Utopijski laboratorij Ilica by Faculty of Architecture Zagreb

UTOPIAN LABORATORY ILICA

Utopijski laboratorij Ilica

Utopian Laboratory Ilica

Utopijski laboratorij Ilica Uredile / Edited by: Jana Čulek & Mia Roth-Čerina

Utopijski laboratorij Ilica

Utopijski laboratorij Ilica Utopian Laboratory Ilica

Urednice / Editors Jana Čulek & Mia Roth-Čerina Nakladnik / Publisher Arhitektonski fakultet Sveučilišta u Zagrebu Faculty of Architecture, University of Zagreb Za nakladnika / For the Publisher Siniša Justić, dekan / dean Dizajn / Design Studio Turist d.o.o. Recenzenti / Reviewers Petar Mišković Ivica Mitrović Lektura / Proofreading Maja Trinajstić Prijevod tekstova / Translation Jana Čulek & Mia Roth-Čerina Redaktura engleskog prijevoda / Editing of the English translation Iva Masters Tisak / Press Kerschoffset Naklada / Print run 200 Impressum

Utopian Laboratory Ilica

eISBN 978-953-8585-09-8 ISBN 978-953-8585-13-5

CIP zapis je dostupan u nacionalnom skupnom katalogu knjižničnog sustava Bukinet (katalog.bukinet.hr) pod brojem 991006058941509366.

/ The CIP record is available in the national union catalog of the Bukinet library system (katalog.bukinet.hr) under the number 991006058941509366.

Istraživanje i tisak financirani su iz / The research and publication were istraživačkog projekta EDUTOPIA – funded through the research project Utopia as Educational Practice EDUTOPIA – Utopia as Educational in Architecture: New Methods for Practice in Architecture: New Methods Envisioning Transformational Change, for Envisioning Transformational Change, u sklopu DIGIT Seal of Excellence under within the DIGIT Seal of Excellence under the Synergies Program (DIGIT 2.2.01.001). the Synergies Program (DIGIT 2.2.01.001). Dvojezična objava i oblikovanje financirani su iz fakultetskih potpora osiguranih otvorenim pozivom iz sredstava Programskog ugovora za izvedbenu komponentu izdavačke djelatnosti. Impressum

/ Bilingual publication and design were financed from faculty grants provided through an open call from the Program Agreement fund for the implementation component of the publishing activity.

Utopijski laboratorij Ilica

Autori radova su studenti / Authors of the projects are students: Paula Budija, Sara Bukvić, Helena Čačić, Antonio Drandić, Laura Grancarić, Ria Ivandić, Zino Marković-Juričak, Marija Matozan, Mia Mezić, Tea Pintar, Anja Pisačić, Leon Antun Slivar, Ema Šibila, Patrik Štefiček. Radovi su nastali u okviru kolegija Istraživanja, seminari, projekti: Arhitektura u ak.god.2025/2026 pod mentorstvom Jane Čulek i Mie RothČerine.

/ The works were created as part of the course Research, seminars, projects: Architecture in the academic year 2025/2026 under the mentorship of Jana Čulek and Mia Roth-Čerina.

Publikaciju je za objavu prihvatilo Povjerenstvo za nakladničku djelatnost Arhitektonskog fakulteta Sveučilišta u Zagrebu na sjednici održanoj 15. srpnja 2026.

/ The publication was accepted for release by the Publishing Committee of the Faculty of Architecture, University of Zagreb, at a meeting held on July 15, 2026.

Utopian Laboratory Ilica

Kolegij Utopijski laboratorij Ilica razvijen je u sklopu istraživačkog projekta EDUTOPIA – Utopia as Educational Practice in Architecture: New Methods for Envisioning Transformational Change. EDUTOPIA predstvlja postdoktorski projekt nasl. doc. dr. sc. Jane Čulek koji se odvija na Arhitektonskom fakultetu Sveučilišta u Zagrebu pod vodstvom prof. dr. sc. Mije Roth Čerine i u suradnji s Deltalab centrom za urbanu tranziciju, arhitekturu i urbanizam Sveučilišta u Rijeci i Urbanex-om. Projekt je u cijelosti financiran putem DIGIT Seal of Excellence under the Synergies Program (DIGIT 2.2.01.001) Ministarstva znanosti, obrazovanja i mladih te Svjetske banke.

Impressum

/ The Utopian Laboratory Ilica course was developed as part of the research project EDUTOPIA – Utopia as Educational Practice in Architecture: New Methods for Envisioning Transformational Change. EDUTOPIA is a postdoctoral project led by Assistant Professor Jana Čulek, PhD, at the Faculty of Architecture, University of Zagreb, under the supervision of Professor Mia Roth-Čerina, PhD, and in collaboration with the Deltalab Center for Urban Transition, Architecture and Urbanism (University of Rijeka) and Urbanex. The project is fully funded through the DIGIT Seal of Excellence under the Synergies Program (DIGIT 2.2.01.001) by the Ministry of Science, Education and Youth and the World Bank.

Utopijski laboratorij Ilica

Utopijski laboratorij Ilica – Prvi koraci u razvoju novih metodoloških pristupa / Utopian Laboratory Ilica – First Steps in Developing New Methodological Approaches

Projektivno obrazovanje: Studio kao laboratorij mogućeg / Projective Education: The Studio as a Laboratory of the Possible

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Razvoj utopijske pedagogije / Developing Utopian Pedagogy

Projekt Ilica: prostor kao infrastruktura odnosa / Project Ilica: Space as an Infrastructure of Relations

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Eksperiment od početka do kraja / Experiment from Start to Finish

Okviri Utopijskog laboratorija Ilica / The Framework of Utopian Laboratory Ilica

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sadržaj

Utopian Laboratory Ilica

Stanište / Habitat

Procesi / Processes

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Briga / Care

Sustavi / Systems

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Bilješke / Endnotes

Bibliografija / Bibliography

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contents

Utopijski laboratorij Ilica

Utopian Laboratory Ilica

Utopijski laboratorij Ilica

Utopijski laboratorij Ilica, čiji su rezultati predstavljeni u ovoj publikaciji, odvio se tijekom zimskog semestra akademske godine 2025./2026. na Arhitektonskom fakultetu u Zagrebu. Razvijen je u sklopu šireg kolegija Istraživanja, seminari, projekti: Arhitektura, koji predstavlja otvoreni tip formata kolegija unutar kojeg nastavnici fakulteta svake akademske godine imaju mogućnosti razviti novi niz zadataka i tema te koje studenti izabiru prema vlastitim interesima i sklonostima. Utopijski laboratorij Ilica također predstavlja prvu iteraciju eksperimenata u arhitektonskoj i prostornoj edukaciji osmišljenih u kontekstu istraživačkog projekta EDUTOPIA – Utopia as Educational Practice in Architecture: Utopijski New Methods for Envisioning Transformational laboratorij Ilica Change. Kao širi istraživački okvir, EDUTOPIA dovodi u fokus diskurzivni aspekt arhitekture – Prvi koraci u i njezin potencijal za adresiranje prostornih i razvoju novih društvenih pitanja današnjice, kroz aktivaciju metodoloških eksperimentalne, umjetničke, interdisciplinarpristupa ne i utopijske strane arhitektonske discipline. Polazeći od ideje utopije kao kritičke metode te situirajući se u obrazovni kontekst, projekt ima dva paralelna i povezana cilja. S jedne strane, on istražuje načine kojima utopijsko promišljanje može informirati samu strukturu arhitektonskog i prostornog obrazovanja, dok istodobno ima za cilj razviti konkretne alate i pristupe za podučavanje studenata aktivnom korištenju utopije kao kritičke metode za promišljanje postojećih i zamišljanje novih društveno-prostornih narativa unutar vlastite discipline. Umjesto da utopiji pristupamo kao idealiziranom modelu udaljene budućnosti, ovdje ju promatramo kao metodološki okvir unutar kojeg studenti uče spekulirati, pripovijedati 14 ◗

Utopian Laboratory Ilica

The design studio Utopian Laboratory Ilica, the results of which are presented within this publication, took place during the winter semester of the academic year 2025/2026 at the Faculty of Architecture in Zagreb. The studio was developed as part of the overarching course Research, seminars, projects: Architecture (Istraživanja, seminari, projekti: Arhitektura) in which the faculty staff have the opportunity to develop new series of topics and assignments from which students can choose based on their own interests and preferences. Utopian Laboratory Ilica also represents the first iteration of experiments in architectural and spatial education designed in the context of the EDUTOPIA – Utopia as Educational Practice in Architecture: New MethUtopian ods for Envisioning Transformational Change Laboratory Ilica research project. As a broader research frame– First Steps in work, EDUTOPIA brings into focus the dis- Developing New cursive aspect of the architectural discipline Methodological and its potential to address social and spatial Approaches issues of today through activating the experimental, artistic, interdisciplinary, and utopian side of the discipline. Starting from the concept of utopia as a critical method, and situating itself within the context of spatial education, the project has two parallel and interconnected goals. It explores ways in which utopian thinking can inform the structure of architectural and spatial education, while simultaneously developing specific tools and approaches for teaching students to actively employ utopia as a critical method for rethinking the existing, and imagining new socio-spatial narratives within their own disciplines. Instead of approaching utopia as an idealized model 15 of a distant future, we explore it as a methodological en

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Utopijski laboratorij Ilica

i kritički promišljati društveno-prostorne uvijete u kojima se nalaze ili s kojima su suočeni. Glavno pitanje stoga nije kako studente naučiti projektirati idealni grad budućnosti, nego kako studentima predstaviti i prenijeti metode pomoću kojih će moći zamišljati i razvijati kritičke spekulativne narative alternativnih stvarnosti koji nadilaze i ono očito i ono vjerojatno, ali pritom ostaju povezane s kontekstima iz kojih proizlaze. Osmišljavanjem i testiranjem novih metoda i pristupa za projektne studije projekt razvija nove generacije arhitekata i urbanista sposobne za transverzalno razmišljanje i problematiziranje prostora te ih oprema za suočavanje sa suvremenim izazovima unutar globalnog okruženja. Metode – koje kombiniraju pristupe i uvide iz arhitekture i urbanizma s onima iz drugih kreativnih polja i društvenih znanosti – razvijaju se, podučavaju i testiraju na različitim razinama arhitektonskog i prostornog obrazovanja. Novo razvijene metode studente uče kako problematizirati današnji kontekst i ponuditi nove uvide u najvažnija okolišna i društvena pitanja, potičući intersekcijsko, holističko i interdisciplinarno razumijevanje (ne)izgrađenog okoliša koje ima za cilj uključiti i osnažiti različite aktere i glasove u razgovorima o našim globalnim budućnostima. Cjelokupni istraživački proces projekta EDUTOPIA te njegovi rezultati sustavno se prikupljaju, analiziraju i dijele s ciljem poticanja šire rasprave o potrebnom razvoju arhitektonske akademske zajednice i suvremenih prostornih praksi. Time potičemo buduće arhitekte, urbaniste i druge dionike u prostoru na širenju vidika dalje od samog procesa gradnje, prema zamišljanju i osiguravanju pozitivnih dugoročnih promjena, evidentnih ne samo na prostornoj nego i na široj društvenoj i kulturnoj razini. Utopijski laboratorij Ilica, kao prva iteracija EDUTOPIA projekta, bio je usredotočen na eksperimentalni i diskurzivni potencijal arhitekture, gdje su se kroz format istraživačko-projektnog studija razvijali i testirali utopijski scenariji za djelovanje u kompleksnim i slojevitim kontekstima današnjice – ovoga puta konkretno na prostoru zagrebačke Ilice. Publikacija Utopijskog labo16 ◗

Utopijski laboratorij Ilica — prvi koraci u razvoju novih metodoloških pristupa

Utopian Laboratory Ilica

framework within which students learn how to speculate, narrate, and critically examine the socio-spatial conditions which they inhabit or are confronted with. The main focus is therefore not one of teaching students how to design ideal cities of the future, but one of introducing and conveying methods that enable them to imagine and develop critical speculative narratives of alternate realities that go beyond what is obvious and probable, while remaining grounded to the contexts from which they emerge. By devising and testing new methods and approaches for design studios, the project fosters a new generation of architects and urban planners capable of transversal thinking and the critical interrogation of space, equipping them with the tools to address contemporary challenges within a global context. These methods – which combine approaches and insights from architecture and urbanism with those from other creative and humanities fields – are developed, taught, and tested across various levels of architectural and spatial education. The newly developed methods teach students to problematize the contemporary context and offer novel insight into the most pertinent environmental and social issues, fostering an intersectional, holistic, and interdisciplinary understanding of the (un)built environment that aims to include and empower diverse actors and voices into the conversations about our global futures. The entire research process of the EDUTOPIA project, as well as its results, are systematically collected, analyzed, and shared to foster a broader discussion on the necessary development of the architectural academic community and contemporary spatial practices. In doing so, the project encourages future architects, urban planners, and other spatial stakeholders to broaden their horizons beyond the process of building and construction, towards envisioning and ensuring positive long-term effects that are evident not only at the spatial level, but also at a broader social and cultural level. Utopian Laboratory Ilica, as the first iteration of the 17 EDUTOPIA project, focused on the experimental and disUtopian Laboratory Ilica — first steps in developing new methodological approaches

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ratorija Ilica stoga predstavlja seriju novih spekulativnih scenarija koji su Ilicu čitali kao prostor između mogućega i nemogućega. Koristeći utopiju kao kritičku metodu, studenti su u četiri teme – staništa, brigu, procese i sustave – promišljali potencijalne budućnosti ovoga gradskog prostora, osvrćući se pritom na suvremene klimatske, društvene i političke izazove. Tijekom semestra Ilica je tako postala laboratorij za testiranje arhitekture kao diskurzivne i spekulativne prakse. Umjesto nostalgičnog pogleda na izgubljene aktivnosti uličnih prizemlja ili stvaranja brzih rješenja urbane regeneracije, studenti su postojeće stanje uzeli kao polazište za kritičko čitanje i imaginaciju alternativnih budućnosti. Polazeći od utopije shvaćene ne kao idealizirane slike svijeta, nego kao metode istovremenog osvrta na trenutačno stanje te projekcije njegove potencijalne alternative, projekti su istraživali međuodnose prostornih i društvenih formi kroz različita mjerila – od pojedinca i neposrednog okruženja, preko zajednica i institucija, do grada kao cjeline. U kolektivnim crtežima, dijagramima i tekstovima studenti su razvili narativno-vizualne scenarije mogućih razvoja Ilice koji istovremeno propituju sadašnjost i predlažu nove budućnosti u različitim oblicima suživota ljudi i drugih bića unutar kompleksnoga gradskog prostora. Ova publikacija donosi rezultate tog procesa: Ilicu kakva jest i kakva bi tek mogla postati.

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Utopijski laboratorij Ilica — prvi koraci u razvoju novih metodoloških pristupa

Utopian Laboratory Ilica

cursive potential of architecture in which research-by-design methods were used to develop and test utopian scenarios for intervening in the complex and layered contemporary context – in this instance specifically – in the context of Zagreb’s Ilica street. The publication resulting from the Utopian Laboratory Ilica thus presents a series of new speculative scenarios which read Ilica as a space between the possible and the impossible. Employing utopia as a critical method, students worked through four themes – habitat, care, process, and system – imagining the potential futures of this urban space, while reflecting on contemporary climatic, social, and political challenges. Over the course of the semester, Ilica became a laboratory for testing architecture as a discursive and speculative practice. Rather than taking a nostalgic view of the street-level activities that have been lost or seeking quick-fix urban regeneration solutions, students used the existing conditions as a starting point for a critical reading and the imagining of alternative futures. Approaching utopia not as an idealized image of the world, but as a method for simultaneously examining the current condition and projecting possible alternatives, the projects explored the interrelations between spatial and social forms across various scales: from the individual and their immediate surroundings, through communities and institutions, to the city as a whole. Through collective drawings, diagrams, and texts, students developed narrative-visual scenarios for alternative developments of Ilica. These scenarios simultaneously question the present context and propose new futures which are based on various forms of coexistence between humans and other beings within the complex urban space. This publication brings the results of this process: Ilica as it is, and as it might yet become.

