkish garrison in the and a Muslim population in the town itself. neopaženo 1841. postao prestonica Srbije) je sa nadom gledao u novo doba i shodno Belgrade remained a divided city with two administrations struggling to solve com- Gentrification 43 the back-to-the-city movement as Smith calls it2. Reurbanization can be described as a widespread trend of middle- and upper-class individuals returning to downtown Research: neighborhoods; new build gentrification is a process of transforming whole city ar- eas through restructuring. Usually this is carried out in the interests of investors, Savamala A Brief introduction o who are often globally active real estate firms. Apartments and lofts are built for high-income households and various facilities are put in place for shopping, culture, Philipp Klaus and leisure.3 Restructuring causes spaces to become available at the same time as a city’s growth in-

n t uctInt rod io n corporates formerly peripheral areas into its downtown sphere: industrial areas, mili- tary facilities, and harbor installations are some examples. The restructuring of these areas promises great profits and immense ground rent. Hardly a single city has dared to use these spaces to build apartments for low-income, underprivileged households. Former factories and industrial areas were reconstructed and transformed into some of the cities’s trendiest spots. Multi-functional neighborhoods were built for new urban middle and upper classes, who once again felt at home in the city, even when living with children. The restructuring created an urban setting4 of convenience and entertainment that offers both everyday and luxury shopping, diverse cultural fa- cilities, museums, theatres, or sports stadiums. Since the 1990s, public-private part- The gentrification debate has to date centered around displacement—the matter of nerships have facilitated many of these urban settings through official cooperation residents being pushed out of their neighborhoods by newcomers with buying power. between the public and private sectors. Starting at the end of the 1980s, it became It first appeared when Ruth Glass described displacement mechanisms in ’s fashionable to sell land belonging to the city to investors and real estate companies in working-class neighborhoods and coined the term gentrification. Since its inception order to generate income while avoiding the inopportune act of raising taxes. These in the 1960s, the gentrification discourse has expanded and many aspects of it have mechanisms of neo-liberal city politics are still in play today. Urban settings serve changed significantly—the way the process plays out, the causes and mechanisms of city development strategies aimed at attracting (highly) qualified employees to the displacement, and our understanding of it. On the one hand, this expansion has to city, with the idea that they will then form an indispensable resource for powerful do with the proliferation of research into gentrification; on the other hand, it has to companies with a global presence. These employees, who are often referred to as the do with the diverse changes that have occurred in the social, economic, and political creative class, make up nearly one-third of all employed individuals in the metro- realms. This includes motivators such as the concentration and globalization of the politan regions of and Europe.5 They are lawyers, engineers, doctors, property market as well as the way it has melded with the financial markets, the priva- bankers, software developers, planners, and to a lesser extent, individuals from the tization of state-owned properties, and the general withdrawal of local and regional creative industries (design, media, architecture, advertising, film) and the cultural government from the social housing sphere. Gentrification is increasingly being ex- sector (performing arts, fine arts, and creative writing). plained in connection with and as an expression of the globally pervasive investment mechanisms of the real estate market, as a result of targeted publicly funded efforts at The Role of Art and Culture in Gentrification Processes upgrading, and finally, as specific urban development strategies.1 It is almost always a sign that gentrification has begun when the artists start mov- Over the years, two particular topics have opened up new lines of investigation for ing in. They enter former working-class neighborhoods where the rent is affordable the field of gentrification studies: reurbanization and new build gentrification—or and which usually have a high percentage of residents with migrant backgrounds. The Role of Art 51 and Culture in Gentrification Brankova

Brankov Bridge Karadjordjeva au Savamala Bu re au and upgrade 1 1 Spanish House 2 KC Grad Radića 2 Jug-Bogdanova of the Savamala 3 Mikser House 4 Belgrade Cooperative Krsmanovića 3 Svetozara Neighborhood Travnička Project Area Kraljevića Marka Braće 4

Philipp Klaus Mostarska Gavrila Principa Zvornička

Zagrebačka

Bus Station HercegovačkaZeleznička

Old Sava Bridge Lička I see more and more young people here. Especially at night. I haven’t noticed a lot of Zemunski Put change in Savamala. I don’t really know if something is changing in Savamala. In any Karađjorđeva case, there are plenty of problems in this neighborhood…, Olga, 63 years old, Interview Bureau Savamala October 2013 Bus

