‘Belgrade, a city of multiple interrupted identities, separated from its essence during the 1990s, turning into a large Serbian small town (palanka). But the dreams of Belgrade that once were, the dreams of the great metropolis (from the time of the Non-aligned Movement, utopian dreams about the future world of a community of equals, but also the time of the exciting BITEF, midnight FEST, students’ festivals.) – The dream of Belgrade as a regional cultural center and a place of intercultural dialogue of southern Slavic cultures – never ceased to live. We sometimes called it nostalgia; sometimes megalomania, sometimes futile effort, but all these words have essentially been way off the mark. In spite of everything – politics, the exodus of the youth, embargo, and misery – Belgrade has remained a multi-cultural, exciting city, a city in which different generations and different cultural models live together, albeit with different experiences. In this sense, Kalemegdan is a paradigm of the open city space full of memories, in which every generation, every social group finds its own mode of communication and “utilization” of signs, ramparts, buildings, walkways, monuments.’

Milena Dragicevic Sesic


‘I thought that it was strange to assume that it was abnormal for anyone to be forever asking questions about the nature of the universe, about what the human condition reaaly was, my condition, what I was doing here, if there was really something to do. It seemed to me on the contrary that it was abnormal for people not to think about it, for them to allow themselves to live, as it were, unconsciously. Perhaps it’s because everyone, all the others, are convinced in some unformulated, irrational way that one day everything will be made clear. Perhaps there will be a morning of grace for humanity. Perhaps there will be a morning of grace for me.’


‘No society has been able to abolish human sadness, no political system can deliver us from the pain of living, from our fear of death, our thirst for the absolute. It is the human condition that directs the social condition, not vice versa.’


Eugène Ionesco (born Eugen Ionescu, Romanian: [e.uˈd͡ʒen i.oˈnesku]; 26 November 1909 – 28 March 1994)





adel abdessemed: le vase abominable

david zwirner gallery london
on from 22nd of february  through to march 30th, 2013

click here for more information; source designboom.com

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Photos: Ole Brodersen

One of the most beautiful architectural monuments of Belgrade, the building of “Belgrade Cooperative” is still waiting to be reconstructed. The building was declared a cultural monument and protected by law. It’s located in “Karadjordjeva” Street, which will be restored in the entire reconstruction of the former Savamala area, as well as the construction of a future project named “Belgrade on the River.” Building of the “Belgrade Cooperative” was built between the 1905 -1907.

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In his essay, Simone Pizzagalli says: “void contains in itself all the potential of the space, all the relation not written and experienced. [..] Void is the place of tension of something that will be, a space in power, but also the only place where the recollection of reality, the composition of the parts, fragments, of life can happen.”

Urban and architectural decay often appeals to the imagination. While some consider the unfinished parts of the city as ugly or disturbing, others feel they make an area more interesting than the picture perfect urban fabric. The city’s scars are stimuli for the mind. They raise questions, about memories and imaginations of a foregone past, and of potential futures. They visualize the passage of time and the inevitability of collapse. On a smaller level, they show traces of faded lives, moved communities and shrunken economies. The voids provide space for the observer to interpret the them as he likes, to fill them with imaginations and meanings.
Decay provokes thoughts and actions and is the creative inspiration for many artists and writers.

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another something and company


We are Anothersomething.
We write for a selective audience about selective topics.
About something we like, something we love.
About quality and handcrafted goods.
About the beauty of small businesses and people with interesting stories.
About new creativity around the world and awarded creativity we want to share.

We value tradition and at the same time embrace progression.
We are positive. But also selective.

We don’t fall for just anything.
We are attracted to the quality, aesthetic and sophistication of something.
A unique, incomparable and extraordinary something.

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Bernard Tschumi
New York and Paris

Bernard Tschumi is widely recognized as one of today’s foremost architects. First known as a theorist, he drew attention to his innovative architectural practice in 1983 when he won the prestigious competition for the Parc de La Villette, a 125-acre cultural park based on activities as much as nature. The intertwiningconcepts of “event” and “movement” in architecture are supported by Tschumi’s belief that architecture is the most important innovation of our time. Tschumi often references other disciplines in his work, such as literature and film, proving that architecture must participate in culture’s polemics and question its foundations.

Since then, he has made a reputation for groundbreaking designs that include the new Acropolis Museum; Le Fresnoy National Studio for the Contemporary Arts; the Vacheron-Constantin Headquarters; The Richard E. Lindner Athletics Center at the University of Cincinnati; two concert halls in Rouen and Limoges, and architecture schools in Marne-la-Vallée, France and Miami, Florida, as well as the Alésia Archaeological Center and Museum among other projects. The office’s versatility extends to infrastructure projects and master plans. Major urban design projects recently executed or in implementation under Tschumi’s leadership include master plans in Beijing, Shenzhen, New York, Montreal, Chartres, Lausanne, and Santo Domingo, with a new city for 40,000 residents. Currently under construction are the Hague Passage and Hotel in the Netherlands, a Philharmonic Hall for Le Rosey, near Geneva, an expansion of the headquarters for Vacheron Constantin, and a major renovation and redesign of the Paris Zoo.

Tschumi was awarded France’s Grand Prix National d’Architecture in 1996 as well as numerous awards from the American Institute of Architects and the National Endowment for the Arts. He is a member of the College of Fellows of the American Institute of Architects. He is also an international fellow of the Royal Institute of British Architects in England and a member of the Collège International de Philosophie and the Académie d’Architecture in France, where he has been the recipient of distinguished honors that include the rank of Officer in both the Légion d’Honneur and the Ordre des Arts et des Lettres. Tschumi’s Acropolis Museum was honored as a finalist for European Union Prize for Contemporary Architecture in 2011, and an Honor Award from the AIA the same year.

The many books devoted to Tschumi’s writings and architectural practice include a comprehensive monograph, titled Architecture Concepts: Red is Not a Color, narrates Tschumi’s career in work and ideas since the 1970s and was published by Rizzoli in 2012, the four-part Event-Cities series (MIT Press, 1994, 2000, 2005, and 2010); The Manhattan Transcripts (Academy Editions and St. Martin’s Press, 1981 and 1994); Architecture and Disjunction (MIT Press, 1994); and the monograph Tschumi (Universe/Thames and Hudson, English version, and Skira, Italian version, 2003). A series of conversations with the architect has been published by The Monacelli Press under the title Tschumi on Architecture (2006). Other recent publications include a French and English language biography on Tschumi by Gilles de Bure and The New Acropolis Museum, published by Skira / Rizzoli.

A graduate of the Swiss Federal Institute of Technology (ETH) in Zurich, Tschumi has taught architecture at a range of institutions including the Architectural Association in London, Princeton University, and The Cooper Union in New York. He was dean of the Graduate School of Architecture, Planning and Preservation at Columbia University from 1988 to 2003 and is currently a professor in the Graduate School of Architecture. Tschumi is a permanent resident of the United States and has French and Swiss citizenship.

Tschumi’s work has been exhibited in solo shows at The Museum of Modern Art in New York, the Venice Architecture Biennale, the Netherlands Architecture Institute in Rotterdam, the Pompidou Center in Paris, as well as other museums and art galleries in the United States and Europe.


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