19 Utopian Laboratory Ilica — first steps in developing new methodological approaches

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mia roth-čerina

Arhitektonsko obrazovanje, kao i arhitektura, po svojoj je prirodi projektivno: u projektima komunicira buduće izraze kulture i vremena. Da bi odgojilo sposobnost takve imaginacije, seže izvan prijenosa vještina i znanja potrebnih za postojeću praksu te projicira arhitektonsku disciplinu i društvo za koje nova lica prakse tek trebaju nastati. Pitanja obrazovanja za buduće uloge arhitekata stoga su istodobno i pitanja imaginacije. Kako obrazovati za budućnost koju još ne možemo precizno opisati? Kako pripremiti za djelovanje u uvjetima neizvjesnosti, u kojima problemi nemaju jednoznačne granice ili predvidive razvoje, a arhitektura nije autonomna, nego je dio složenih ekoloških, ekonomskih, političkih, tehnoloških i društvenih sustava? FundamentalProjektivno na znanja se podrazumijevaju. No kako razviti agilnost djelovanja, prilagodljivost, znatiželju, obrazovanje: empatiju, izdržljivost i sposobnost koreliranja s Studio kao drugim disciplinama? Arhitekte koji prepoznaju, laboratorij moderiraju, povezuju i materijaliziraju odnose mogućeg između ljudi, drugih vrsta, institucija, tehnologija, resursa i materijalnih tokova? Upravo zato obrazovanje arhitekata mora sačuvati prostor za slobodno istraživanje onoga što (još) nema neposrednu primjenu: eksperiment, spekulaciju, fikciju i utopiju. Njihova vrijednost nije u bijegu od stvarnosti, nego upravo suprotno: u mogućnosti njezina preciznijeg čitanja kroz privremeno odmicanje od onoga što prihvaćamo kao nepromjenjivo. Spekulativni studio može postavljati pitanja koja praksa, ograničena rokovima, propisima, sredstvima i očekivanjem izvedivoga, teško može otvoriti. Očekivani rezultat takvog studija nije odgovor. Cilj je nova formulacija problema, otkrivanje odnosa koji prije nisu bili vidljivi, ili scenariji 22 ◗

Utopian Laboratory Ilica

Architectural education, like architecture, is projective by its very nature: through projects, it communicates future expressions of culture and epoch. To cultivate the capacity for such imagination, it reaches beyond the transferral of skills and knowledge necessary for existing practice and projects the architect, the discipline, and the society for which new forms of practice have yet to emerge. Questions of education for the future roles of architects are therefore also questions of imagination. How to educate for a future that we cannot yet precisely describe? How to prepare to act under uncertain conditions, in which problems have neither ambiguous boundaries nor predictable developments, and architecture is not autonomous, but part of complex ecological, economic, political, Projective technological, and social systems? FundamenEducation: tal knowledge is taken for granted. But how to The Studio as a develop agility of action, adaptability, curiLaboratory of osity, empathy, resilience, and the capacity to the Possible correlate with other disciplines? Architects who recognize, moderate, connect, and materialize relationships between people, other species, institutions, technologies, resources, and material flows? It is precisely for this reason that architectural education must leave space for the free exploration of that which does not (yet) have an immediate application: experiment, speculation, fiction, and utopia. Their value does not lie in escaping reality, but indeed the opposite: in the possibility of reading it more accurately by temporarily distancing ourselves from what we accept as indisputable. The speculative studio can pose ques23 tions that practice – constrained by deadlines, regulaen

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Utopijski laboratorij Ilica

koji nam omogućuju da sadašnjost gledamo iz perspektive neke moguće budućnosti. U tom smislu utopija, široko shvaćena, opstaje kao relevantan arhitektonski i pedagoški alat. Utopijski projekti stoljećima su proizvodili slike svjetova kao rezultate radikalnog preispitivanje postojećih prostornih i društvenih odnosa. Njihov značaj nije nužno u ostvarivosti predloženog svijeta, nego u razlici koju uspostavljaju prema postojećem. Utopija može učiniti vidljivim ono što sadašnjost prikazuje kao prirodno, neizbježno ili trajno i otvoriti mogućnost da bude drugačije. Utopijski laboratorij Ilica polazi upravo od takvog razumijevanja utopije, gdje njezin smisao nije u idealiziranoj slici svijeta, već njezinoj instrumentalizaciji kao kritičke metode. Utopija ovdje nastaje iz stvarnog konteksta, kritički se odnosi prema njegovoj prošlosti i sadašnjosti te iz njih razvija spekulativnu alternativnu budućnost. Obitava između mogućega i nemogućega, povezuje prostorne i društvene forme u koherentne, ali otvorene scenarije. Ilica je za takav eksperiment bila posebno produktivan prostor. Više od 5,6 kilometara duga ulica koja povezuje središte Zagreba s njegovim zapadnim predgrađima, na svom putu presijecajući izrazito različite urbane situacije: donjogradske blokove, trgove i parkove, željezničku infrastrukturu, početke obronaka Medvednice, nekadašnje industrijske prostore i različite oblike stanovanja. Razmatranje tog prostora oslanja se na nedavne umjetničke i istraživačke projekte fokusirane prije svega na propadanje njezine svakodnevice: obrta, izloga, razmjene. Međutim, u ovom se slučaju te opservacije i intervencije uzimaju tek kao polazište za spekulaciju i problematizaciju mogućih isprepletanja viševrsnih stanovnika i tehnologije, optimizma u (i unatoč) propadanju, novih iskustava grada i njegovih materijalnih i nematerijalnih tokova. Očekivanje takvih rezultata transformiraju i sam projektantski zadatak. Od studenata se nije očekivalo da Ilicu „riješe“ niti da proizvedu novu, konačnu urbanističku sliku, već 24 ◗

Projektivno obrazovanje: Studio kao laboratorij mogućeg

Utopian Laboratory Ilica

tions, resources, and the expectation of feasibility – can hardly open. The expected result of such a studio is not to answer these questions. The goal is a new formulation of the problem itself: the discovery of relationships that were previously not visible or scenarios that allow us to view the present from the perspective of a possible future. In this sense, utopia, broadly understood, persists as a relevant architectural and pedagogical tool. For centuries, utopian projects have produced images of worlds as results of a radical interrogation of existing spatial and social relationships. Their significance does not necessarily lie in the feasibility of the proposed world, but in the difference they establish in relation to the existing one. Utopia can reveal what is today presented as natural, inevitable, or permanent, and open up the possibility for it to be different. The Utopian Laboratory Ilica begins from such an understanding of utopia, where its meaning lies not in an idealised image of the world, but in its instrumentalization as a critical method. Utopia here emerges from a real context, critically relates to its past and present, and develops from them a speculative alternative future. It inhabits the space between the possible and the impossible, connecting spatial and social forms into coherent but open scenarios. Ilica was an especially productive space for such an experiment. A street more than 5.6 kilometres long that connects the centre of Zagreb with its western suburbs, intersecting markedly different urban situations along its course: Lower Town blocks, squares and parks, railway infrastructure, the beginnings of the slopes of Medvednica, former industrial spaces, and different forms of housing. The consideration of this space relies on recent artistic and research projects focused primarily on the decline of its everyday life: crafts, shop windows, exchange. However in this case, these observations and interventions are taken merely as a starting point for speculation and the problematization of possible entanglements 25 of multispecies inhabitants and technology, optimism in Projective Education: The Studio as a Laboratory of the Possible

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da „ostanu uz problem“ i zamišljaju otvorene scenarije. Prvi korak u tome je nužno istraživački: intenzivno čitanje postojećega. Prostori su promatrani i potom imaginirani, zajedno s pričama, protagonistima, svakodnevnim praksama, povijesnim slojevima i neostvarenim budućnostima, a ljudski akteri zajedno s neljudskim i neživim elementima okoliša. Individualna i grupna istraživanja povezivala su se u zajednički analitički crtež kao interpretativne, kolektivne, slojevite reprezentacije Ilice koja nije reducirala grad na sustav objektivnih podataka te je omogućila istodobnu prisutnost različitih čitanja i subjektivnih prikaza. Spekulativni scenariji organizirani oko četiri teme (staništa, procesi, sustavi i briga) proširuju očekivane preokupacije arhitektonskih utopija (stanovanje, rad, tehnologija i upravljanje) uvodeći ga u suvremeno razumijevanje međuovisnosti. Stanovanje tako postaje stanište koje pripada i drugim živim bićima; rad se promatra kao proces koji uključuje proizvode, nusprodukte, otpad i nevidljive tokove; tehnologija se sagledava unutar infrastrukturnih sustava; a upravljanje se zamjenjuje brigom kao odnosom koji polazi od potreba pojedinaca i zajednica koje zamjenjuju uobičajene hijerarhije. Projekt, kao rezultanta takvog studija, više ne može biti samo kuća. U radovima studenata istraživala su se moguća korištenja postojećega propadajućeg prostora, infrastrukturni sustavi nefizičkih tehnologija, procesi vođeni senzoričkim iskustvima, novi odnosi između već prisutnih elemenata i faze njihove transformacije. Studenti su paralelno razvijali prostorne i društvene forme, mijenjali mjerilo i perspektivu te kroz tekstualne i vizualne narative istraživali posljedice vlastitih intervencija. Četiri grupe u svojim rezultatima ne nude četiri projekta obnove Ilice, nego spektar mogućih Ilica: alternativnih čitanja istog teritorija koja nastaju povezivanjem opaženoga, izmišljenoga i projektiranoga. U procesu rada, i posljedičnim scenarijima, sadržana je vrijednost ovakvog studija. Pedagoški format dopušta studentima da određeno vrijeme borave izvan sigurnosti poznatih 26 ◗

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(and despite of) decline, and new experiences of the city and its material and immaterial flows. The expectation of such results also transforms the design assignment itself. The students were not expected to “solve” Ilica, nor to produce a new, final urban-planning image, but to “stay with the trouble” and imagine open scenarios. The first step in this is necessarily research-based: an intensive reading of the existing. Spaces were observed and then imagined, together with stories, protagonists, everyday practices, historical layers, unrealised futures, and human actors together with non-human and non-living elements of the environment. Individual and group research was connected to a shared analytical drawing as interpretative, collective, layered representations of Ilica that did not reduce the city to a system of objective data, but rather enabled the simultaneous presence of different readings and subjective representations. Speculative scenarios organized around four themes (habitats, processes, systems, and care) expand the expected preoccupations of architectural utopias (housing, work, technology, and governance) by introducing them into a contemporary understanding of interdependence. Dwelling becomes a habitat that also belongs to other living beings; work becomes a process that includes products, by-products, waste, and invisible flows; technology is considered within infrastructural systems; and governance is replaced by care as a relationship that starts from the needs of individuals and communities that replace customary hierarchies. As a result of such a studio, the project can no longer be considered just a building. The students’ works explored possible uses of existing, decaying space, infrastructural systems of non-physical technologies, processes guided by sensory experiences, new relationships between already present elements and the phases of their transformation. Students developed spatial and social forms in parallel, altering scale and perspective, and through textual 27 and visual narratives, explored the consequences of their Projective Education: The Studio as a Laboratory of the Possible

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tipologija, gotovih prostornih programa i očekivanih arhitektonskih odgovora. Eksperimentalni formati koje otvaraju ekstrakurikularne radionice, ekstrapolirani studiji i izborni sadržaji važni su upravo zato što ne dodaju samo novo znanje postojećem kurikulumu, nego propituju kako se znanje proizvodi, raspravlja, vrednuje, prikazuje i prenosi. Otvaraju prostor horizontalnom učenju, kolektivnom autorstvu i razvoju projektantske agilnosti koja proizlazi iz refleksije, projekcija budućnosti, brige i učenja od drugih. Tu svakako treba spomenuti dvije ključne institucionalne okolnosti koje su omogućile takvu slobodu i povezivanje. Prva je uvođenje kolegija Istraživanja, seminari, projekti 2020. godine kao obaveznoga izbornog formata posljednjeg semestra diplomskog studija koji omogućuje nastavnicima da ponude aktualne ili specifične teme, koje u tromosti redovnog programa i eksplicitnim ishodima učenja teže nalaze mjesto, i omogućuje isto tako studentima da svojim specifičnim interesima, poduprtim dotadašnjim obrazovanjem, nađu mjesto i suveren izraz. Druga je lokacija izvedbe ovoga konkretnog studija, koji je među prvima u akademskoj godini 2025./26. testirao slobodan prostor petog kata zgrade Arhitektonskog fakulteta kao mjesta slobodnih, nehijerarhijskih oblika susreta između studenata i nastavnika, omogućenoga kolaborativnim projektom opremanja, koji je s nizom studenata i nastavnika vodila ekipa Spudić-Fabijanac-Depolo-Mohar. Prostorni okvir studija reproducira specifičnu ideju discipline, pa se željena promjena između ostaloga ogleda i u promjeni samog ambijenta učenja i prezentacije. Zato ova publikacija, osim što dokumentira imaginaciju jednog semestra, dokumentira i pokušaj shvaćanja studija kao laboratorija mogućega, izraženog u primijenjenom istraživanju, otvorenosti razmjene, nespecifičnim prostorima rada i izlaganja. Arhitektonsko obrazovanje tako je neodvojivo od projekcije društva koje buduće arhitektonsko djelovanje utjelovljuje. Promjene društvenih, tehnoloških i kulturnih okolnosti tijekom povijesti su redovito stoga vodile preispitivanju načina 28 ◗

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own interventions. In their results, the four groups do not offer four individual projects for the renewal of Ilica, but rather a spectrum of possible Ilicas: alternative readings of the same territory that emerge through the connection of the observed, the invented, and the designed. The value of such a studio is contained in the working process and resulting scenarios. The pedagogical format allows students to spend a certain amount of time outside the security of familiar typologies, ready-made spatial programs, and expected architectural responses. Experimental formats opened up by extracurricular workshops, extrapolated studios, and elective content are important precisely because they do not merely add new knowledge to the existing curriculum, but also question how knowledge is produced, discussed, evaluated, represented, and transmitted. They open up space for horizontal learning, collective authorship, and the development of design agility that emerges from reflection, projections of the future, care, and learning from others. Two key institutional circumstances that enabled such freedom and connection should certainly be mentioned here. The first is the introduction of the course Research, Seminars, Projects in 2020 as a compulsory elective format in the final semester of the graduate program. The course has enabled teachers to offer current or specific topics that are less likely to find a place within the curriculum of the regular program and explicit learning outcomes, and likewise enabled students to find a place and sovereign expression for their specific interests, supported by their education up to that point. The second is the location in which this particular studio was conducted, which was among the first in the 2025/26 academic year to test the unoccupied space on the fifth floor of the Faculty of Architecture building as a place for free, non-hierarchical forms of encounter between students and teachers, facilitated by a collaborative furnishing project, led – together with a number of 29 students and teachers – by the Spudić-Fabijanac-DepoloProjective Education: The Studio as a Laboratory of the Possible

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na koje se arhitekti obrazuju i sastojina koje su posredovale ciljeve novih znanja: od Beaux-Artsa, Bauhausa i Vkhutemasa do Black Mountain Collegea, Valparaísa ili Strelke. Svaki od tih pomaka nije značio samo uvođenje novih sadržaja nego i redefiniranje onoga što arhitekt jest, čime se bavi i na koji način djeluje. Idealna stanja, ili distopije, ili spekulacije o mogućem pritom su alati koji omogućuju testiranje koncepata izraženih arhitektonskim sredstvima, ali sežući dalje od oblika i funkcije. Misaoni i fizički prostor projektnog studija tijekom obrazovanja posjeduje i diskurzivni, eksperimentalni, umjetnički i interdisciplinarni potencijal: omogućuje studentima prostor slobode u kojima zamišljaju, prezentiraju i testiraju drugačije odnose unutar izgrađene okoline, oslobođene od ograničenja nametnutih stvarnosti. Obrazovanje arhitekata, da bi odgovorilo na još nepostavljeno pitanje, mora čuvati prostor imaginacije i eksperimenta – kako pedagoškoga, tako i projektantskoga.

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Mohar team. The spatial framework of the studio reproduces a specific idea of the discipline, so the desired change is, among other things, reflected in a change in the very environment of learning and presentation. Therefore, this publication, besides documenting the imagination of one semester, also documents an attempt to understand the studio as a laboratory of the possible, expressed through applied research, openness of exchange, and non-specific spaces of work and exhibition. Architectural education is inseparable from the projection of the society that future architectural action embodies. Changes in social, technological, and cultural circumstances have throughout history regularly led to a reconsideration of the ways in which architects are educated and of the contents that mediated the goals of new knowledge: from the Beaux-Arts, Bauhaus, and Vkhutemas, to Black Mountain College, Valparaíso, or Strelka. Each of these shifts did not just signify the introduction of new content, but further redefined what an architect is, what they engage with, and how they act. Ideal states or dystopias or speculations about the possible are all tools that enable the testing of concepts expressed through architectural means while reaching beyond form and function. The intellectual and physical space of the design studio during education also possesses discursive, experimental, artistic, and interdisciplinary potential: it provides students with a space of freedom in which they imagine, present, and test different relationships within the built environment, liberated from the constraints imposed by reality. Architectural education, in order to respond to questions not yet posed, must preserve space for imagination and experimentation – of both architectural methods and the pedagogical approach itself.