Sava River Station

Introduction Central Station Many changes—large and small—have taken place in the two years, September 2012 to October 2014, that the research group Bureau Savamala spent studying the Sa- vamala neighborhood. Most recently, in summer 2014 the Serbian prime minister Map of Savamala with Project Area announced that a new city quarter would be built along the Sava River with the sup- 0 50 100 150 m port of an Abu Dhabi investor. Bureau Savamala initiated its work with two guiding Train questions: first of all, are gentrification processes taking place in Savamala? And sec- Project Area ondly, did the efforts of Goethe Institute Belgrade to facilitate positive development through artistic and cultural projects (Urban Incubator Belgrade) spark gentrification processes? A further goal was to encompass research parameters such as the lively nightlife scene, usage changes, graffiti, and freight transport routes. Savamala belongs to the Belgrade district of Savski Venac; other areas in this dis- trict are the wealthy neighborhoods , , and . 1 The perimeter of the Savamala project 85 au Savamala Bu re au

Simple methods and a DIY approach are used when renovating many of the new cafés or bars, like this café on Kraljevića Marka.

Two additional, less-typical transformations: on the southern end of Street, this place now serves Serbian food with grill specialties instead of Chinese fast food, and in the heart of Savamala one no longer finds the winery Mala Toskana (which was there until recently) but instead what appears to be a nationalist café self-consciously named Kafana SFRJ (Socialist Federal Republic of ). 101 au Savamala Bu re au

Graffiti plays an important role in every process of upgrading: on the one hand, it boosts the impression that those who are socially disadvantaged are resist- ing and protesting (NO GOV REAL LIVE Ban Partizan or Gravediggers South), and on the other hand, it can make a space more attractive. In the first case, people perceive graffiti as defacement; it is seen as a visible sign of a place’s squalor and is therefore painted over. In the second case, people even sometimes specifically commis- sion graffiti to make a place more attractive. 117 au Savamala Bu re au

DISLIKE The Coach Station blocks access to the riverfront LIKE Even though this building isn’t pretty, the people who and takes up a lot of space in Savamala. (Jelena) live there are trying to make it better. (Sara)

LIKE I like the graffiti in Savamala. It makes the neighborhood DISLIKE Riverboat graveyard (Jelena) prettier. (Nataša)

LIKE Dear tourists, welcome! (Sanja)

LIKE The Ghost Project: one of the many arts projects in Savamala (Jelena)

DISLIKE This façade needs to be fixed up for both safety and aesthetic reasons. (Nataša) Ivan, 34 years old; Sanja, 29 years old; Nataša, 25 years old; Sara, 8 years old; Jelena, 41 years old Savamale. Zatekli smo neregularnu bazu podataka, razlicite ambicije aktera i 133 people, institutions, and traders to activists involved in the revitalization of Savamala. neresenu vlasnicku strukturu. Svi su znali fragmente celine ali je bilo tesko opisati, i We encountered incomplete databases, stakeholders with varying goals, and cases vizualizovati specificnost Savamale u svoj njenoj kompleksnosti. Izgledala nam je kao a de of unresolved of ownership. All those working on the project had become familiar mesto bogato informacijama ali gde niko nije mogao da ovlada kompletnom slikom. with fragments of the whole, but it was difficult to describe or visualize the unique Savamala nam je delovala neuhvatljivo. r B e lg characteristics of Savamala in all its complexity. The area seemed to be rich in infor- or

at mation, but no one was able to master the complete image. For us, Savamala seemed Model za Savamalu to remain elusive.

Pocetkom 2013, na poziv Goethe Instituta iz Beograda da ucestvujemo u projektu an Incu b Urban Incubator, prepoznali smo jedinstvenu sansu da se nastanimo u Savamaloj A Model for Savamala u rb of i izvedemo jedan istrazivacki projekat veceg obima a u sluzbi boljeg razumevanja In early 2013, at the invitation of the Goethe Institute in Belgrade to participate in s I razotkrivanja ove oblasti. Razmisljajuci u kontekstu buducnsti Savamale verovali the Urban Incubator project, we recognized a unique opportunity to settle in Sava-

smo da je od ključnog značaja da oblast napravimo što transparentnijom. Smatrali j e ctPro mala and conduct a research project on a larger scale with the aim of improving our smo da će detaljan pregled situacije biti velika prednost za razvoj ove oblasti i da za understanding and ability to unpack the area. With the future of the area in mind, buduće planiranje moramo imati što jasnije ideje o tome šta je zapravo ta oblast, od we believe it is crucial that Savamala becomes more transparent. We felt that a de- čega se sastoji, ko su njeni stanovnici, koje su njene aktivnosti, kakvi su interesi koji tailed review of the situation would be a great advantage for the development of the su uključeni i kakvim ambicijama njeni akteri teže. quarter. In order to plan for the future we needed to have a clearer idea of what the quarter is, what it consists of, who its inhabitants are, what its core activities are, what interests are involved, and what the ambitions of local stakeholders are. The idea to create an overview of this quarter through a single comprehensive re- search project had already displaced A Model for Savamala from standard practice in architectural concept design. Instead, we aimed to make the area transparent through a physical 3D model that would display information on the historical, sociological, economic, and political realities of the quarter. The project was divided into two parts, research and production. The first part- in volved work with a group of 25 students who mapped the area, forming a basis for the compilation of a complex database. The project was designed to cover all of 1, 2 3D model of Savamala, presented in November 2013 | Trodimenzionalni model Savamale, Savamala as defined through interviews and discussions with locals. Four thematic predstavljen u novembru 2013. godine workshops were conducted with the aim of defining the concept of A Model for Sava­ Ideja da se sa jednim sveobuhvatnim istrazivackim radom stvori presek stanja ove mala (these were held in KC Grad, at the Mikser Festival Master Class workshop with gradske cetvrti, u startu je distancirala projekat MODEL ZA SAVAMALU od architect, Kaita Shinagawa, at the Camenzind offices and a presentation at Nova uobicajenih standardnih idejnih resenja arhitektonske prakse, već je imo za cilj da Iskra). With this stage completed, the project could, having moved to the pavilion područje napravi transparentnim i putem fizičkog 3D modela, prikaže informacije in the Spanish House in July, progress to the second stage. At this point our team was vezane za istorijske, sociološke, ekonomske i političke činjenice. boosted by the addition of four co-creators—Ana Ugrinić, Daša Spasojević, Predrag Projekat smo programski podelili na dve celine, istrazivacki rad i kasniju produkciju. Milić, and Miloš Kašul Nikolić—young, local architects who had participated in U prvoj celini radili smo sa grupom od 25 studenata koji su mapirali oblast i tako the project workshops. formirali osnovu za kasniju, slozeniju bazu podataka. Projekat je zamisljen tako da The research portion of the project consisted of gathering information both in the obuhvata celu oblast Savamale koju smo definisali kroz razgovore i intervjue na field and from relevant institutions (the Institute for the Protection of Cultural Mikroutopija Treći 141 The Third Belgrade Beograd a de Micro-Utopia za vreme i nakon projekta Urban Incubator r B e lg During and after the Urban Incubator project or at Selman Trtovac Selman Trtovac an an Incu b u rb of