31 Projective Education: The Studio as a Laboratory of the Possible

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Utopijski laboratorij Ilica

jana čulek

Pristup temi arhitekture i prostorne edukacije kroz okvir utopije kao kritičke metode zahtijeva kratki osvrt na to kako se utopija uopće definira unutar konteksta projekta EDUTOPIA te Utopijskog laboratorija Ilica. Ako promatramo utopijski impuls imaginacije prostora i društva koji su na neki način bolji od onoga u kojem se nalazimo, njegove početke možemo pratiti unatrag sve do Platonove Države. Sam naziv tog impulsa, barem u značenju u kojem ga prepoznajemo danas, prvi put pojavljuje se u književnom djelu Thomasa Mora iz 1516. godine, u kojem autor opisuje imaginarni otok Utopiju. Tijekom stoljeća utopije su nam nudile neke od najinovativnijih i poticajnih i kritičkih odgovora koji su, iako većinom nisu bili zamišljeni s ciljem neposredne realizacije, stvorili poticaj i inspiraciju potrebRazvoj utopijske nu za dugoročne i transformativne promjene. Ipak, teško je ponuditi fiksnu i sveobuhvatnu pedagogije definiciju utopije kao forme, s obzirom na to da se ono što utopija jest često mijenja ovisno o području i povijesnom razdoblju u kojem nastaje. U proteklih nekoliko desetljeća različiti autori ponudili su definicije utopije unutar vlastitih područja arhitekture (Coleman, 2005; Choay, 1997), kritičke teorije (Jameson, 2005; Marin, 1984) i književnosti (Claeys, 2020; Vieira, 2010; Levitas, 1990, 2013; Suvin, 1979). Nadovezujući se na njihova saznanja, utopiju ne možemo definirati kao dovršeni produkt ili idealiziranu sliku savršenog svijeta, nego kao kritičku metodu koja istovremeno promišlja kontekst iz kojeg proizlazi te ga otvara i razgrađuje, nudeći njegovu moguću alternativu. Temama kojima se bavi te društvenim i prostornim formama koje razvija, utopija postaje neraskidivo povezana 34 ◗

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Approaching the topic of architectural and spatial education through the framework of utopia as a critical method, requires a short reflection on how utopia as a concept is understood within the framework of the EDUTOPIA research project. When examining the utopian impulse to envision a society and space which is in some way better than our own, we see that it can be dated as far back as Plato’s Republic. The name of this impulse, however, at least in the scope that we recognize it in today, was first established through the 1516 literary work of Thomas More which describes the imaginary island Utopia. Throughout centuries, utopias have offered some of the most innovative, thought-provoking, and critical answers which, albeit mostly not intended for immediate realization, created the much-needed inspiration and catalyst for Developing long term transformational change. However, Utopian proposing a fixed and encompassing definition Pedagogy for utopia as a form presents itself as difficult, given that what constitutes a utopia often varies according to the creative field within which it emerges and the historical period in which it is created. Within recent decades, there have been various attempts to frame it within the architectural field (Coleman, 2005; Choay, 1997), critical theory (Jameson, 2005; Marin, 1984), and within literature (Claeys, 2020; Vieira, 2010; Levitas, 1990, 2013; Suvin, 1979). Building on these insights, utopia is therefore defined not as a finished product or an idealized image of a perfect world, but as a critical method which simultaneously reflects on and reveals the context within which it is situated, 35 while proposing its possible alternative. Through the topen

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s društveno-prostornim i povijesnim kontekstom iz kojeg proizlazi. Aktivnim adresiranjem tog konteksta utopija postaje alat za preispitivanje našega (izgrađenog) okoliša i društva s ciljem poticanja kritičkog promišljanja njihove prošlosti i sadašnjosti te stvaranjem spekulativnih alternativa njegove budućnosti. Ne ograničavajući se samo na izolirane aspekte i procese unutar izgrađenog okoliša, utopije upogonjuju svoje kritičke i kreativne kapacitete s ciljem obuhvaćanja što šireg spektra prostornih i društvenih implikacija i formi, često ih prezentirajući u kombinaciji tekstualnih i vizualnih narativa. Takav pristup i proces čini ih vrijednim alatom koji nam pomaže u suočavanju s današnjim složenim kontekstom polikriza. Uzimajući u obzir složenost, višestrukost i raznolikost koje odlikuju suvremeno društvo, kao i sve negativne posljedice i konotacije povezane sa stvaranjem totalizirajućih narativa, utopiju i dalje treba istraživati, razvijati i vrednovati kao kritičku metodu u kontekstu prostornih praksi. Utopijska pedagogija Uzimajući u obzir kapacitet utopije za bavljenje složenim društveno-prostornim temama te njezinu vrijednost kao alata i metode u različitim kreativnim praksama, važno je razmotriti i njezin potencijal kao pedagoškog modela. Analizom suvremenih pristupa u arhitektonskom obrazovanju mogu se uočiti dva glavna smjera koja se razlikuju ovisno o fokusu same institucije: prvi pristup [1] primjenjuje „rješavanje problema (primjene)” oslanjajući se na metode osmišljavanja rješenja za specifične i unaprijed definirane probleme. Taj pristup bliži je „egzaktnim znanstvenim disciplinama”. Drugi pristup bavi se [2] „definiranjem problema (razvoja)” gdje se veći fokus postavlja na istraživanje apstraktnih problema, oslanjajući se pritom više na „intuiciju” nego na povezivanje s „postojećim ili utvrđenim područjem znanja i metoda” (Helmersen, 2021). Prvi pristup sličniji je projektnom zadatku investitora te priprema studente za praktičnu stranu arhitektonske 36 ◗

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ics it addresses and the social and spatial forms it develops, utopia becomes bound to the socio-spatial and historical context from which it emerges. Actively addressing this context, utopia becomes a tool for rethinking our (built) environment and societies with the aim of creating a critical reflection on their past and present, and offering a speculative alternative for their future. Rather than focusing only on isolated aspects and processes of the built environment, utopias employ their critical and creative capacity to encompass a much wider array of spatial and societal implications and forms which they often address through the combined use of textual and visual narratives – making them a valuable tool in addressing today’s context of complex poly-crises. Acknowledging the complexity and diversity ingrained in today’s society, as well as all the negative repercussions and connotations tied to all-encompassing narratives, I argue that novel ways of employing utopia as a critical method within spatial practice still need to be researched, developed, and evaluated. Utopian Pedagogy While recognizing utopia’s capacity for addressing complex socio-spatial issues and its value as a tool and method in various creative practices, it is also relevant to address its potential as an educational model. By examining contemporary approaches in architectural education, we can detect two main avenues based on the focus of the institution itself. The first employs a [1] “problem solving (application)” approach that relies more on methods to provide solutions for specific predefined problems and are more akin to “hard science disciplines”, and the second, a [2] “problem framing (development)” approach which focuses more on investigating abstract problems that rely more on a “hunch” than of relating “to an existing or established field of knowledge and methods” (Helmersen, 2021). The first can be likened to a client brief, and 37 prepares students for the practical side of building-based Developing Utopian Pedagogy

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djelatnosti usmjerenu na gradnju. Putem zadataka koji nude skup definiranih prostornih zahtjeva za određenu funkciju na unaprijed određenoj lokaciji, ovaj pristup studente poučava praktičnim vještinama projektiranja te primjeni standarda, normi i definiranih tehničkih rješenja. Nasuprot tome, drugi se pristup često temelji na apstraktnim filozofskim konceptima te u nekim slučajevima od studenata čak i ne zahtijeva prostorno rješenje, nego isključivo teorijsku i konceptualnu spekulaciju ili scenarij. Takvi su zadaci često nominalno usmjereni na razvoj istraživačkih vještina, kritičkog mišljenja i kreativnosti, no ponekad ne uspijevaju studentima pružiti metode za primjenu tih novih vještina i znanja u stvarnom svijetu. Iako su oba tipa vještina iznimno važna za buduće prostorne stručnjake, preklapanje i istovremena primjena tih dvaju pristupa unutar okvira projektantskog studija je upravo ono što često nedostaje. Takav bi spoj spekulacije i kritičkog promišljanja s osmišljavanjem konkretnih i potencijalno provedivih rješenja i strategija mogao obrazovati i osposobiti buduće stručnjake da aktivno osmišljavaju i stvaraju pozitivne transformativne promjene u globalnom kontekstu. Utopija kao proces ili destinacija Promatrajući utopijsku pedagogiju kao specifično područje, osobito u kontekstu posljednjih nekoliko desetljeća, možemo uočiti dva različita pristupa: jedan koji se usredotočuje na metodološke aspekte utopije i njen potencijal kao forme te drugi koji se fokusira na ishode koje ona prikazuje. Ta dva pristupa često nose i različite nazive, ali u ovom kontekstu usredotočiti ćemo se na dvije možda najslikovitije suprotstavljene terminologije, točnije „utopija kao proces” naspram „utopije kao sustava” (Webb, 2013 based on Levitas, 2007) te „utopijska arheologija” naspram „utopijske arhitekture” (Webb, 2017)1. Webb opisuje „utopiju kao proces” kao „otvorenu”, „fluidnu i djelomičnu”, „istraživačku”, „razigranu” i „kritičku” formu, pri čemu joj je glavni cilj „kritička demisti38 ◗

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architectural practice. By offering a set of defined spatial requirements intended for a specific function at a predefined location as an assignment, this approach teaches students practical design skills and the implementation of standards, norms, and defined technical solutions. Conversely, the second approach is often based on abstract philosophical notions and – in some cases – does not even require a spatial solution from the students, but merely a theoretical and conceptual speculation or scenario. These types of assignments are often nominally aimed at the development of research skills, critical thinking, and creativity, but sometimes fail at providing students with methods of implementing these new skills and knowledge within the “real world”. And while both sets of skills are of utmost importance for the future spatial practitioner, it is in fact the overlap and simultaneous use of these two approaches within the framework of the design studio which is often lacking. This convergence of speculation and critical examination with the envisioning of concrete and possibly implementable solutions and strategies is precisely that which could educate and equip future experts and practitioners to actively envision and create positive transformational change within the global environment. Utopia as Process or Destination When examining utopian pedagogy as a specific field, especially within the context of the last several decades, two distinct forms of utopian teaching appear – one which focuses on the methodological aspects of utopia and what it affords as a form, and the other focusing on the prescriptive outcomes it depicts. The two often have many names, but in this context, we will focus on two of the perhaps most illustrative opposing nomenclatures, namely “utopia as process” versus “utopia as system” (Webb, 2013 based on Levitas, 2007) and “utopian archaeology” versus “utopian architecture” (Webb, 2017)1. Webb describes “utopia as process” as 39 “open-ended”, “fluid and partial”, “exploratory”, “playful”, Developing Utopian Pedagogy

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fikacija – otkrivanje, razotkrivanje i skidanje maske s djelovanja moći kako bi se mogli pojaviti novi, otvoreni, djelomični i fluidni prostori mogućnosti” (Webb, 2013, 282). Na sličan način koncept „utopijske arheologije”, koji proizlazi iz rada Frederica Jamesona (2005) i Ruth Levitas (2013), također se usredotočuje na proces razotkrivanja i iznošenja na vidjelo onoga što već postoji. S druge strane, „utopija kao sustav” opisuje se kao „reprezentacijska”, „totalistička”, „normativna”, „preskriptivna” i „instrumentalna” (Webb, 2013, 281) te se često smatra problematičnom ili „lošom” zbog svoje naizgled preskriptivne prirode i sadržaja kojim se nastoje predložiti stvarne i cjelovite alternative postojećim društvenim i prostornim oblicima. U današnjem arhitektonskom kontekstu „utopija kao sustav” ili „utopija kao arhitektura” najčešće se promatraju kroz negativne termine te su kao metoda ili pristup često napuštene zbog svojih naizgled totalitarnih, krutih i preskriptivnih konotacija. Utopijsko djelovanje se, kako Webb predlaže služeći se Jamesonovima terminima, „pomaknulo od ’utopijske forme’ prema ’utopijskoj želji’” te se „više ne bavi konstruiranjem sustava i programa, već nastoji otkriti difuzan, raznolik i višeznačan utopijski impuls prisutan u subjektivnom ljudskom iskustvu” (Webb, 2017, 553; Jameson, 2005). Alternativni put otkrivanja mogućih razloga za taj odmak od preskriptivnijeg oblika utopijskih narativa – uz uobičajeno tumačenje koje ga povezuje s neuspjehom modernog pokreta i utopije nakon strahota Drugoga svjetskog rata – nude Ford i Svensson (2024). Reflektirajući se na suvremeni povratak temi utopije, povezuju sklonost prema „utopiji kao arheologiji” i „utopiji kao procesu” – ili onome što kritički nazivaju „dobrim utopijama” – s kapitalističkim stanjem vječne sadašnjosti u kojem je cilj neprestano ponovno osmišljavanje i repliciranje onoga što već jest. No, slično Webbu, koji zagovara kombiniranje oba pristupa kako bismo mogli vidjeti ili zamisliti stvarnu promjenu, i Ford i Svensson navode da „kako bi se povratila bit utopije, obrazovanje mora spojiti maštu i 40 ◗

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and “critical” with its main aim being that of “critical demystification – uncovering, unveiling, unmasking the operation of power so that new, open partial, fluid, spaces of possibility can emerge” (Webb, 2013, 282). Similarly, the concept of “utopian archaeology”, derived from the works of Frederic Jameson (2005) and Ruth Levitas (2013) also focuses on the process of uncovering and unearthing what is already there. “Utopia as system” is conversely described as “representational”, “totalistic”, “normative”, “prescriptive”, and “instrumental” (Webb, 2013, 281),and often alluded to as problematic or “bad” due to its seemingly prescriptive nature and content which aims to propose actual alternatives to its contextual social and spatial forms. In today’s architectural context, “utopia as system” or “utopia as architecture” are most commonly addressed through pejorative terms, abandoned as a method or approach due to its seeming totalitarian, rigid, and prescriptive overtones. The utopian has, as Webb proposes in the terms of Jameson, “shifted away from the ‘utopian form’ and towards the ‘utopian wish’”, and is “no longer concerned with constructing systems and programs but seeks to uncover the diffuse, varied, and ambiguous utopian impulse to be found in subjective human experience” (Webb, 2017, 553; Jameson, 2005). An alternative path to uncovering potential reasons for this shift away from a more prescriptive form of utopian narratives, aside from the most common interpretation which links it to the disillusionment and failure of the modern movement and utopia following the atrocities of the Second World War, is offered by Ford and Svensson (2024). Reflecting on a contemporary return to the topic of utopia, they link the gravitation towards the “utopia as archaeology” and “utopia as process” – or what they critically term as “good utopias” with the capitalist condition of the perpetual present in which the goal is one of constant reinvention and replication of the present. But similarly to Webb, who calls for a combination of both 41 approaches if we are to see or envision any actual change, Developing Utopian Pedagogy

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djelovanje, otvorenost s usmjerenošću, maštom i borbom [...] te se glavom bez obzira prepustiti dijalektičkoj napetosti između kritike postojećeg i naviještanja novog” (Ford, Svensson, 2024, 568). Pristup arhitektonskoj edukaciji Budući da većina znanstvenih radova o utopijskoj pedagogiji ne proizlazi iz područja arhitekture te je više usmjerena na razvoj pristupa poučavanju i oblikovanju samih nastavnih programa, smatram da je važno u sklopu istraživačkog projekta EDUTOPIA re-situirati tu temu u kontekst arhitektonske discipline. S obzirom na specifičnost procesa poučavanja arhitekture koji od studenata zahtijeva podjednako usvajanje kritičkih i imaginativnih, ali i praktičnih vještina, nameće se pitanje: je li moguće pristupiti prostornoj i arhitektonskoj edukaciji u kontekstu utopijske pedagogije bez primjene pristupa „utopije kao procesa” i „utopije kao sustava”? Odgovor na to, u skladu sa stajalištima koja zagovaraju Webb te Ford i Svensson, jest da to nije moguće. Jedan od glavnih ciljeva „utopije kao procesa” i „arheologije” jest razotkriti i rastvoriti vlastiti kontekst, kako bi se omogućio nastanak nečega novog samim time što to uopće prepoznajemo kao mogućnost. No kako će se mogućnosti ostvariti ako se pritom ne ponudi barem kakav okvir ili smjer? Kako zaključuje i Webb, u procesu rastvaranja i „stvaranja prostora” često se događa da „preostaje tek praksa stvaranja prostora lišenih sadržaja (’radikalno otvorenih’) i bez jasnog smjera (’uvijek u procesu’)”, što nas potiče na pitanje: „što se zapravo događa u tim prostorima?” (Webb, 2017, 559) Osvrćući se na pojam „utopije kao sustava”, Webb adresira jednu od možda najčešćih zabludi o takvim vrstama utopija: da one predstavljaju konkretne upute kojima se volja pojedinca nameće mnoštvu. Ističući kako „arhitektonski nacrti [...] ne stižu kao autoritarno nametanje odozgor”, nego su „rezultat dugotrajnog iterativnog procesa savjetovanja i suradnje”, on predlaže da – unutar tog okvira – „uloga utopijskog pedagoga bude vođenje i usmjeravanje toga iterativnog procesa” (Webb, 2017, 560). Kao konkretnu 42 ◗

Razvoj utopijske pedagogije

Utopian Laboratory Ilica

Ford and Svensson also state that “to reclaim the essence of utopia, education must combine imagination and action, and openness with direction, imagination, and struggle […] sinking head-first into the dialectical tension between denouncing and announcing” (Ford, Svensson, 2024, 568). Approaching Architectural Education Considering that most scholarship on utopian pedagogies does not stem from the architectural field and is therefore more focused on developing approaches for teaching and designing curricula, it is important within the EDUTOPIA research project’s framework, to re-situate this topic within the context of the architectural discipline. Given the specificity of the architectural teaching process – one which requires transferring to students a combination of critical and imaginative as well as practical skills, the question arises: is it really possible to address spatial and architectural education within the context of utopian pedagogy without employing the approaches of both “utopia as process” and “utopia as system”? The answer of course, which also aligns with what Webb, Ford, and Svensson call for, is – no. One of the main goals of “utopia as process” and “archaeology” is to untangle and open-up one’s context, allowing for new things to occur within it just through making them evident as a possibility. But how do these possibilities play out if one does not propose, at the very least, a type of framework or direction? As Webb also concludes, within the process of opening up and “creating space”, it often occurs that “one seems to be left with is the practice of creating spaces devoid of content (‘radically open’) and lacking direction (‘always in process’)”, urging us to pose the question: “what actually happens in these spaces?” (Webb, 2017, 559). Reflecting on “utopia as system”, Webb addresses one of the perhaps most common misconceptions about these types of utopias: namely that they are created as set instructions which 43 impose the will of an individual onto the many. Noting Developing Utopian Pedagogy

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metodu predlaže proces „prizivanja radikalne imaginacije, poticanja, oživljavanja, okupljanja i nadogradnje na još neoblikovane utopijske vizije” (Webb, 2017, 561). Predlaže i stvaranje narativa te pripovijedanje, navodeći kako „nije riječ samo o tome da se razotkrije ono što je bilo sakriveno, već o uzimanju snova, želja, nade i strahova te njihovom povezivanju u narativ koji odjekuje, motivira i usmjerava” (Webb, 2017, 562). Kombinirajući procese preispitivanja, otkrivanja, „osude i naviještanja”, projiciranja i vizioniranja, on predlaže sljedeće: „...nazovimo tu živopisnu sliku nacrtom i recimo da je uloga utopijske pedagogije voditi i usmjeravati kolektivan i suradnički proces stvaranja sjećanja i priča, objedinjujući – kroz proces okupljanja i ekstrapolacije – raznorodne, još neoblikovane snove i težnje kako bi se proizvelo nešto novo; sadržajna utopijska vizija” (Webb, 2017, 562). Ponovnim uvođenjem pripovijedanja i narativa kao praktične i kreativne metode u proces arhitektonske edukacije i sam projektni studio omogućava produktivniji pristup utopiji kao kritičkom i kreativnom alatu i metodi. Osim svojih utopijskih potencijala, pripovijedanje kao metoda primijenjena u arhitektonskoj i prostornoj edukaciji ima i druge benefite. Ono je višestruko i koristi se „kreativnošću” kroz razvoj „sadržaja”, „komunikacijom” kroz „izražavanje” same priče (verbalno, vizualno ili tekstualno) te „refleksijom” koja nastaje u „interakciji s drugima” (Lee et.al, 2023, 3). Iako se pripovijedanje sve češće koristi kao metoda u arhitektonskim i urbanističkim studijima, ono se i dalje najčešće primjenjuje kao metoda reprezentacije studentskog rada nastaloga kao odgovor na zadani projektni zadatak, kao način sažimanja procesa istraživanja i analize koji prethodi projektiranju ili kao metoda opravdavanja vlastitih projektantskih odluka. No kao što je vidljivo iz konteksta utopijske pedagogije, pripovijedanje i narativ kao metode projektiranja donose studentima brojne prednosti, uključujući poboljšanje njihovih „vještina kreativnosti i komunikacije”, omogućujući im da „na koherentan način razviju jedinstvene pristupe i metode 44 ◗