s j e ctPro

Šta je bio Treći Beograd? What was Third Belgrade? Struktura / Umetnička strategija / Politički i društveni kontekst u kome je Structure / Artistic strategy / The political and social context in which Third nastao Treći Beograd Belgrade emerged Slobodna umetnička zadruga Treći Beograd1 je nastala 2009. godine kao ideja o Third Belgrade (Treći Beograd)1, a free artist collective, was founded in 2009 with jednom naročitom mestu, o privatnom ali istovremeno i javnom prostoru umetnosti. the aim of creating a unique space; a simultaneously private and public space for Naknadno je ta ideja dopunjena kolektivnom strategijom grupe umetnika, sa željom art. The idea was subsequently augmented by the collaborative strategy of a group da se definiše mogući model mikroutopije. Ideja mikroutopije je u svojoj suštini of artists with a view to defining a possible model for a micro-utopia. The idea of a predstavljala umetnički rad, društvenu plastiku i otpor opštoj društvenoj hipokriziji, micro-utopia, in essence, represents artistic creation, social elasticity, and resistance vulgarnom obliku liberalnog kapitalizma i dekadentnoj paradigmi pozne postmoderne. to general social hypocrisy, the vulgarity of liberal capitalism, and the decadent Zadruga, kao pojam i kao organizacioni model preuzet je od nekadašnjih paradigm of late postmodernism. socijalističkih, seljačkih zadruga u kojima su seljaci udruživali lične resurse zarad The collective, as a concept and an organizational model, was lifted from former veće efikasnosti. Struktura Slobodne umetničke zadruge Treći Beograd je bila socialist and rural cooperatives in which farmers would pool personal resources to nehijararhijska, odnosno rizomatska. Takva struktura je bila neophodna iz dva achieve increased efficiency. The structure of the Third Belgrade Free Artist Collective razloga: prvo, zato što je zadruga bila sastavljena od izrazitih individualaca koji ne bi was non-hierarchical, or rather rhizomatic. This structure was necessary for two pristali na hijararhijsku strukturu, drugo, što je postojala želja da se u praksi oproba reasons: first, because the collective was composed of distinct individuals who rizomatski oblik umetničkog organizovanja. Takva organizacija je sa jedne strane bila would not agree to a hierarchical structure and, second, because there was a desire utopijska, a sa druge strane najveća slabost zadruge. to attempt a rhizomatic form of artistic organization in practice. On the one hand, Iz opšte ideje Trećeg Beograda i pomenute organizacione strukture se, kroz dijalog such a structure was utopian but, on the other, it was the greatest weakness of the umetnika, razvila i čitava umetnička strategija koja se sastojala od dva elementa. Prvi collective. Stare kafane Savamale 157 Old Kafanas in Savamala a de Nina Todorović / Predrag Terzić Nina Todorović / Predrag Terzić r B e lg or at an an Incu b u rb of

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Naziv kafana označava ugostiteljsku radnju u kojoj se kuva i služi kafa. Reč je preuzeta The term kafana denotes a public house where coffee is prepared and served, literally od Turaka, koji su koristili reč kahvehane što je kovanica arapske reči qahve (kafa) a coffee house. The word is a corruption of the Turkish kahvehane, itself a compound i persijske reči khane (kuća). Za razliku od drugih ugostiteljskih objekata koji su se of the Arabic qahve (coffee) and the Persian khane (house). Unlike other inns and nalazili i van utvrđenih gradova i nudili i prenoćište, kafane su se nalazile isključivo taverns, which were located outside the walls of cities and offered room and board, u gradu i služile su, osim kafe, i hranu i piće. Koncept kafane je bio okupljanje kafanas were located exclusively within the cities themselves and, along with coffee, muškaraca na piću i kafi, i raširen je od strane Otomanske imperije, a široko usvojen also served food and other beverages. The concept of the kafana was a gathering place na prostoru Balkana. Kafana je na ovom podneblju označavala i specifičan način where men could go for a coffee or a drink and, spread by the Ottoman Empire, života; bila je prepuna stereotipa, predstavljala je utočište za nesrećne ljubavnike it was widely adopted throughout the Balkans. In this region the kafana became a koji svoju tugu utapaju u alkoholu, nezadovoljne muževe koji beže od svojih žena, by-word for a certain kind of lifestyle; often full of stereotypes, it was a refuge for kancelariju političara i poslovnih ljudi, za obavljanje raznih, ponekad sumnjivih unfortunate lovers to drown their sorrows, for disgruntled husbands looking to get poslova. Nosila je takođe i hedonistički duh, spori ritam života, sklonost porocima, away from their wives, and it was an office for politicians and businessmen to make, ali je i u kulturnom životu gradova na Balkanu odigrala veoma značajnu ulogu. Prva sometimes shady, deals. Kafana culture represented a hedonistic spirit, a slower pace kafana u Beogradu otvorena je 1552. godine, a u istoriji se kafane ponovo pominju to life, a penchant for vice, but it also played a very important part in the cultural od 1738. godine, i to kao odvojeni ugostiteljski objekti, posebno za muslimane, life of Balkan cities. The first kafana opened in Belgrade in 1552, and they were writ- posebno za hrišćane. Nakon ukaza Miloša Obrenovića 1826, kada se uvodi alkohol ten about again in 1738 as segregated hospitality establishments, with Muslims and i porez na objekte, kafane dobijaju svoj sjaj koji je obeležio Beograd, a naročito Christians each having their own kafanas. Following a decree by Miloš Obrenović in Savamalu (na obali reke Save, arhetipske granice između Austrougarske i Srbije) koja 1826, allowing the sale of alcohol and introducing a property tax, kafanas blossomed tada doživljava potpuni preobražaj i procvat. Prvi put grad se spušta na rečnu obalu, and began to leave their mark on the character of the city. This was especially true in a taj deo grada postaje stecište kulturne elite tadašnjeg Beograda. Savamala which, located on the banks of the Sava, was a quintessential borderland 163