Razvoj utopijske pedagogije

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that “architectural blueprints […] do not arrive as an authoritarian imposition from above” but that they are rather “the outcome of a long iterative process of consultation and collaboration”, he proposes that – within this framework – the “role of the utopian pedagogue is guiding and directing this iterative process” (Webb, 2017, 560). As a method of doing this, he proposes the process of “convoking the radical imagination, animating, enlivening, drawing together, and building on the inchoate utopian imaginings” (Webb, 2017, 561). He also proposes the construction of narratives and storytelling stating that “the issue is not simply to exhume what has been buried – it is how to take dreams, desires, hopes and fears and tie them together to construct a narrative that resonates, motivates and guides” (Webb, 2017, 562). Combining both the process of questioning, uncovering, “denouncing and announcing”, projecting, and visioning, he proposes to: “…call this vivid image a blueprint and let us say that the role of utopian pedagogy is to guide and direct a collective and collaborative process of memory- and story-making, pulling together – through a process of convocation and extrapolation – disparate inchoate dreams and yearnings in order to produce something new; a substantive utopian vision.” (Webb, 2017, 562) Reintroducing storytelling and narrative as both a practical and creative method into the process of architectural education and the design studio, therefore, also allows us to more productively access utopia as a critical and creative tool and method. But aside from its utopian potentials, storytelling as a method employed within architectural and spatial education has great potential. It is multifaceted and makes use of “creativity” through the development of “content”, “communication” through the “expression” of the story itself (verbally, visually, or textually), and “reflection” which occurs through the “interaction with others” (Lee et.al, 2023, 3). And while storytelling has been increasingly used in recent years as 45 a method within architectural and urban design studios, Developing Utopian Pedagogy

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projektiranja” te da „naglase prostorni slijed i prostorni doživljaj umjesto arhitekture usmjerene na formu”, istovremeno poboljšavajući njihove „sposobnosti donošenja odluka i rješavanja problema” (Lee et.al., 2023, 2). Kako projekt EDUTOPIA nastoji pokazati, pripovijedanje i narativi – osobito kada su osmišljeni putem formata kritičke utopije – u kontekstu arhitektonske i prostorne edukacije također omogućuju studentima zamišljanje i konstruiranje složenijih sustava ideja te uvođenje tema i metoda iz drugih disciplina, dopuštajući im pritom razvoj projekata koji su u svojoj cjelini kritički utemeljeniji i bolje odgovaraju na kontekst iz kojeg proizlaze.2

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it is still most commonly employed as a way of representing the student’s work which was developed in response to a set brief, as a way of summarizing the research and analysis process preceding the design, or as a method of justifying one’s design decisions. But, as is evident from its potential within utopian pedagogy, storytelling and narrative as design methods also have numerous benefits for students, including the improvement of their “creativity and communication skills”, allowing them to “develop unique design approaches and methods in a coherent manner”, enabling them to “emphasize spatial sequence and spatial experience rather than form-oriented architecture”, while also improving their “decision-making and problem-solving abilities” (Lee et.al., 2023, 2). As the EDUTOPIA project hopes to demonstrate, storytelling and narratives – especially when conceived through the critical utopian format – in the context of architectural and spatial education – also enables students to imagine and construct more complex systems of ideas, and introduce topics and methods from other disciplines while allowing them to develop overall more responsive and critically positioned proposals.2

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Utopijski laboratorij Ilica

ivana borovnjak

Kada se o ulici govori kao o prostoru, obično se misli na ono što se može nacrtati: profil, prizemlje, izlog, ritam otvora, tok pješaka. Projekt Ilica krenuo je od drukčije pretpostavke — da je ulica prije svega infrastruktura odnosa. Mreža ljudi, vještina, materijala, alata, usluga i svakodnevnih navika koja se u fizičkoj strukturi tek povremeno očituje, a kada nestane, zgrade ostaju stajati jednake kao i prije, samo prazne od značenja. Taj je pomak za nas bio i metodološki i disciplinarni: umjesto da dizajn shvatimo kao uslugu koja prostoru daje novu formu, počele smo ga koristiti kao sredstvo komunikacije ili preciznije protokol: tko s kim radi, na koji način i s čime. Razlika između usluge i protokola nije retorička. Usluga pretpostavlja naručitelja, zadatak Projekt Ilica: i isporuku; protokol pretpostavlja sudionike, vrijeme i mogućnost da rezultat bude drukčiji od prostor kao očekivanoga. Dizajn kao usluga Ilici ponudio bi infrastruktura vizualni identitet ulice, jedinstvenu signalizaciju odnosa izloga ili scenarij revitalizacije prizemlja. Dizajn kao protokol pita nešto drugo: koje odnose u ulici treba uspostaviti da bi identitet uopće imao tko proizvoditi? Ta razlika arhitekturu i dizajn premješta iz pozicije autora konačnog stanja u poziciju onoga tko oblikuje uvjete — a to je pozicija koju spekulativni rad na prostoru već podrazumijeva. Kontekst i kronologija Oaza je 2013. osnovana kao kolektiv šest autorica (Nina Bačun, Ivana Borovnjak, Roberta Bratović, Tina Ivezić, Maja Kolar i Maša Poljanec) koje su se, nakon studija u različitim europskim sredinama, vratile u grad u kojem je industrijska proizvodnja tijekom tranzicije gotovo nestala. Zajednički studio našle smo u Ilici 132 i ta nas je slučajnost 50 ◗

Utopian Laboratory Ilica

When we talk about a street as a space, we usually talk about that which we can draw: the profiles, ground floors, shop windows, rhythm of the openings, flow of pedestrians. Project Ilica began from a different assumption – one in which the street is first and foremost an infrastructure of relations. It is a network of people, skills, materials, tools, services, and everyday habits, which only rarely become evident in the street’s physical structure. But when they disappear, the buildings remain the same as they were, devoid only of meaning. This shift was for us both disciplinary and methodological: instead of understanding design as a service which provides a space with a new form, we began to use it as a means of communication – or, more precisely, as a protocol: who works with whom, in what Project Ilica: way, and with what. Space as an The difference between a service and a pro- Infrastructure of tocol is not rhetorical. A service assumes a cliRelations ent, an assignment, a deliverable; a protocol assumes participants, time, and the possibility of the result being something other than what was expected. Design as a service would offer Ilica a new visual identity, a unified signage system for the shop windows, or a scenario for revitalising the ground floors. Design as protocol asks something else: which relationships need to be established for there to even be someone who is capable of producing an identity? This difference shifts architecture and design from the position of the author of a finite state to a position of one who shapes conditions – a position which speculative work on space already implies. 51 en

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obvezala više nego bilo koji zadatak. Ilica, šest kilometara duga okosnica Zagreba, u tridesetak je godina prošla kroz veliku promjenu: lokalni politički kontekst i globalne promjene u proizvodnji zatvorili su niz obrta i specijaliziranih trgovina, a neriješeni vlasnički odnosi ostavili prazne prostore koji se ne mogu ni koristiti ni prenamijeniti. Svakodnevno smo, s prozora vlastitog studija, gledale kako se dio ulice od Britanskog trga prema Ulici Republike Austrije prazni. Projekt je pokrenut 2014. kao jedna od studija slučaja unutar grupe nanotourism koju su u sklopu 24. bijenala dizajna u Ljubljani (BIO50, umjetničko vodstvo Jana Boelena), u organizaciji Muzeja za arhitekturu i dizajn, inicirali Dekleva Gregorič Architects. Nanoturizam je bio kritički odgovor na turizam kao ekstraktivnu industriju: umjesto putovanja koje konzumira mjesto, predlagao je participativnu, lokalno generiranu i mikroskopski usmjerenu radoznalost. Iz te je optike izašla ključna figura projekta — stanovnik i dizajner koji postaje „nanoturist u vlastitoj ulici“. Rad se odvijao u četiri faze koje su se međusobno preklapale. Prva je bila dokumentacija: bilježenje nestajanja, fotografiranje radionica, izloga i natpisa, snimanje razgovora. Pritom dokumentacija nije služila u svrhu nostalgije, nego kao alat za prepoznavanja resursa. Druga faza bilo je istraživanje i mapiranje potencijala ulice — preostalih obrtnika, njihova skrivenog znanja i intelektualnog kapitala, materijalnih resursa, proizvodnih mreža i kanala distribucije. Rezultat je bio Registar nositelja znanja, knjiga kao katalog vještina, kvalifikacija i proizvoda prikupljen s pomoću nestrukturiranih intervjua na potezu Ilice od broja 50 do 150. Registar smo od početka zamišljale kao praktičarski, a ne muzejski arhiv: ne popis onoga što je bilo, nego popis onoga s čime se još može raditi. Treća faza bilo je umrežavanje. Iz registra je izrastao edukativni model Old School Ilica — niz otvorenih dana, radionica, predavanja, događanja i izložbi u kojima su svi koji dijele istu geolokaciju, obrtnici, dizajneri i stanari, mogli sudjelovati koristeći vlastito znanje kao valutu razmjene. Ta je formulacija najprecizniji 52 ◗

Projekt Ilica: prostor kao infrastruktura odnosa

Utopian Laboratory Ilica

Context and Chronology Oaza was formed in 2013 as a collective of six authors (Nina Bačun, Ivana Borovnjak, Roberta Bratović, Tina Ivezić, Maja Kolar and Maša Poljanec) who, after studying abroad in different European contexts, returned to a city in which industrial production had all but disappeared during the transition. We found our collective studio in Ilica 132, and that coincidence committed us more than any commission could. Ilica, the six-kilometre-long backbone of Zagreb, has undergone tremendous change over the past thirty years: the local political context and global changes in production have shut down a number of craft workshops and specialised shops, while unresolved ownership issues have left empty premises that can be neither used nor repurposed. Every day, from the windows of our own studio, we watched the stretch of the street between Britanski trg and Ulica Republike Austrije gradually empty out. Project Ilica was initiated in 2014 as one of the case studies within the nanotourism group, initiated by Dekleva Gregorič Architects as part of the 24th Biennial of Design in Ljubljana (BIO50, artistic director Jan Boelen), organised by the Museum of Architecture and Design (MAO). It was a critical answer to tourism as an extractive industry: instead of travel that consumes a place, nanotourism proposed a participative, locally generated, and microscopically focused curiosity. From this perspective emerged the project’s key figure – the inhabitant and designer who becomes a “nanotourist in their own street”. The work unfolded through four overlapping phases. The first was documentation: recording what was disappearing, photographing workshops, shop windows and signs, recording conversations. The documentation did not, however, serve a nostalgic purpose, but was rather used as a tool for recognising resources. The second phase was researching and mapping the potential of the street – the remaining craftspeople, their hidden knowledge and intel53 lectual capital, material resources, production networks, Project Ilica: Space as an Infrastructure of Relations

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opis protokola: ne novac, nego znanje kao sredstvo plaćanja, uz dizajnerice u ulozi posrednica koje razmjenu omogućuju, prevode i čine vidljivom. Četvrta faza bila je sukreacija, u kojoj je razmjena dala konkretne rezultate proizvedene isključivo unutar ulice. Kurirana kolekcija nakita, pop-up dućan s novom kolekcijom cipela i tipografsko pismo izvedeno iz natpisa obrtničke radnje samo su neki od konkretnih rezultata. Pismo je pritom možda najjasniji primjer kako urbano istraživanje postaje dizajnerski artefakt — identitet ulice doslovno prenesen u alat kojim se dalje piše. Najvažniji ishod, međutim, ne svodi se na proizvod, nego na samu metodologiju: model samoodrživog razvoja lokalne zajednice putem socijalnog dizajna. Iz njega je organski izrasla međunarodna platforma MADE IN, koja iste postupke testira u drugim mjerilima i u drugim kontekstima, s partnerima raznih profila. Uz jednu važnu ogradu, naučenu iz prakse: metodologija u dizajnu rijetko funkcionira kao recept. Svaki je projekt ekosustav za sebe i ono što je proradilo u jednoj ulici često nije prenosivo u drugu. Prenosiv je protokol, ne rješenje. Lokalni uvjeti adresiraju globalna pitanja Ilica nas zanima jer je istovremeno vrlo konkretna i posve tipična. Priča o jednom zatvorenom postolarskom obrtu u nizu, priča je o prekidu lanca znanja, o gubitku pristupa sirovini, o ekonomiji koja više ne prepoznaje popravak kao vrijednost i naposljetku o otuđenju — o tome da u vlastitoj ulici sve manje znamo tko što radi i tko što zna. Nanoturizam je taj problem preokrenuo u metodu: ako smo u vlastitom susjedstvu postali stranci, onda je radoznalost turista alat koji možemo posuditi i okrenuti prema unutra. Time lokalna tema, jedna ulica i nekoliko desetaka obrta postaje ulaz u globalno pitanje: što se događa kada se proizvodnja decentralizira natrag prema pojedinačnim nositeljima znanja i koje to prostorne posljedice nosi. Za spekulativno čitanje prostora iz te se pozicije nudi nekoliko operativnih načela. Prvo: istraživati intersubjek54 ◗

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and distribution channels. The result was the Registry of Knowledge Holders – a book as a catalogue of skills, qualifications, and products assembled through unstructured interviews conducted with craftspeople between Ilica 50 and 150. The Registry was conceived from the outset as a practitioners’ archive rather than a museum one: not a list of what once was, but a list of what can still be done. The third phase of the project was focused on networking. From the Registry grew the educational model Old School Ilica – a series of open days, workshops, lectures, events, and exhibitions in which all craftspeople, designers, and inhabitants sharing the same geolocation could participate, using their own knowledge as a currency of exchange. This formulation is perhaps the most precise description of our protocol: it was not money, but knowledge which became the method of exchange, with the designers taking on the role of mediators who enable, translate, and make the exchange visible. The fourth phase was co-creation, in which the exchange brought concrete results produced exclusively within the street itself. A curated collection of jewellery, a pop-up shop with a new shoe collection, and a typeface created from the sign of a local craft workshop were only some of the results. The typeface is perhaps the clearest case of how urban research becomes a design artefact – the identity of the street literally translated into a tool which continues to be used to write. The most important outcome, however, did not come down to a product, but to the methodology itself: a model of self-sustainable development of the local community through social design. From it grew the international MADE IN Platform, which tests the same procedures at different scales and in different contexts, together with partners of different profiles. There is only one important caveat, learned through practice: methodology rarely functions as a recipe in design. Each project is an ecosystem in and of itself, and what which worked in one street is often not transferable 55 to the next. What travels is the protocol, not the solution. Project Ilica: Space as an Infrastructure of Relations

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tivno, kroz pojedinačna iskustva koja vode prema kolektivnom, umjesto kroz apstraktnu sliku „korisnika“. Drugo: uzeti postojeće stanje kao građu, a ne kao problem koji treba ukloniti — obrtnik logiku prostora često poznaje bolje od arhitekta jer je svakodnevno koristi. Treće: činiti poznato nepoznatim i obrnuto, jer se u polifoniji glasova otvara prostor za uvide koje jedna disciplina sama ne proizvodi. Četvrto: rezultat oblikovati kao infrastrukturu koja može nastaviti raditi bez svojih autora. Utopija kao metoda i dizajn kao protokol dijele istu pretpostavku — da je budućnost prostora pitanje odnosa koje danas uspostavljamo, a ne slike koju crtamo. Ilica je u tom smislu bila i ostala laboratorij: ne one fizičke, nego ljudske infrastrukture.