Manakova Kafana (Manak’s Coffee House) Solun (Thessaloniki) Gavrilo Princip 5 Savski Trg

Venecija () Brace Krsmanovic 3 At the corner of Zeleni venac and Brankova

Dobro Jutro (Good Morning) Zlatan Konj (Gold Horse) At the corner of Balkanska and Nemanjina At the corner of Brankova and Pop Lukina 171 ? f utu re

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Governments utilize a variety of resources to compete with other cities worldwide for Instead, another familiar formula for urban economic success will be applied as a way investment, tourism, and riches. The flagship project represents a popular tool in this to boost Belgrade’s economy: a shopping center. It will be the largest in all of the Bal- competition; it seeks to draw attention through so-called star architecture. Whereas kans. What will happen to the lively Belgrade downtown and its many shops? What at the end of the 20th century it was enough to have diverse cultural content like kind of effects will the shopping center have on traffic throughout the region? museums, theatres, and libraries as flagships, the competition between cities intensi- While the Urban Incubator project used subtle interventions to breathe new life into fied in the 21st century to include the building of ever-taller towers. The Burj Khalifa Savamala and engage its residents in participation within their own quarter, the Bel- in Dubai currently tops the list with a height of 828 meters. grade Waterfront shows the opposite kind of city-planning ideology at work—a top- It is not surprising, then, that the Belgrade Waterfront project includes plans for down development strategy that uses international capital and completely excludes construction of a central tower in Savamala. With a height of 180 meters, it is sup- Belgrade’s population. The activist group Ministry of Space has been protesting this posed to serve as a beacon of Belgrade’s future. The tower will house a hotel and gas- project in a broad and creative manner, which has encouraged a public discussion; tronomic, residential, and commercial spaces. However, the plans for the Belgrade they are trying to influence the planning process. However, Savamala’s fate already Waterfront project do not leave room for any cultural spaces, even though Belgrade’s seems sealed. National Museum and the Museum for Contemporary Art in New Belgrade have The following entries analyze the impact of this mammoth project on the future of been closed for years. Savamala and Belgrade through multiple lenses. (PK) Otvoreno pismo 195 Open Letter to the ? građanima Beograda People of Belgrade f utu re

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Mi smo grupa od 50 naučnika i stručnjaka za urbani razvoj i planiranje iz raznih We are a group of 50 international scholars and experts on planning and urban delova sveta, koja je posetila Beograd povodom 24. godišnje konferencije naše development, visiting the city of Belgrade for our 24th annual conference. We have Međunarodne mreže za urbano istraživanje i akciju (INURA). Imamo bogato expertise on waterfront developments in London, Amsterdam, Hamburg, Barcelona, iskustvo u radu na projektima razvoja priobalja u gradovima poput Londona, Boston, New York, Toronto, Vancouver, Hong Kong, Sydney, and Melbourne. Amsterdama, Hamburga, Barselone, Bostona, Njujorka, Toronta, Vankuvera, Hong We are very impressed by the unique qualities of Belgrade, especially the fine-grained Konga, Sidneja i Melburna. and mixed urban spaces that this city provides. Belgrade has a very rich cultural heri- Veoma smo impresionirani jedinstvenim kvalitetima Beograda, a posebno tage and vibrant urban life, produced by its long history at the center of several Euro- kompaktnošću i raznolikošću njegovih gradskih prostora. Veza grada sa vodom pean cultures. The connection of the downtown and the water could be enriched by mogla bi se obogatiti pažljivim razvojem oblasti između centra i reke Save. Jasno nam a careful development of the area between the city center and the Sava River. je da je projekat Beograd na vodi inicijativa koja vodi upravo ka ostvarenju te veze i We understand that the Belgrade Waterfront project is an initiative to make this con- pozdravljamo tu težnju. Međutim, videli smo i proučili planove i osećamo potrebu nection, and we applaud the impulse. We have seen and studied the plans, however, da prenesemo našu ozbiljnu zabrinutost povodom samog predloga projekta. and want to communicate some serious concerns about the current proposal.

Ekonomski rizici su veliki, a dobit za Beograd mala The economic risks are high and financial gains to Belgrade are low Beograd na vodi, kako je trenutno osmišljen, nosi izuzetno visoke rizike. Pre svega, Belgrade on the Water as currently framed carries very high risks. Megaprojects are mega projekti su uvek osetljivi na fluktuacije tržišta. Poveravanje čitavog projekta always vulnerable to market fluctuations. Giving the entire project to a single inves- jednom investitoru samo povećava taj rizik: ukoliko kompanija postane finansijski tor increases the risk: if the company becomes financially unviable, or shifts focus to neodrživa, Beogradu će ostati nedovršeni razvoj na ovoj centralnoj lokaciji. another project, Belgrade will have an unfinished development on this prime site. At Uključivanjem većeg broja investitora mogao bi se barem ublažiti ovaj rizik. the very least, ensuring diversity of developers can mitigate these possibilities. I sama očekivanja u vezi sa potencijalnim investitorom Eagle Hills su nerealna. The expectations of and for this investor are unrealistic. The proposal envisages 200 Predlog projekta predviđa izgradnju dvesta novih zgrada, ali je ekonomski kontekst new buildings, but the global economic context is such that only what is referred takav da samo oni objekti koji spadaju u tzv. „prvu A fazu“ projekta imaju izgleda to as “the first A phase” of the project is likely to be constructed: two apartment da eventualno budu izgrađeni: dve stambene zgrade, dva hotela, kula-oblakoder i buildings, two hotels, a high-rise tower, and the “largest shopping mall in the Bal- „najveći tržni centar na Balkanu”. Ovakav pristup ne može biti opravdan sve dok kans”. The prospect of these structures standing unsold and isolated on a cleared site, Biographies 203 Institute and is secretary of the International Network for Urban Research and Ac- tion INURA. He teaches at the chair of sociology in architecture ETH Zurich and the department of Geography, University of Zurich. ap hies

B io g r Jürgen Krusche is a cultural studies scholar, an artist, and a curator. In addition to freelancing for curatorial and artistic projects, he has been teaching, researching, and publishing since 2001 at Zurich University of the Arts. His primary area of research involves neo-liberal city politics and their effect on public space, viewed through an inter-culturally comparative lens. Between 2007 and 2011, he led the research proj- ect Taking to the Streets at the Department of Architecture of the ETH Zurich. Since 2011, he has been responsible for the research focus Public City at the Institute for Contemporary Art Research.

Ivan Kucina is an assistant professor at the School of Architecture, , and a guest professor at Parsons The New School for Design, New York, Dessau International School of Architecture, and Polis University, Tirana. His re- search is focused on the informal building strategies and participatory processes of urban transformation of the post-socialist cities. He is a practicing architect and runs an interdisciplinary architectural and design practice together with architect Vladimir Dulović is a historian. He graduated at Belgrade’s Faculty of Philosophy Nenad Katić, with projects that range from urban design to residential buildings and got his MA degree at CEU, Budapest. He is a researcher for the “New and and exhibitions. Ambiguous Nation-building in South-eastern Europe” project, which has resulted in several publications such as The Ambiguous Nation: Case Studies from Southeastern Rastko Novaković is a filmmaker, housing activist, and trade unionist based in Lon- Europe in the 20th Century (Munich: Oldenbourg Verlag, 2013). He is the author of don. He holds a degree in Contemporary Media Practice from the University of several guidebooks (Serbia, , Slovenia, Belgrade). He is also an associate Westminster and an MA in Research Architecture from Goldsmiths College. He is at the Tačka komunikacije organisation, through which he works on projects such currently touring his latest film Concrete Heart Land about the notorious “regenera- as Soundmap of Belgrade (www.zvucnamapabeograda.rs), Walk of the Century tion” scheme of London’s Heygate estate (www.concreteheartland.info). He is active (http://setnjaveka.rs), and Architecture for Neighbors. in a number of community groups fighting for the right to housing and the city. www.rastko.co.uk Axel Humpert studied architecture at TU Graz and ETH Zurich. He is a board member of Camenzind and partner at BHSF architects. From 2004 to 2007, he Leila Peacock is a an artist, writer, and editor from Great Britain. Her work focuses worked for Meili, Peter architects in Zurich. Besides his practical work, he regularly on the space between writing and drawing. Her essays have been published in The teaches or acts as a guest critic. White Review, The Junket, and The Bulletin of The Serving Library. She lives and works in Zurich. Philipp Klaus is a social and economic geographer. His research focuses on the role of culture, arts, and creative industries in the competition among cities and the Ljubica Slavković has graduated at Belgrade’s Faculty of Architecture, University impacts of cultural strategies on urban development. He runs the INURA Zurich of Belgrade. Besides her architectural practice, her main interest lies in the fields of urban-cultural discourse, public spaces and the city-development, and the contem- 205 art projects in Serbia and abroad. Winner of several awards, her works are present in porary architectural and urban planning theory and practice. She has published more museums and collections in Serbia and beyond. than 100 articles for various local and international magazines and has been awarded www.ninatodorovic.com / www.architectureofmemory.com / by the 36th Annual Serbian Salon of Architecture in the category of Architectural ap hies www.ninatodorovic.blogspot.com