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Projekt Ilica: prostor kao infrastruktura odnosa

Utopian Laboratory Ilica

Local Conditions Address Global Questions We find Ilica interesting because it is both entirely specific and entirely typical at the same time. The story of one closed shoemaker’s workshop is a story of breaking the chain of knowledge, of losing access to raw materials, of an economy which no longer recognises repair as a value, and lastly, about alienation – that in our own street, we know less and less of who does what and who knows what. It was nanotourism that turned this problem into a method: if we become strangers in our own neighbourhood, then we can borrow the curiosity of a tourist and turn it inwards. Through this, the local topic of one street and several dozen craft shops becomes an entryway to a global issue: what happens when production is decentralised back towards individual knowledge holders, and what spatial consequences does this carry? For a speculative reading of a space from this position, there are several possible operational principles. First, to research intersubjectively through individual experiences which then lead towards the collective, rather than through an abstract image of the “user”. Second, to take the existing condition as material, rather than a problem which needs to be removed – the craftsperson usually understands the logic of the space better than the architect, because they use it daily. Third, to make the known unknown, and the other way around, because within a polyphony of voices, a space opens for insights that no single discipline produces on its own. And finally, to shape the result as an infrastructure that can continue operating without its authors. Utopia as a method and design as a protocol share the same assumption – that the future of a space is a question of relationships that we establish today, and not of the image that we draw. In this sense, Ilica was and has remained a laboratory, not of physical infrastructure but of human infrastructure. 57 Project Ilica: Space as an Infrastructure of Relations

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Utopijski laboratorij Ilica

Utopian Laboratory Ilica

Utopijski laboratorij Ilica

tonči čerina

Edukacija nije jednosmjeran prijenos znanja, nego proces koji se sa svakim novim rezultatom ponovno preispituje i redefinira. Beskonačnim ponavljanjem isprobanih modela nije moguće izaći iz petlje. Prostor edukacije zato bi prije svega trebao biti mjesto istraživanja i eksperimenta, u kojem ishodi nisu unaprijed poznati, a znanje ne nastaje samo usvajanjem postojećega, nego i njegovim kritičkim preispitivanjem. Arhitektonska radionica Utopijski laboratorij Ilica, fokusirana na zagrebačku Ilicu kao živi laboratorij, takav je prostor otvorila studentima fokusirajući se na istraživanje, drugačije čitanje stvarnosti i kreativnu spekulaciju, ali ipak čvrsto ukorijenjenu u postojećem. Polazište radionice bilo je razumijevanje Ilice ne samo putem analize njene fizičke strukture, Eksperiment od nego i kao zamršenog spleta vidljivih i nevidljipočetka do kraja vih odnosa. Prostor Ilice podjednako oblikuju sjećanja, društveni odnosi, biološki procesi, informacije, povijesni talozi, energije ili atmosfere. Četiri studentske grupe pristupile su istraživanju Ilice kroz različite slojeve, mijenjajući pritom uobičajene ulazne parametre arhitektonske analize, ali uvelike se oslanjajući i na osobno proživljeno iskustvo promatranog prostora. Grupa staništa propituje antropocentričnu poziciju arhitekture i pitanje za koga zapravo oblikujemo prostor. Ako arhitektura utječe i na druge oblike života, čovjek više ne može biti njezino jedino mjerilo. Grupa procesi usmjerava se na zrak – njegovu brzinu, temperaturu, miris i vibracije – koji postaje osnovni arhitektonski medij. Umjesto fizičkog objekta oblikuju se uvjeti i procesi. Rad na temu briga uvodi elemente prirode i razgradnju postojećega kao sastavni dio arhitektonskog djelovanja. 60 ◗

Utopian Laboratory Ilica

Education is not a one-way transfer of knowledge, but a process which is reconsidered and redefined through each new result. It is not possible to escape the loop by endlessly repeating already tested models. The space of education should therefore above all be a place for research and experimentation, in which the outcomes are not predicted in advance, and knowledge is not formed only through adopting what is already known, but also through critically questioning it. The architectural design studio Utopian Laboratory Ilica, working within the context of Zagreb’s Ilica Street as a living laboratory, has opened such a space for students by focusing on the research, critical reading of reality, and creative speculation, while remaining firmly grounded in existing conditions. The starting point of the design studio was Experiment from to understand Ilica not just through analyzing Start to Finish its physical structures, but by seeing it as an intricate web of visible and invisible relationships. The space of Ilica is equally shaped by memories, social relations, biological processes, information, historical layers, energies, and atmospheres. Four student groups approached the research of Ilica through different layers, modifying the standard entry parameters of architectural analyses, but also heavily leaning on their personal lived experience of the examined space. The Habitat Group questioned the anthropocentric position of architecture by wondering who we are actually designing for. If architecture has an effect on other forms of life, the human ceases to be its only measure of reference. The Process Group focused on air – its speed, temperature, 61 scent, and vibrations – making it into a basic architecen

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Utopijski laboratorij Ilica

Projektantske odluke su u ovom slučaju povlačenje, uklanjanje i stvaranje uvjeta za druge oblike života. Četvrta grupa sustavi polazi od preplavljenosti suvremenog prostora informacijama. U takvom kontekstu mogućnost privremenog izuzimanja iz informacijama opterećenog prostora pojavljuje se danas kao nova potreba, gotovo na razini nemogućeg luksuza. Rezultati svih četiriju grupa pokazuju da budući arhitektonski odgovori prije svega zahtijevaju promjenu postavljenih pitanja koja prethode projektu. Istraživanjem manje očitih slojeva nekog prostora, otkrivanjem zanemarenih aktera i odnosa mijenja se ono što u prostoru postaje vidljivo i relevantno, a time i načini na koje moramo ubuduće djelovati i zamišljati drugačije budućnosti. Konačni sintetski crtež svih radova možda najjasnije to podcrtava. Četiri istražena sloja samo su četiri moguća ulaza u, od potencijalno mnogo većeg broja, istodobno prisutnih stvarnosti Ilice. Njihovim preklapanjem na istom crtežu propituje se i tradicionalna uloga arhitekta kao autonomnoga genija koji jednom snažnom gestom proizvodi dugo očekivano rješenje. Arhitektura tako postaje rezultat odnosa i pregovaranja između različitih aktera (u ovom slučaju i studenata), procesa i uvjeta, a arhitektonski čin samo kao privremeno stanje unutar trenutačne i kontinuirano promjenjive stvarnosti. Ono što jedino ostaje kao dilema jest je li uvijek moguće ishode eksperimentiranja prezentirati tradicionalnim arhitektonskim alatima: crtežima, planovima i modelima ili je i tu potrebno hrabrije iskoračiti. Je li završni (očekivani) oblik prezentacije garancija da se još uvijek nalazimo u okvirima discipline, iako smo potpuno sigurni da arhitektura podrazumijeva danas puno više od građenja. To se pitanje prvenstveno odnosi na sve nas koji sudjelujemo u edukaciji. Jer tanka je granica između metode koja vodi prema stvarnim i korjenitim promjenama i metodi koja vodi samo produkciji još neviđenih formi. U svakom slučaju, jedno je jasno, ovakve istraživačke radionice nisu tek dodatak tradicionalnoj arhitektonskoj edukaciji, nego mjesta na kojima studenti uče da njihova 62 ◗

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Utopian Laboratory Ilica

tural medium. Instead of shaping a physical object, they shaped conditions and processes. The Care Group introduced elements of nature and the decay of the existing as an integral part of architectural engagement. The design decisions included withdrawal, removal, and the creation of conditions for other forms of life. The fourth group, Systems, begins from contemporary space’s information saturation. Within this context, the possibility of temporarily withdrawing oneself from the information-overloaded space appears as a new need, emerging almost at a level of an impossible luxury. The results of all four groups show that architecture’s future answers require above all a change in the questions which precede the project. By researching the less obvious layers of a space and uncovering neglected actors and relationships, what becomes visible and relevant changes, modifying with it the different futures we imagine and the ways in which we should act in the future. The final collective drawing of all works brings this point across most clearly. The four researched layers are but only four potential entry points for possibly a much larger number of simultaneous realities of Ilica. Overlapping them in one drawing we also question the traditional role of the architect as the autonomous genius that produces the long awaited solution through one strong gesture. Architecture therefore becomes the result of relationships and negotiations between different actors (in this case students), processes, and conditions, and the architectural act itself is just a temporary condition within the current and continuously changing reality. The only dilemma that remains is whether it is always possible to present the outcomes of experimentation through traditional architectural tools: drawings, plans, and models, or is an even bolder step outside these frameworks necessary? Is the (expected) end result of a presentation a guarantee that we are still situated within the boundaries of a discipline, even though we 63 are sure that architecture today requires much more than Experiment from Start to Finish

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uloga nije bez pogovora servisirati naslijeđeni „stvarni svijet“ nakon fakulteta, nego stvarati nove vlastite svjetove.

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building? This question pertains specifically to those of us who participate in the process of education. Because there is a thin line between a method which leads to real and fundamental change and one that only leads to a production of yet unseen forms. In any case, one thing is clear – these types of design studios are not merely an addition to traditional architectural education, but places where students learn that their role after finishing university is not one of servicing the inherited “real world” without question, but rather one of creating their own new worlds.

65 Experiment from Start to Finish

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Utopijski laboratorij Ilica

Arhitektura je u brojnim europskim i globalnim politikama prepoznata kao disciplina sa značajnim utjecajem na okoliš te kao takva može u nadolazećim godinama ili nastaviti biti sudionik u klimatskoj krizi ili predvoditi procese za njezino ublažavanje. Dok se angažman arhitektonske discipline u adresiranju nekih od najrelevantnijih društveno-prostornih problema današnjice svakako povećava, fokus je često usmjeren na razvoj održivih građevinskih praksi, koristeći samo inženjerske aspekte arhitekture. Takvim pristupom često se zanemaruje diskurzivni, eksperimentalni, umjetnički i interdisciplinarni potencijal arhitekture koji se manifestira zamišljanjem i testiranjem novih budućnosti za naš (izgrađeni) okoliš i njegove raznovrsne stanovnike. Istovremeno, utopijski projekti već stoljećima nude neke od Okviri najinovativnijih i poticajnih rješenja koja su često postajala okidač za dugoročne prostorne Utopijskog laboratorija Ilica i društvene promjene ili barem radikalno propitivanje trenutačnog stanja. Umjesto bavljenja isključivo fizičkim aspektima izgrađenog okoliša, utopijski projekti obuhvaćaju širi raspon društvenih i prostornih tema koristeći razne formate tekstualnih i vizualnih narativa. Kolegij Utopijski laboratorij Ilica bavi se istraživanjem i razvijanjem postojećega slojevitoga gradskog prostora zagrebačke Ilice, koristeći utopiju kao kritičku metodu za čitanje prostora i djelovanje u njemu. Kolegij prihvaća složenost današnjeg prostora i društva, kao i negativne konotacije stvaranja totalizirajućih narativa. Umjesto njih, ima za cilj razviti set kreativnih, istraživačkih i transdisciplinarnih alata preuzetih iz utopija i fikcije kojima će se, s pomoću precizno definirane metodološke strukture kolegija, testirati načine kojima se 68 ◗

Utopian Laboratory Ilica

Architecture has been recognized in numerous European and global policy documents as a field exerting a significant effect on our environment and can – in the years to come – either continue to be complicit in the climate crisis or lead in the efforts to mitigate it. While the engagement of the architectural discipline in addressing the most relevant socio-spatial issues of today is increasing, the focus is often geared towards developing sustainable building practices and employing only the engineering aspects of architecture. This approach often neglects the more discursive, experimental, artistic, and interdisciplinary potential of architecture which is manifested through imagining and proposing new futures of our (built) environment and its various inhabitants. At the same time, utopian projects have for centuries offered some of The Framework the most innovative and thought-provoking of Utopian solutions which have often created triggers for Laboratory Ilica long-term social and spatial change, or at least for the radical requestioning of the status quo. Instead of engaging exclusively with the physical aspects of the built environment, utopian projects often encompass a wider array of social and spatial topics through the use of different visual and textual narrative formats. The Utopian Laboratory Ilica course explores and develops the existing, multi-layered urban space of Zagreb’s Ilica Street, employing utopia as a critical method for interpreting the context and intervening in it. The course acknowledges the complexity of contemporary space and society, as well as the negative connotations associated with creating totalizing narratives. It aims 69 to develop a set of creative, research-oriented, and transen

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Utopijski laboratorij Ilica

arhitektura kao disciplina može uključiti u razgovore o našem širem prostornom, klimatskom, kulturnom, političkom, ekonomskom i društvenom okolišu. Podučavajući studente problematizaciji kao istraživačko-projektantskom pristupu, kolegij obrađuje niz alata za djelovanje u kontekstu današnjih prostornih, društvenih i ekoloških problema i izazova, potičući holističko i interdisciplinarno razumijevanje (ne)izgrađenog okoliša te njegovih ljudskih i neljudskih korisnika. Prostor kojim se kolegij bavi jest prostor zagrebačke Ilice koja se proteže se od Trga bana Jelačića na istoku do naselja Vrapče na zapadu, spajajući centar grada i njegovo predgrađe. Duga preko 5600 metara, Ilica je ulica s najviše kućnih brojeva u Zagrebu. Svom svojom duljinom spaja početke Medvedničkih obronaka s donjogradskim blokovima, trgovima, parkovima i željeznicom. Iako današnje stanje Ilice sa sobom često nosi negativne konotacije, povezane s propadanjem trgovačkih i obrtničkih funkcija u njenom prizemlju, u kontekstu kolegija odmičemo se od uvriježenih pogleda na Ilicu i standardnih metoda intervencije. Današnje stanje prostora uzet ćemo kao početnu točku za problematizaciju i spekulaciju. Odmičući se od idealizirane slike prošlosti, stvaramo nove scenarije neke buduće Ilice koja raste iz konteksta suvremenoga grada. Arhitektura i Utopija Definiranje utopije Utopija kao kreativna forma prvi put se pojavljuje u književnosti i to 1516. godine s istoimenom knjigom Thomasa Morea. Iako se tijekom stoljeća utopija najaktivnije razvija kao književna forma, pojavljuje se i u drugim kreativnim disciplinama poput arhitekture, umjetnosti, filma i slikovnog romana. Samim svojim imenom – utopija – kao alternativna i bolja slika svijeta, etimološki se podjednako povezuje sa starogrčkim pojmovima eu topos – „dobro mjesto“ i ou topos – „ne-mjesto“. Unatrag posljednja dva stoljeća utopiji kao formi pridružio se broj različitih srodnih pojmova poput 70 ◗

Okviri Utopijskog laboratorija Ilica

Utopian Laboratory Ilica

disciplinary tools drawn from utopias and fiction. Through a precisely defined methodological framework, these tools are used to test how architecture as a discipline can engage in dialogues about our broader spatial, climatic, cultural, political, economic, and social environments. By teaching students to problematize as a research-based design approach, the course develops various tools for acting within the context of today’s spatial, social, and ecological challenges, fostering a holistic and interdisciplinary understanding of the (un)built environment with its human and non-human inhabitants. The area the course engages with is Zagreb’s Ilica Street, stretching from Ban Jelačić Square in the east to the Vrapče neighborhood in the west, connecting the city center with its suburbs. Spanning over 5,600 meters, Ilica has the largest number of street addresses in Zagreb. Along its entire length, it links the foothills of Medvednica with the Lower Town’s urban blocks, squares, parks, and railway lines. Although the current state of Ilica often carries negative connotations linked to the decline of retail and artisanal activities at the street level, the course aims to move away from conventional views of the street and standard methods of spatial intervention by taking its current condition as a starting point for critical inquiry and speculation. Moving beyond an idealized image of the past, the course aims to create new scenarios for a future Ilica that emerge from the context of the contemporary city. Architecture and Utopia Defining Utopia Utopia as a creative form first appears in literature in 1516 with Thomas More’s eponymous book. While over the centuries, it has most actively evolved in its literary form, it has also appeared in other creative fields such as architecture, art, film, and graphic novels. With its very name – utopia – as an alternative image 71 of a better world, is etymologically linked to two Ancient The Framework of Utopian Laboratory Ilica

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Utopijski laboratorij Ilica

distopije, antiutopije, kritičke utopije, heterotopije itd. I dok se slika svijeta koju te alternativne forme stvaraju možda razlikuje od one utopijske, većina njih bazira se na istoj namjeri – kritičkom osvrtu na određeni povijesni i prostorni kontekst te njegove specifične prostorne i društvene forme sa željom stvaranja alternativne budućnosti. Ovisno o disciplini iz koje se promatra, kao i o konkretnom povijesnom periodu, utopija se može definirati na razne načine i iz raznih aspekata. U kontekstu kolegija Utopijski laboratorij Ilica utopiju definiramo ne kao produkt i/ili idealiziranu sliku svijeta, nego kao kritičku metodu. Temama kojima se bavi te prostornim i društvenim formama koje razvija utopija je usko povezana s kontekstom iz kojeg proizlazi te se njime aktivno bavi. Utopija postaje alat za promišljanje prostora i društva s ciljem paralelnoga kritičkog osvrta na prošlost i sadašnjost te razvijanja spekulativne alternativne budućnosti. Utopiju definiramo3: — kao diskurzivni opis (vizualni, tekstualni, govorni) alternativnog prostora i njemu pripadajućeg društva — kao metodu koja stvara fiktivni svijet koji je opisan putem rasporeda i korelacije različitih prostornih i društvenih formi, neke od kojih proizlaze iz konteksta samih autora, a sve s ciljem stvaranja kohezivnoga nastanjenog prostora — kao možebitnu projekciju budućnosti u odnosu na konteksta iz kojeg proizlazi – nalazi se u prostoru između mogućega i nemogućega — kao kritičku metodu koja proizlazi iz stvarnog konteksta te joj je cilj istovremena refleksija na taj kontekst i stvaranje njegove moguće alternative. Prostorne i društvene forme U kontekstu arhitekture utopija se manifestira kao alternativna slika svijeta ili nekog prostora koja paralelno razrađuje prostorne i društvene forme. Prostorne forme uključuju sve vrste, mjerila i oblike koji se fizički manifestiraju u prostoru 72 ◗

Okviri Utopijskog laboratorija Ilica

Utopian Laboratory Ilica

Greek concepts: eu topos – “good place” and ou topos – “no place”. Over the last two centuries, the utopian form has been widened through a range of related concepts, such as dystopia, anti-utopia, critical utopia, heterotopia, and others. While the visions of the world created in these alternative forms may differ from the utopian ideal, most share a common intent: to critically examine a specific historical and spatial context, along with its particular spatial and social forms, with the aim of envisioning an alternative future. Depending on the discipline and the specific historical period in question, utopia can be defined in various ways and from multiple perspectives. In the context of the Utopian Laboratory Ilica course, we have defined utopia not as a product or an idealized image of the world, but as a critical method. Through the themes it addresses and the spatial and social forms it develops, utopia actively engages and remains closely tied to the context from which it emerges. Utopia thus becomes a tool for reflecting on space and society, enabling a simultaneous critical examination of the past and present while fostering the development of speculative, alternative futures. We define utopia as3: — as a discursive description (visual, textual, or spoken) of an alternative space and the society associated with it — as a method that creates a fictional world described through the arrangement and interrelation of various spatial and social forms – some of which are derived from the authors’ own contexts – all with the aim of creating a cohesive inhabited space — as a potential projection of the future in relation to the context from which it emerges, situated in the space between the possible and the impossible — as a critical method stemming from a real-world context, aiming to both reflect upon that context and create a possible alternative to it. 73 The Framework of Utopian Laboratory Ilica

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poput arhitekture, gradova, infrastrukture, konstruktivnih sustava, bioma, geografskih obilježja, planeta i predmeta. Društvene forme obuhvaćaju sve oblike, konfiguracije, principe uređenja i organizacije, obrasce ponavljanja i ponašanja živih bića koje nemaju vidljivu prostornu i/ili fizičku manifestaciju. Uključuju dnevne i druge cikličke ritmove, društvene i druge hijerarhijske oblike, političke, obrazovne, zdravstvene i druge sustave i grupe, teorijske koncepte koji opisuju ili se referiraju na ljudsko djelovanje poput industrijalizacije, alijenacije, masovne proizvodnje, religije, fragmentacije i drugo. Kolegij će se baviti i referirati ne samo na postojeće i potencijalne prostorne forme nego će kontinuirano promatrati različite društvene forme koje se unutar, oko, zbog tih prostora ili unatoč njima odvijaju. U svojim spekulativnim projektima studenti će se tako baviti ne samo zamišljanjem novih prostornih forma, nego će paralelno razmišljati o načinima na koje te forme utječu na sve vrste stanovnika, ali i obrnuto – na koji način nove društvene forme mogu utjecati na one prostorne. Mjerila U današnje vrijeme utopija više nije (niti treba biti) totalizirajuća slika svijeta, već se može manifestirati kroz različita mjerila. Unutar kolegija zadani kontekst promatrat ćemo i u njega intervenirati kroz tri glavna mjerila – malo, srednje i veliko. Malo mjerilo obuhvaća pojedinca/individuu/jedinku i njihovo direktno okruženje. Srednje mjerilo obuhvaća zajednice, grupe i druge oblike (ljudskih) organizacija te zgrade, javne prostore, proizvodne pogone, institucije. Veliko mjerilo promatra veće populacije, nacije, kulture i društva dok prostorno sagledava mjerilo grada, konglomeracija, pa čak i država i kontinenata.

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Utopian Laboratory Ilica

Social and Spatial Forms Within the context of architecture, utopia manifests itself as an alternative image of the world, or a space that elaborates upon spatial and social forms. Spatial forms include all types, scales, and forms that are physically manifested in space such as architecture, cities, infrastructure, constructive systems, biomes, geographical features, planets, and objects. Social forms include all forms, configurations, and principles of arrangement and organization, as well as patterns of repetition and the behavior of living beings that have no visible spatial and/or physical manifestation. They include daily and other cyclical rhythms, social and other hierarchical forms, political, educational, health along with other systems and groups, and theoretical concepts that describe or refer to human activity such as industrialization, alienation, mass production, religion, fragmentation, and others. The course deals with and refer to existing and potential spatial forms, and continuously observe different social forms that take place within, around, because of, or despite these spaces. Through their speculative scenarios, students deal with imagining new forms and also think about the ways in which these forms affect all types of inhabitants, and vice versa: in what ways new social forms can affect space. Scales Within the contemporary context, utopia is no longer (nor should it be) a totalizing image of the world. Instead, it can manifest across various scales. Within this course, we examine the given context and intervene in it through three primary scales: small, medium, and large. The small scale encompasses the individual and their immediate surroundings. The medium scale covers communities, groups, and other forms of (human) organization, as well as buildings, public spaces, production facilities, 75 and institutions. The large scale considers larger populaThe Framework of Utopian Laboratory Ilica

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Utopijski laboratorij Ilica

Utopijske teme Iako svaki projekt razvija vlastitu temu koja će biti usko povezan s prostornim i društvenim kontekstom prostora i vremena iz kojeg proizlazi, studenti će se u razradi također fokusirati na jednu od četiri ponuđene utopijske teme kroz koje će razvijati svoje istraživanje i spekulativne scenarije. Teme kojima ćemo se baviti nadgradnja su četiriju glavnih skupina tema kojima su se utopije poglavito bavile u 20. stoljeću – stanovanje (kroz različite, oblike, mjerila, prostorne i društvene konfiguracije te vrijeme), rad (produkcija kroz sva mjerila i značenja te odnos i raspodjela odmora i rada), tehnologija (utjecaj s prostornog i društvenog gledišta) i upravljanje (također na prostornoj i društvenoj razini). S obzirom na to da smo u kontekstu današnjice puno svjesniji naše povezanosti i međuovisnosti s drugim bićima te živim i neživim sustavima, teme stanovanja, rada, tehnologije i upravljanja konceptualno će se proširiti kako bi u sebe uključile današnje šire i kompleksnije viđenje svijeta. Stanovanje će se tako proširiti na koncept staništa, rad na pojam procesa, tehnologija na infrastrukturne sustave, a upravljanje na koncept brige. Stanište uključuje ne samo prostor ljudskog stanovanja već i onaj koji nastanjuju druga živa bića. Koncept staništa također podrazumijeva i omogućavanje nužnih uvjeta za održanje pojedinih oblika života. Pojam procesa širi koncept rada, tj. produkcije sa isključivo korisnih i upotrebljivih rezultata rada na nusprodukte, otpad te druge neželjene ili čak štetne produkte. Koncept procesa također bolje sagledava i nefizičke produkte rada i proizvodnje poput spekulacije, dugova i sl. Tehnologija je sastavni dio svakoga infrastrukturnog sustava. Istovremeno, infrastrukturni sustavi omogućuju razvoj novih tehnologija. Danas fokus razvitka više nije na pojedinačnim izumima, nego je inovacije potrebno sagledavati u sistemskom mjerilu jer se tako implementira. 76 ◗

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Utopian Laboratory Ilica

tions, nations, cultures, and societies, while spatially addressing the scale of cities, agglomerations, and even entire countries and continents.

Habitat

Processes byproducts decay waste debt speculation

conditions for life more-than-humans

commodities

spaces for living

accumulation of capital

humans

products work/leisure

Housing

Production

Systems

Care needs

innovation as system

collaboration

infrastructure

agency

object

hierarchies

innovation as product

rules interests

Technology

Governance

Utopian Themes While each project develops its own scenario which is closely linked to the spatial and social context of the time 77 and place from which it emerges, students also develThe Framework of Utopian Laboratory Ilica

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Utopijski laboratorij Ilica

Koncept brige kreće od drugačijih odnosa moći od koncepta upravljanja. Dok upravljanje nužno stvara hijerarhijske odnose, često provodeći interese manjine nad većinom, briga podrazumijeva kontekstualizaciju i uvriježenost potreba individua i manjih grupa unutar zajedničkog sustava. Zadatak Zadatak kolegija sastoji se od dvaju glavnih dijelova: kolektivnoga analitičkog i spekulativnog crteža izrađenoga na razini grupe te spekulativnih scenarija izrađenih u manjim grupama (oko tri studenta po grupi). Nizom kratkih zadataka raspoređenih u tri segmenta kolegija studenti se upoznaju sa zadanim prostorom Ilice, njegovim pričama, protagonistima, prošlostima te neostvarenim budućnostima. Tijekom cijelog semestra studenti u manjim grupama kreiraju spekulativne scenarije u prikazima i narativima Ilice iz neke druge budućnosti. Scenariji proizlaze iz jedne od četiriju predloženih utopijskih tema, a baziraju se na opaženim i istraženim elementima trenutačnog i povijesnog konteksta – njegovim prostornim i društvenim formama – te za njih nude alternativnu priču razvoja putem novih forma. Stvarajući paralelno priču i vizualnu reprezentaciju svojih spekulativnih scenarija putem prikladno odabranih medija, studenti prostor promatraju kroz različita mjerila, kroz perspektivu različitih protagonista i korisnika te spekuliraju o razvoju predloženih intervencije tijekom vremena. Sami spekulativni scenariji, iako bazirani u prostoru, ne trebaju biti osmišljeni isključivo u formatu (nove) zgrade, nego mogu biti i novi načini korištenja postojećeg prostora, prostorni, infrastrukturni sustavi ili mogu predlagati nove međuodnose postojećih forma. Kako bi studenti što uspješnije mogli spekulirati o potencijalnim budućnostima i utjecajima svojih spekulativnih intervencija, nužno je da se u procesu projektiranja koriste ne samo prostornim nego i društvenim formama. Na taj način kontinuirano osvještavaju korelaciju i potencijal arhitekture kao primarno 78 ◗

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Utopian Laboratory Ilica

op their work based on one of four overarching utopian themes which guides their research and speculative scenarios. The themes we address build upon the four main categories that dominated 20th-century utopian thought: housing (encompassing various forms, scales, spatial and social configurations, and temporal aspects), work (production across all scales and meanings, as well as the relationship between and distribution of leisure and labor), technology (its impact from spatial and social perspectives), and governance (likewise at spatial and social levels). Given that today we are far more aware of our interconnectedness and interdependence with other beings, as well as living and non-living systems, the themes of housing, work, technology, and governance are conceptually expanded to incorporate this broader, more complex contemporary worldview. Thus, housing expands to the concept of Habitat, work to the notion of Process, technology to infrastructural Systems, and governance to the concept of Care. Habitat encompasses not only the space inhabited by humans but also that which is occupied by other living beings. The concept of Habitat also entails providing the necessary conditions for sustaining specific forms of life. The concept of Process expands on the notion of work or production, extending it beyond merely useful and usable outputs to also include the by-products, waste, and other unwanted or even harmful results. This concept also offers a better perspective on non-physical outputs of work and production, such as speculation, debt, and the like. Technology is seen as an integral part of every infrastructure System. At the same time, infrastructure Systems enable the development of new technologies. Today, the focus of development has shifted away from isolated inventions. Instead, innovations must be viewed on a systemic scale, as that is the context in which they are implemented. 79 The concept of Care is rooted in power relations that The Framework of Utopian Laboratory Ilica

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Utopijski laboratorij Ilica

imagination 1 SC O EN I i r t i c c a lz AR otopiaia third landone

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u e f i o n m et h o d olo g y m m a o ab sp d ys t o p i a c d u n l a tio a RI n s o cial O

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c o n te x t

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izgrađene i prostorne forme s društvenim, kulturnim i političkim kontekstom u kojem se nalazi te efektima koje kreira. Zadatak kolegija Utopijski laboratorij Ilica izvodi se u tri glavna tematska i metodološka bloka: (1) Lokalni i globalni kontekst, (2) Metodologija i (3) Imaginacija. Svaki blok fokusira se na određeni segment razrade istraživačko-projektnog zadatka te putem predavanja pozvanih gostiju i usvajanja zadane literature studente uvodi u kontekstualni, konceptualni, teorijski i metodološki okvir izrade kritičkih i spekulativnih scenarija. Iako se svaki blok bavi konkretnom fazom procesa, od studenata se očekuje da tijekom cijelog semestra aktivno razmišljaju i paralelno djeluju kroz sve tri faze, kontinuirano ih dovodeći u međuodnos. 80 ◗

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Utopian Laboratory Ilica

differ from those found in the concept of governance. While governance inevitably creates hierarchical relationships, often enforcing the interests of a minority over the majority, Care contextualizes and integrates the needs of individuals and smaller groups within a shared system. Assignment The course assignment consists of two main parts: a collective analytical and speculative drawing produced at the level of the entire group, and speculative scenarios developed in smaller groups (approximately three students per group). Through a series of short tasks distributed across three course segments, students familiarize themselves with the specific context of Ilica, its stories and protagonists, its pasts and unrealized futures. Throughout the semester, students work in small groups to create speculative scenarios featuring depictions and narratives of Ilica set in an alternative future. These scenarios stem from one of the four utopian themes and are grounded in observed and researched elements of the site’s current and historical context – specifically its spatial and social forms – while offering an alternative developmental narrative through new forms. By simultaneously developing the narratives and visual representation of their speculative scenarios using appropriate media, students examine the space across various scales and from the perspectives of different protagonists and users, while speculating on how their proposed interventions might evolve over time. Although grounded in a specific location, the speculative scenarios do not need to be conceived solely as (new) buildings; they may also take the form of new ways of utilizing existing space, spatial or infrastructural systems, or as proposals for new interrelationships between existing forms. To successfully speculate on potential futures and the impact of their interventions, it is essential that students engage with both spatial and social forms 81 throughout the design process. This way, they continuousThe Framework of Utopian Laboratory Ilica

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Utopian Laboratory Ilica

ly raise awareness of the correlation and potential of architecture as a primarily built and spatial form, with the social, cultural, and political context in which it is situated, as well as the effects it creates. The Utopian Laboratory Ilica course is carried out through three main thematic and methodological blocks: (1) Local and global context, (2) Methodology, and (3) Imagination. Each block focuses on a specific segment of the elaboration of the research project task, and through the lectures of invited guests and the adoption of the assigned literature, students are introduced to the contextual, conceptual, theoretical, and methodological framework of creating critical and speculative scenarios. Although each block deals with a specific phase of the process, students are expected to actively think and act in parallel through all three phases throughout the semester, continuously establishing connections between them.

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❶ Lokalni i globalni kontekst Prvi segment bavit će se paralelno otkrivanjem zadanog konteksta Ilice te širega teorijskog i društveno-političkog konteksta današnjice. Studenti uz pomoć zadane literature usvajaju suvremene teorijske i prostorne koncepte koji će im pomoći u promatranju, mapiranju i analizi zadanog prostora Ilice, njegovih prostornih i društvenih formi, priča, živih, neživih, ljudskih i ne-ljudskih protagonista, sadašnjosti, prošlosti i neostvarenih budućnosti. Studenti se bave odabranim segmentima prostora unutar manjih grupa dok paralelno kao kolektiv izrađuju zajednički analitički crtež prostora koji će se temeljiti na njihovim saznanjima, interesima i opažanjima. Analize odabranih prostornih segmenata u grupama te osvrti na zadane teorijske tekstove tvore uvodnu kolekciju kritičkog čitanja prostora Ilice te služe kao podloga za razvijanje spekulativnih scenarija. Zajednički crtež služi kao podloga za prikaz kolektivne i slojevite sadašnjosti i spekulativne budućnosti Ilice koja će se razvijati tijekom ostatka semestra.

Zadatak 1.1. — Kritičko čitanje prostora ilice Studenti se u prvom bloku kolegija bave kritičkim čitanjem prostora Ilice. Istražuju, analiziraju i osvrću se na prostorne, funkcionalne, društvene, teorijske, povijesne i konceptualne aspekte zadanoga gradskog konteksta. Prostor Ilice istražuje se paralelno u manjim skupinama te na razini cijele grupe. Kritičko čitanje prostora Ilice odvijat će se paralelno kroz dva mjerila – lokalno i globalno – koja se na kraju prvog zadatka preklapaju. Unutar lokalnog mjerila promatra se sam prostor i njegove karakteristike dok se unutar globalnog mjerila prostor sagledava kroz perspektivu različitih teorijskih koncepata koje studenti usvajaju čitanjem i u osvrtu na zadane tekstove. Čitanjem teorijskih tekstova studenti dobivaju uvid u 84 ◗

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Utopian Laboratory Ilica

❶ Local and Global Context The first segment involves simultaneously exploring the specific context of Ilica and the broader theoretical and socio-political context of today. Through assigned readings, students acquire contemporary theoretical and spatial concepts that aid them in observing, mapping, and analyzing the Ilica site, its spatial and social forms, narratives, and protagonists (animate and inanimate, human and non-human), as well as its past, present, and unrealized futures. Students work in small groups to examine selected spatial segments of the context while simultaneously collaborating on a collective analytical drawing that emerges from their findings, interests, and observations. Group analyses of selected spatial segments and reflections on the assigned theoretical texts form an initial body of critical readings of Ilica, serving as a foundation for developing speculative scenarios. The collective drawing acts as a basis for visualizing the multifaceted, collective present and the speculative future of Ilica, which are further developed throughout the remainder of the semester.

Assignment 1.1. — Critical Reading of Ilica In the first block of the course, students engage in a critical reading of Ilica. They investigate, analyze, and reflect upon the spatial, functional, social, theoretical, historical, and conceptual aspects of the given urban context. Ilica is explored both in small groups and at the level of the entire class. The critical reading takes place across two scales – the local and the global – which converge at the conclusion of the first assignment. The local scale focuses on the space itself and its characteristics, while the global scale views the space through the lens of various theoretical concepts that students learn and 85 apply through reading and reflecting on assigned texts. The Framework of Utopian Laboratory Ilica

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Utopijski laboratorij Ilica

glavne teorijske koncepte koje koristimo na kolegiju te na temelju kojih stvaramo zajednički teorijski okvir za daljnji rad. Odabrani tekstovi kao cjelina studentima daju širok uvid u arhitekturu kao prostornu i društvenu disciplinu te pozicioniraju ulogu arhitekture ne samo kao profesije koja se bavi proizvodnjom prostornih formi nego kao društveno angažirane djelatnosti koja ima uvid i utjecaj u različite aspekte društva. Tekstovi dovode u međuodnos izgrađeni prostor te različite sustave, procese, aktere i stanovnike u njemu i oko njega. Svaka tematska skupina studenata dobiva dva do tri teorijska teksta koje tijekom prvog bloka kolegija čitaju i analiziraju te se osvrću na njih grafički i tekstualno u kontekstu zadanoga gradskog prostora Ilice. Čitanje i osvrt na tekstove studentima pomaže u razvoju interdisciplinarnog pristupa, u cjelovitom, kompleksnom i kritičkom promatranju prostora te u razvoju spekulativnih scenarija. Unutar tekstualnog osvrta na zadanu literaturu studenti će odgovoriti na dvije grupe pitanja: ◗

Zadani tekstovi po tematskim grupama su: ● STANIŠTA ① Latour, Bruno. „Seven Objections Against Landing on Earth“. Critical Zones: The Science and Politics of Landing on Earth. B. Latour, P. Weibel. Cambridge: MIT Press. 2020. ③ Clément, Gilles. Manifesto of the Third Landscape, 2004. ● PROCESI ① Gissen, David. Subnature: Architecture’s Other Environments. New York: Princeton Architectural Press, 2009. ● BRIGA ① Awan, Nishat, Tatjana Schneider, Jeremy Till. Spatial Agency: Other Ways of Doing Architecture. London i New York: Routledge. 2011. ③ Jackson, Steven J. „Rethinking Repair“. U Media Technologies: Essays on Communication, Materiality, and Society. T. Gillespie, P. J. Boczkowski, K. A. Foot. Cambridge: MIT Press. 2014. ● SUSTAVI ① Easterling, Keller. Extrastatecraft: The Power of Infrastructure Space. London: Verso, 2014. ③ Pope, Albert. „0.0 The Promethean Increment.“ U Inverse Utopia: Urbanism and the Great Acceleration, Basel/Berlin/ Boston: Birkhäuser, 2024.