Criticism. She is a co-editor of Kamenzind magazine, a board member of Urban B io g r Incubator, an architect and an editor at the Center for Cultural Decontamination in Selman Trtovac studied from 1990 until 1993 at the Faculty of Fine Arts Belgrade in Belgrade. the department of painting. In 1993, he moved to Kunstakademie Düsseldorf, in the https://www.clippings.me/ljubicaslavkovic art class of Professor Klaus Rinke, department of sculpture, where he was declared a Master of Art. Membership in IKG—the International Arts committee in 2003. He Boba Stanić is an architect based in Amsterdam. Having finished his studies in Inte- was also initiator and co-founder of Independent Artistic Association Third Belgrade rior Architecture at the University of Belgrade, he moved to the Netherlands where and Research Station for contemporary Arts Perpetuum Mobile. In 2012, he was he gained his Architectural Masters degree at the Academie van Bouwkunst in Arn- awarded Doctor of Fine Arts at the Art Academy in Belgrade. He lives and works in hem. His final year project, “The Lotus Project”, was selected as one of the ten best Belgrade. European sustainable projects by Cité de l’Architecture et du Patrimoine in Paris, and www.selmantrtovac.com in 2009 was nominated for Archiprix International held in Montevideo. He worked at Claus en Kaan Architecten and Concrete Architectural Associates, both in Amster- Dobrica Veselinović is a member of the Ministry of Space collective from Belgrade. dam. Since 2010 he has run his own office for Architecture—Boba Stanić Architect He studied political science at Belgrade University and attended a large number of is based in Amsterdam and it participates in fields of architecture and interior design summer schools (i.e. Green academy, Vis Croatia 2011 and 2012, University of Social in both national and international projects. His work was exhibited at the Venice democracy 2009 and 2010), seminars, and debates at home and abroad, and held the Architecture Biennale in 2008, CITE Paris, Conseil Economique et Social Européen same number of lectures and presentations. Areas of interest include political theory, in Brussels, and Virserum Art Museum in Sweden. ecology, and urban development issues.

Predrag Terzić graduated from the Belgrade Faculty of Fine Arts, Department of Maja Popović Vračar is an architect, educated at the Academy of Applied Arts in Painting in 2000, Professor Čedomir Vasić’s class and gained a Master’s degree at the Utrecht and the Academy of Architecture in Amsterdam. She is interested in socio- same class (2003). In 2001, he became a member of the Association of Fine Artists political processes and their influence on the built environment within historical of Serbia (ULUS). He obtained his PhD in the Interdisciplinary Studies of Theory city quarters and heritage sites. She acts through the fields of scientific and artistic of Art and Media, under the mentorship of Professor Divna Vuksanović, PhD, at the research, cultural and community activism, and curation. She is a member of a re- University of Arts, Belgrade. He has had 15 solo exhibitions and participated in more search platform, Failed Architecture Amsterdam, and the Urban Incubator Belgrade than 30 group exhibitions in Belgrade and abroad. initiative. She lives in Copenhagen. www.predragterzic.com

Nina Todorović graduated in 1999 from the Faculty of Fine Arts, Department of Painting, class of Professor Čedomir Vasić, and continued her post-graduate studies in the same class. In 2000, she became a member of the Serbian Association of Artists as a freelancer, and in 2002 she attained her Master’s Degree. In 2014 she obtained her PhD in Art (Mentor Professor Mileta Prodanović, PhD). Since 1995 she has had 37 solo shows and participated in more than 190 group shows and numerous