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Default texts by thematic groups are:

● HABITATS ② Haraway, Donna J. Staying with the Trouble: Making Kin in the Chthulucene. Durham, NC: Duke University Press, 2016.

● PROCESSES ② Morton, Timothy. Hyperobjects: Philosophy and Ecology After the End of the World. The University of Minnesota Press, 2013.

● CARE ② Haraway, Donna J. Staying with the Trouble: Making Kin in the Chthulucene. Durham, NC: Duke University Press, 2016.

● SYSTEMS ② Mitrović, Ivica, James Auger, Julian Hanna, Ingi Helgason. Beyond speculative design: past – present – future. University of Split, 2021.

Through the theoretical readings, students gain insight into the key concepts used in the context of the course, which serve as the basis for establishing a shared theoretical framework for subsequent work. Collectively, the selected texts provide students with a broad understanding of architecture as both a spatial and social discipline, positioning it not merely as a profession concerned with producing spatial forms, but as a socially engaged practice with insight into and influence upon various aspects of society. The texts help establish interrelationships between the built environment and the various systems, processes, actors, and inhabitants within and around it. Each thematic student group is assigned two to three theoretical texts to read and analyze during the first module. They then reflect on these texts both graphically and in writing, all within the specific urban context of Ilica. Reading and reviewing texts help students in developing an interdisciplinary approach, in creating a comprehensive,

The Framework of Utopian Laboratory Ilica

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Utopijski laboratorij Ilica

— Tko je napisao tekst i zašto? U kojem kontekstu je tekst nastao? Koje su glavne hipoteze teksta, o čemu govori, koje pojmove uvodi i kako ih objašnjava? — Kako se tekst i koncepti koje predstavlja mogu prenijeti na kontekst Ilice? Kako možemo čitati ili promatrati kontekst Ilice kroz koncepte i pristupe koje tekst predlaže? Odgovor na svaku grupu pitanja studenti će pripremiti u formi kratkog teksta. Uz tekstualni osvrt studenti izrađuju i dijagram prostora Ilice ili odabranog segmenta koji naučene i obrađene teorijske koncepte situira u stvarni gradski prostor.

Zadatak 1.2. — Zajednički analitički crtež ilice Cjelokupni crtež ne treba predstavljati samo jedan definirani prostor Ilice, nego može biti sastavljen od segmenata te prikazivati različite aspekte prostora i fokusirati se na različite tipove sadržaja. Mjerilo crteža treba biti ujednačeno, ali sama struktura može biti segmentirana – situirajući jedan pored drugoga prostore koji inače možda nisu u direktnom fizičkom kontaktu. Strukturu crteža, odabrane segmente i mjerilo crteža studenti će odrediti u koordinaciji s voditeljima. Crtež je izrađen u formi aksonometrijskog ili izometrijskog prikaza. Smjer gledišta ne treba biti konzistentan za svaki segment te se može odrediti ovisno o potrebama svakoga individualnog prikaza. Za pojedine segmente je također moguće odrediti sagledavaju li se odozgo ili odozdo, prikazuju li interijer ili eksterijer, vanjski prostor ili podzemlje, ili prikazuju samo određeni sloj nekog prostora. Strukturirajući segmente prostora u zajednički crtež, studenti određuju pozicije individualnih dijelova intervencije te njihove međuodnose sa susjednim segmentima. Prostori 88 ◗

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complex and critical observation of space, and in the development of speculative scenarios. Upon review of the assigned literature, students answer two groups of questions: — Who wrote the text and why? In what context was the text created? What are the main hypotheses of the text, what does it talk about, what concepts does it introduce, and how does it explain them? — How can the text and the concepts it represents be transferred to the context of Ilica? How can we read or observe the context of Ilica through the concepts and approaches that the text proposes? Students prepare the answer to each group of questions in the form of a short essay. In addition, students create a diagram of Ilica or a selected segment that situates the learned theoretical concepts in the real urban context.

Assignment 1.2. — Collective Analytical Drawing of Ilica The overall drawing does not need to represent a single, defined urban space. It can instead be composed of segments depicting various aspects of the site and focusing on different types of content. While the drawing’s scale must be consistent, its structure may be segmented, placing spaces adjacently that might not otherwise be in direct physical contact. Students determine the drawing’s structure, selected segments, and scale in coordination with the project supervisors. The drawing is executed as an axonometric or isometric projection. The viewpoint does not need to remain consistent across all segments, but may be determined based on the specific requirements of each individual view/segment. For specific segments, 89 a decision may also be made regarding whether they are The Framework of Utopian Laboratory Ilica

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preklapanja trebat će biti promišljeni i grafički i konceptualno. Jedini fiksni element zajedničkog crteža bit će prostor same Ilice. Svaki individualni segment trebao bi uspostaviti neku vrstu odnosa sa samom ulicom te bi ona kao takva trebala kontinuirano prolaziti cijelom duljinom crteža, konceptualno spajajući sve segmente. Dimenzija zajedničkog crteža biti će 3 × 1 m, dok će dimenzija svakog segmenta biti određena ukupnim brojem grupa. Crtež će se izrađivati digitalno. Tijekom prvog bloka kolegija studenti će moći u manjem mjerilu ili na ispisu segmenata crteža testirati načine preklopa i različite grafičke prikaze. Završni analitički crtež printat će se u punom mjerilu. Zajednički analitički crtež prostora izrađivat će se kontinuirano tijekom prvog segmenta kolegija te će nakon toga poslužiti kao podloga za zajednički prikaz spekulativnih i utopijskih scenarija. Segmenti koje studenti odaberu za analizu bit će isti oni na kojima će razrađivati svoju intervenciju tijekom ostatka semestra.

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viewed from above or below, whether they depict interiors or exteriors, ground level or underground spaces, or merely a specific layer of a given space. By structuring spatial segments into a unified drawing, students determine the placement of individual interventions and their interrelationships with adjacent segments. Areas of overlap require careful consideration from both graphic and conceptual perspectives. The only fixed element of the collective drawing is the space of Ilica itself. Each individual segment should establish a relationship with the street, which should run continuously along the entire length of the drawing, conceptually linking all segments. The dimensions of the collective drawing is 3 ×1 meters, while the size of each segment isdetermined by the total number of groups. The drawing is be produced digitally. During the first module of the course, students are able to test overlapping techniques and various graphic representations at a smaller scale or by printing segments of the drawing. The final analytical drawing is printed at full scale. The collective analytical drawing of the space is developed throughout the first segment of the course and subsequently serves as a base for the joint presentation of speculative and utopian scenarios. The segments students select for analysis are the same ones they used to develop their speculative scenarios throughout the remainder of the semester.

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❷ Metodologija Drugi segment bavi se nadgradnjom saznanja i koncepata iz prvog bloka s ciljem postavljanja glavnoga konceptualnog i metodološkog okvira pojedinih spekulativnih scenarija. Unutar ovog bloka studenti prostor Ilice sagledavaju kroz različite utopijske, narativne, spekulativne i istraživačko-projektantske pristupe iz arhitekture, književnosti i drugih srodnih kreativnih disciplina koje upoznaju istraživanjem primjera, čitanjem literature te na predavanjima gostiju predavača. Ishod drugog bloka kolegija jest konceptualni i metodološki prijedlog spekulativnog scenarija, proizašloga iz okvira jedne od utopijskih tema, koji studenti prezentiraju unutar grupe u zadanom vizualnom i tekstualnom formatu.

Zadatak 2. — Utopijske metode i pristupi Studenti se u drugom bloku kolegija upoznaju s nizom utopijskih i spekulativnih metoda i metodoloških pristupa koji će im koristiti u daljnjoj razradi spekulativnih scenarija za prostor Ilice. Upoznavanjem različitih primjera iz teorije u odabranoj literaturi studentski zadatak je stvoriti vlastiti metodološki pristup koji najbolje odgovara glavnoj temi njihove grupe, rezultatima i saznanjima kritičkog čitanja Ilice te njihovim spekulativnim intencijama. Čitanjem odabranih tekstova, koji se bave različitim utopijskim i spekulativnim metodološkim pristupima razvijenim u kontekstu arhitekture, ali i u drugim disciplinama, studenti dobivaju uvid u niz projektantskih i kreativnih mogućnosti za pristup kompleksnom prostoru Ilice. Tekstovi demonstriraju niz konceptualnih i praktičnih načina za adresiranje niza prostornih i društvenih tema kroz različite nivoe apstrakcije. Većina odabranih tekstova nadograđuje se na prethodno pročitane teorijske tekstove te nudi konkretne metode i primjere za djelovanje. 92 ◗

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❷ Methodology The second segment of the course builds on the knowledge and concepts from the first block with the aim of establishing the main conceptual and methodological framework for the speculative scenarios. Within this block, students look at the space of Ilica through various utopian, narrative, speculative, and research-based design approaches from architecture, literature, and other related creative disciplines. They learn these approaches through researching examples and assigned literature as well as through guest lectures. The outcome of the second block of the course is a conceptual and methodological proposal of a speculative scenario, derived from the framework of one of the utopian themes, which the students present within the group through a given visual and textual format.

Assignment 2. — Utopian Methods and Approaches In the second block of the course, students are introduced to a series of utopian and speculative methods and methodological approaches that are vital in the further elaboration of speculative scenarios for Ilica. Through reading selected texts that deal with various utopian and speculative methods, students gain insight into several possibilities for accessing the complex context of Ilica. Through familiarization with different examples from theory through selected literature, students have the task of creating their own methodological approach that best suits the main topic of their group, the results and insights from the critical reading of Ilica, and their speculative intentions. By reading selected texts, students gain insight into a series of utopian and speculative methodological approaches developed not only in the context of architecture, but also through other creative disciplines. The 93 texts demonstrate a number of conceptual and practical The Framework of Utopian Laboratory Ilica

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Kao rezultat čitanja, svaka tematska grupa studenata piše dva kratka teksta te izrađuje jedan grafički/dijagramski osvrt. Čitanje i osvrt na tekstove studentima pomaže u razvoju interdisciplinarnoga metodološkog pristupa, u cjelovitom, kompleksnom i kritičkom promatranju prostora te u razvoju spekulativnih scenarija. Prvi tekst predstavlja osvrt na pročitanu metodološku literaturu. Od pročitane literature studenti mogu izabrati jedan ili više tekstova na koje će se osvrnuti na temelju relevantnosti za glavnu temu kojom se bave. U vlastitim tekstovima studenti se osvrću na sljedeće teme:

Zadani tekstovi po tematskim grupama su: ● STANIŠTA ① Foucault, Michel. „Of Other Spaces: Utopias and Heterotopias.“ trans. Jay Miskowiec. Diacritics 16, no. 1 (Spring 1986): 22–27. ● PROCESI ① Kallipoliti, Lydia. Histories of Ecological Design: An Unfinished Cyclopedia. New York: Actar Publishers, 2024.

● BRIGA ① Dunne, Anthony, Fiona Raby. Speculative Everything: Design, Fiction, and Social Dreaming. Cambridge, Massachusetts i London: The MIT Press, 2013. ● SUSTAVI ① Kallipoliti, Lydia. Histories of Ecological

Design: An Unfinished Cyclopedia. New — Koji je glavni metodološki York: Actar Publishers, 2024. pristup koji autor/ica teksta predlaže? Proizlazi li pristup ③ Jameson, Fredric. „World Reduction iz arhitekture ili neke druge in Le Guin.“, Archaeologies of the Future: kreativne discipline? Ako ne The Desire Called Utopia and Other Science Fictions, 267–280. London: proizlazi iz arhitekture, može Verso, 2005. li biti primjenjiv i u arhitekturi? — Kako se tekst i metode/metodološki pristupi koje predstavlja mogu prenijeti na kontekst Ilice? Kako možemo čitati ili promatrati kontekst Ilice kroz koncepte i pristupe koje tekst predlaže?

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Default texts by thematic groups are:

● HABITATS ② Jameson, Fredric. „World Reduction in Le Guin.“, Archaeologies of the Future: The Desire Called Utopia and Other Science Fictions, 267–280. London: Verso, 2005.

● PROCESSES ② Bhatia, Neeraj, Maya Przybylski, Lola Sheppard, Mason White. Coupling: Strategies for Infrastructural Opportunism. Pamphlet Architecture 30. New York: Princeton Architectural Press, 2011

● CARE ② Kallipoliti, Lydia. Histories of Ecological Design: An Unfinished Cyclopedia. New York: Actar Publishers, 2024.

● SYSTEMS ② Dunne, Anthony, Fiona Raby. „Design as Critque.“ U Speculative Everything: Design, Fiction, and Social Dreaming. Cambridge: MIT Press, 2013.

ways to address a range of spatial and social themes through different levels of abstraction. Most of the selected texts build on previously read theoretical literature and offer concrete methods and examples for action. As a result of the reading, each thematic group of students write two short essays and create a graphic/diagrammatic response. Reading and reviewing the texts help students to develop an interdisciplinary, methodological approach, and a complete, complex, and critical observation of space, and aid them in the development of speculative scenarios. The students’ first essay are a review of the methodological literature they were assigned. From it, they can choose one or more texts to refer to, based on their relevance with regard to the main theme they have chosen. In their writings, students should reflect on the following topics:

— What is the main methodological approach proposed by the author? Does the approach stem from architecture or another creative discipline? If it does not originate in architecture, 95 can it be applied within the field of architecture? The Framework of Utopian Laboratory Ilica

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Drugi tekst koji studenti produciraju predstavlja koncept metodološkog pristupa koji studenti razvijaju za svoj spekulativni scenarij. Tekst se bazira na jednom ili više pristupa istraženih u zadanoj literaturi koji se primjenjuje na temu svake grupe te na sam prostor Ilice kojim se pojedina grupa bavi. Drugi tekst je također popraćen konceptualnim dijagramom koji detaljnije objašnjava razvijeni metodološki pristup te njegove potencijalne prostorne i društvene implikacije.

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— How can the text and the methods or methodological approaches it presents, be translated into the context of Ilica? How can we read or observe the context of Ilica through the concepts and approaches proposed by the text? The second essay students produce within this block presents the concept of the methodological approach they develop for their speculative scenario. It is based on one or more of the approaches researched through the given literature, which is then applied to the theme of each group and to the context of Ilica itself. The second essay is also accompanied by a conceptual diagram that explains in more detail the developed methodological approach and its potential spatial and social implications.

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❸ Imaginacija Treći segment kolegija bavi se razradom spekulativnih scenarija u manjim grupama. Koristeći utopijski i narativni pristup, studenti stvaraju spekulativne scenarije koji se bave jednom od četiriju zadanih utopijskih tema, a odvijaju se u prostoru Ilice. Scenariji putem teksta i slike razmatraju svoje potencijalne prostorne i društvene utjecaje kako na zadani okoliš, tako i na njegove sadašnje i buduće stanovnike i korisnike. Unutar posljednjeg bloka studenti se također osvrću na kolektivni doprinos prostoru te razmatraju potencijalne međuodnose svojih prijedloga što ilustriraju nadogradnjom zajedničkoga analitičkog crteža. Kolegij završava zajedničkom prezentacijom projekata s pozvanim gostima te izložbom radova.

Zadatak 3.1. — Utopijski protagonisti i antagonisti U procesu razvoja spekulativnih scenarija za prostor Ilice studenti u grupama razvijaju kratke priče utopijskih protagonista i antagonista. Cilj zadatka jest potaknuti studente na razmišljanje o utopiji ne samo kao afirmativnoj i idealnoj viziji budućeg svijeta, nego kao o kritičkoj metodi koja proizlazi iz identificiranih problema, prepreka i nemogućnosti današnjice, s njima se na kreativan način nosi te ih potencijalno premošćuje. U sklopu zadatka razvoja protagonista i antagonista studenti moraju istovremeno razmišljati o željenim potencijalima, mogućnostima i vrijednostima njihovih spekulativnih scenarija, ali i o određenim preprekama, konfliktima i suprotstavljenim interesima koji su sastavni dio procesa. U razvijenim pričama studenti uče kako koristiti narativ kao alat za analizu kompleksnih društvenih i prostornih procesa te kroz njih situirati svoje spekulativne scenarije u prostoru između željenoga i postojećega, mogućega i nemogućega, poželjnoga i nepoželjnoga. Razradom zadatka studenti će u grupama moći bolje definirati logiku i ciljeve 98 ◗

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❸ Imagination The third segment of the course focuses on developing speculative scenarios in small groups. Using utopian and narrative-based approaches, students create speculative scenarios based on one of four assigned utopian themes, set within the context of Ilica. Through text and imagery, these scenarios explore potential spatial and social impacts, both on the specific context and on its current and future inhabitants and users. In the final phase, students also reflect on their collective contribution to the context of Ilica and consider the interrelationships between their proposals, illustrating this by building upon their shared analytical drawing. The course concludes with a joint project presentation featuring invited guests and an exhibition of the work.

Assignment 3.1. — Utopian Protagonists and Antagonists While developing speculative scenarios for the Ilica area, students work in groups to craft short stories featuring utopian protagonists and antagonists. The goal of the assignment is to encourage students to view utopia not as an affirmative, ideal vision of a future world, but as a critical method that stems from the identified problems, obstacles, and impossibilities of the present, addressing them creatively – and potentially overcoming them. As they develop protagonists and antagonists, students must simultaneously consider the desired potentials, possibilities, and values of their speculative scenarios, alongside the specific obstacles, conflicts, and competing interests inherent in the process. Through these stories, students learn to use narrative as a tool for analyzing complex social and spatial processes, thereby situating their speculative scenarios in the space between the desired and the 99 existing, the possible and the impossible, the desirable The Framework of Utopian Laboratory Ilica

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svojih spekulativnih scenarija te povezati prostorne i društvene forme kojima se bave. Protagonisti i antagonisti Protagonisti i antagonisti predstavljaju aktere u trenutačnom i budućem prostoru Ilice koji imaju aktivan utjecaj ili su pod aktivnim utjecajem spekulativnih scenarija. Protagonist je situiran u imaginarnoj budućnosti Ilice u kojoj je spekulativni scenarij ostvaren. Kao „lik“, protagonist može biti ljudski ili neljudski pojedinac, zajednica, grupa ili institucija koji utjelovljuju glavne vrijednosti i ciljeve spekulativnog scenarija. Antagonist ne treba biti „zlikovac“, nego predstavlja aktere, sile i/ili strukture koje su suprotstavljene cilju spekulativnog scenarija. Za razliku od protagonista koji se nalazi u budućnosti, antagonist polazi iz sadašnjosti te se može – u nekom formatu – nalaziti i u sklopu spekulativnog scenarija budućnosti. Cilj antagonista je jasno identificirati i artikulirati prepreke, napetosti i kontradikcije između zatečenog stanja i zamišljene budućnosti. Glavna razlika između protagonista i antagonista je konceptualna – ona se ne bazira na moralnim kategorijama dobroga i lošega, nego njihov međuodnos definira sve one aspekte koji otežavaju, usmjeravaju, transformiraju ili destabiliziraju proces ostvarenja spekulativnog scenarija. Za priče protagonista i antagonista studenti će se osvrnuti na neka od sljedećih pitanja: — Koja je njihova pozadinska priča? Kako su povezani s Ilicom? — Koja je njihova uloga u spekulativnom scenariju? — Koje su njihove ključne motivacije i vrijednosti? — S kojim izazovima se susreću? Svaku priču studenti pripremaju u formi kratkoga grupnog narativa i vizualne reprezentacije svojih protagonista i antagonista. 100 ◗

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and the undesirable. By working through the assignment, student groups become able to better define the logic and objectives of their speculative scenarios and connect the spatial and social forms they are exploring. Protagonists and Antagonists Protagonists and antagonists represent actors within the current and future space of Ilica who either actively influence the speculative scenarios or are themselves actively influenced by them. The protagonist is situated in an imagined future Ilica, where the speculative scenario has already been realized. As a “character,” the protagonist may be a human or non-human individual, a community, a group, or an institution that embodies the core values and goals of the speculative scenario. The antagonist need not be a “villain”; rather, they represent the actors, forces, and/or structures that stand in opposition to the goal of the speculative scenario. Unlike the protagonist, who is situated in the future, the antagonist originates in the present, though they may also in some form appear within the speculative future scenario. The antagonist’s role is to clearly identify and articulate the obstacles, tensions, and contradictions between the status quo and the imagined future. The primary distinction between protagonist and antagonist is a conceptual one; it is not based on moral categories of good and evil. Instead, their interplay define the aspects that hinder, steer, transform, or destabilize the process of realizing the speculative scenario. When developing the stories of their protagonists and antagonists, students should consider the following questions: — What is their backstory? How are they connected to the Ilica area? — What role do they play in the speculative scenario? — What are their key motivations and values? 101 — What challenges do they face? The Framework of Utopian Laboratory Ilica

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Zadatak 3.2. — Spekulativni scenariji Kao završni segment kolegija studenti razrađuju svoje spekulativne scenarije Ilice koji se baziraju na jednoj od četiriju zadanih utopijskih tema te istraživačkom radu koji se provodio čitanjem teorijske i metodološke literature te kritičkim čitanjem Ilice. Spekulativni scenariji ne predstavljaju konačno ili idealno „rješenje“ zadanog prostora, već svojim opredmećenjem nude prostor za daljnje promišljanje prostora te istraživanje njegovih potencijalnih prostornih i društvenih budućnosti. Razradom spekulativnih scenarija studenti definiraju njihove potencijalne prostorne, društvene, vremenske ili programske karakteristike te predlažu načine kojima spekulativni scenariji utječu na postojeće i buduće aktere i odnose unutar prostora Ilice. Sami scenariji mogu se odvijati u različitim prostornim i vremenskim mjerilima te uključivati transformaciju postojećih prostora, načina korištenja, vrijednosti ili značenja, uvoditi nove prostorne elemente, sustave, procese ili promjenu odnosa između aktera, prostora i infrastruktura. Poseban fokus stavlja se na međuodnos zamišljene budućnosti i zatečenog konteksta Ilice te načinima na koje spekulativni scenariji proizlaze iz konkretnih prostornih i društvenih uvjeta današnjice, istovremeno ih kritički propitujući i transformirajući. Svaka grupa svoj spekulativni scenarij razrađuje u seriji vizualnih prikaza u formi crteža i/ili kratkih animacija kojima se predočavaju intervencije u prostoru i njegovom korištenju. Korištenje animacije u ovom kontekstu omogućava prikaz kategorije vremena i promjene u prikazu spekulativnih scenarija, uspostavljajući jasnije iskustvo prostora od onoga koje je moguće prikazati statičnim crtežom. Završni spekulativni scenariji moraju jasno uspostaviti odnos između inicijalnoga kritičkog čitanja prostora Ilice, usvojenih teorijskih koncepata i metodoloških pristupa te zamišljene alternativne budućnosti koja jasno proizlazi iz konteksta sadašnjosti. 102 ◗

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Students prepare the stories in the form of a short group narrative accompanied by a visual representation of their protagonists and antagonists.

Assignment 3.2. — Speculative Scenario As the final segment of the course, students develop speculative scenarios for Ilica based on one of four assigned utopian themes and on research conducted throughout the study of theoretical and methodological literature and a critical reading of Ilica. These speculative scenarios not represent a definitive or ideal “solution” for the site. Rather, by giving form to ideas, they create space for further reflection on the location and for exploring its potential spatial and social futures. In developing these scenarios, students define their potential spatial, social, temporal, or programmatic characteristics and propose ways in which the scenarios might influence existing and future actors and relationships within the Ilica area. The scenarios themselves may unfold across various spatial and temporal scales and involve the transformation of existing spaces, usage patterns, values, or meanings; they may introduce new spatial elements, systems, or processes, or alter the relationships between actors, spaces, and infrastructures. Particular emphasis is placed on the interplay between the imagined future and the existing context of Ilica, and how speculative scenarios emerge from, and critically question and transform the concrete spatial and social conditions of today. Each group develop its speculative scenario through a series of visual representations, such as drawings and/or short animations that illustrate interventions in the space and its potential use. In this context, the use of animation allows for the depic103 tion of time and change within the speculative scenarios, The Framework of Utopian Laboratory Ilica

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Zadatak 3.3. — Zajednički spekulativni crtež U sklopu završnog segmenta kolegija studenti se također vraćaju na već izrađeni zajednički analitički crtež Ilice izrađen u prvom segmentu kolegija te ga transformiraju u zajednički spekulativni crtež neke alternativne budućnosti. Spekulativni scenariji četiriju tematskih grupa prikazuju se kao dodani segmenti na postojećem crtežu. Ti novi elementi, iako možda originalno pripadaju segmentu zajedničkog crteža koji je izradila jedna od tematskih grupa, sada se mogu prenositi i na druge segmente crteža, stvarajući nove međuodnose te predstavljajući paralelne, komplementarne ili kontradiktorne mogućnosti. Analitički slojevi crteža pritom se ne zamjenjuju u potpunosti novim narativima, nego ostaju prisutni kao vidljiva podloga iz kojih spekulativni scenariji proizlaze. Na taj način zajednički crtež jasno prikazuje odnos između postojećega i možebitnoga te omogućuje istovremeno čitanje različitih prostornih, vremenskih i društvenih slojeva Ilice. Kao i kod analitičkog crteža, on može prikazivati različite aspekte prostora i različite sadržaje, ali biti prikazan ujednačenim mjerilom u formi aksonometrijskog ili izometrijskog prikaza iz različitih smjerova, ovisno o potrebi prikaza pojedinog segmenta. Fiksni i vežući element crteža i dalje ostaje sam prostor Ilice, koji se ovisno o potrebi i pojedinom spekulativnom scenariju transformira, nadograđuje ili uklanja. Zajednički spekulativni crtež predstavlja ne jednu i jedinstvenu utopijsku sliku buduće Ilice, nego kolektivnu kartografiju različitih mogućnosti te prostor u kojem se sadašnjost susreće, preklapa i propituje s nizom potencijalnih mogućnosti i spekulativnih budućnosti.

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creating a clearer sense of the spatial experience than is possible with static drawings alone. The final speculative scenarios must clearly establish the relationship between the initial critical reading of Ilica, the adopted theoretical concepts and methodological approaches, and the envisioned alternative future that clearly emerges from the present context.

Assignment 3.3. — Collective Speculative Drawing In the final segment of the course, students revisit the collaborative analytical drawing of Ilica which they created during the initial phase of the course, and transform it into a collaborative speculative drawing depicting an alternative future. The speculative scenarios developed by the four thematic groups are presented as added segments upon the existing drawing. While these new elements may have originated within a specific section of the collaborative drawing produced by one of the thematic groups, they can now extend into other areas, creating new interrelationships and presenting parallel, complementary, or contradictory possibilities. However, the drawing’s analytical layers are not entirely replaced by these new narratives. Instead, they remain visible as the foundation from which the speculative scenarios emerge. This way, the collaborative drawing clearly illustrates the relationship between the existing and the possible, enabling a simultaneous reading of Ilica’s various spatial, temporal, and social layers. As with the analytical drawing, this version depicts diverse spatial aspects and content while maintaining a consistent scale. It employs axonometric or isometric projections viewed from various angles, depending on the specific requirements of the segment being shown. The space of Ilica itself remains a fixed, unify105 ing element of the drawing, undergoing transformation, The Framework of Utopian Laboratory Ilica

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expansion, or removal as dictated by the needs of each speculative scenario. Ultimately, the collaborative speculative drawing does not offer a single, totalizing utopian vision of a future Ilica, but rather serves as a collective cartography of diverse possibilities: a space where the present meets, overlaps with, and interrogates a range of potential outcomes and speculative futures.

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Tema Staništa proširuje utopijsku temu stanovanja, obuhvaćajući pritom ne samo prostore namijenjene ljudskom boravku nego i prostore drugih živih bića. Ta tema također uzima u obzir činjenicu da različiti prostori i oblici života koji ih nastanjuju zahtijevaju svoje specifične uvjete za opstanak ili napredovanje unutar specifičnog okoliša ili prostora. Za razliku od uvjeta koji su se u temi stanovanja fokusirali prvenstveno na prostorne aspekte, uvjeti određenog staništa ne odnose se Stanište samo na fizičke mogućnosti i uvjete života i nastanjivanja nego i na društvene, sociološke i institucionalne čimbenike. U sklopu kolegija tema Staništa istraživana je kroz teorijske i konceptualne okvire Critical Zones Bruna Latoura, Manifesto of the Third Landscape Gillesa Clémenta te Staying with the Trouble Donne Haraway. Latourov koncept kritične zone omogućava nam odmak u razumijevanju staništa od onoga koji ga promatra kao površinu, ograđeni i omeđeni prostor ili isključivo biološku kategoriju, te nas vodi prema shvaćanju staništa kao znatno složenije, međusobno povezane zone u kojoj neprestano međusobno djeluju slojevi tla, vode, zraka, flore i fa- 110 ◗

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The theme of Habitat expands on the utopian topic of housing, including within its scope not only the spaces for human inhabitation, but also those of other living beings. This theme also considers that different spaces and lifeforms which inhabit it require specific sets of conditions in order to sustain themselves or thrive within an environment. These conditions, unlike the often spatially focused ones developed through the topic of housing, address both the Habitat physical possibilities and conditions of life and inhabitations, and also social, societal, and institutional ones. Within the context of the course, the theme of Habitat is explored through the theoretical and conceptual lenses of Bruno Latour’s Critical Zones, Gilles Clément’s Manifesto of the Third Landscape, and Donna Haraway’s Staying with the Trouble. Latour’s critical zone allows us to shift our understanding of Habitat from a surface-based area, an enclosed and bounded site, or a purely biological category, to a much thicker and interconnected zone where layers of soil, water, air, 111 flora and fauna, architecture, infrastructure, and (huen

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une, arhitekture, infrastrukture te (ljudskih) aktivnosti. Clémentov koncept trećeg krajolika širi nam fokus s prostora koji su produktivni i namjenski određeni na prostore koji su zanemareni, napušteni te izvan planskih parametara i drugih ljudskih sustava kontrole. Njegov manifest omogućuje nam da te prostore ne promatramo kao nevažne, već kao ekološki i tipološki zanimljive i produktivne, čime se širi shvaćanje onoga što zanimljivo ili relevantno stanište može biti ili postati. Koncept „Chthulucene“ Donne Haraway dovodi u pitanje prevladavajuće antropocentrične norme, pristupe i poimanje prostora, usmjeravajući pozornost na našu međusobnu povezanost i ovisnost o drugim živim bićima i sustavima. Zajedno, ti koncepti dodatno proširuju pojam staništa: od prostora namijenjenoga jednoj vrsti i nastanjenoga njome, prema složenoj zoni u kojoj suživot ostvaruju brojne međusobno povezane vrste i sustavi. Promatranje i djelovanje unutar konteksta Ilice kroz prizmu Staništa omogućuje nam iščitavanje te lokacije kao relacijske zone različitih aktera, vrsta, slojeva i bioma. Umjesto upotrebe konvencionalnih analitičkih prostornih kategorija, ta nas tema potiče na istraživanje i mapiranje kategorija kao što su tlo, voda, vegetacija, mikroklima, ljudsko i neljudsko nastanjivanje, infrastruktura, elementi, sezonske promjene i druge. Najveća promjena proizlazi iz promatranja čovjeka ne kao centralnog protagonista, nego kao tek jednoga od mnogih prisutnih aktera. Takav pristup nam omogućuje razvijanje novih tipova intervencija i načina kojima se mijenjaju i prilagođavaju različiti odnosi i uvjeti unutar staništa i između njih, umjesto da se fokus svodi tek na određivanje njihova fizičkog oblika.

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man) activity continue to interact. Clément’s concept of the third landscape widens our focus from spaces which are productive and designated to also include those which are overlooked, abandoned, outside of planning parameters and other human systems of control. His manifesto allows us to view these spaces not as irrelevant, but as ecologically and typologically interesting and productive, widening the scope of what an interesting or relevant habitat could be – or could become. Lastly, Haraway’s concept of the Chthulucene challenges the predominant anthropocentric norms, approaches, and understanding of space, bringing focus to our overall interconnectedness and interdependence with other living beings and systems. Together, these concepts further expand the concept of Habitat from a space intended for and inhabited by a single species to a complex zone in which multiple interconnected species and systems cohabitate. Observing and acting within the context of Ilica through the lens of Habitats enables us to read the site as a relational zone of different actors, species, layers, and biomes. Instead of using conventional analytical spatial categories, the theme urges us to explore and map categories such as soil, water, vegetation, microclimate, human and non-human occupation, infrastructure, elements, seasonal changes, and others. The biggest shift comes from viewing the human not as the central protagonist, but rather as just one among many present actors. This approach enables us to develop new types of interventions and approaches which modify and adjust an array of relationships and conditions within and between habitats, rather than simply predetermining their physical form.

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FEELTERI Feelteri proučavaju heterogen prostor zapadnog dijela Ilice, okretišta Črnomerec, ciglane „Zagreb“, zelene površine na sjeveru i prostor južno od Ilice, do prilaza baruna Filipovića. Prostor karakterizira raznolikost i različitost sadržaja, namjena, funkcija te staništa. Projekt afirmira prepoznata staništa uvođenjem elemenata – filtera koji negativno ili pozitivno utječu na aktere svakog staništa. Sara Bukvić, Marija Matozan, Leon Antun Slivar, Ema Šibila

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FEELTERS Feelters examine the heterogeneous space of the western part of Ilica, the Črnomerec tram terminus, the “Zagreb” brickworks, the green areas to the north, and the area south of Ilica extending to Prilaz baruna Filipovića. The area is characterized by a diversity of content, functions, and habitats. The project affirms the identified habitats by introducing new elements – filters – that either negatively or positively affect the actors within each habitat.

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Bruno Latour, Gilles Clément i Donna Haraway autori su triju teorijskih tekstova u kojima se može razumjeti prostor kao višeslojni i međuovisni ekosustav. Latourov tekst nastaje u kontekstu izložbe Critical Zones te postavlja hipotezu o „kritičnim zonama“, tj. o tankome, planetarnom sloju u kojem se odvija život i u kojem se geološki, biološki i društveni procesi kružno susreću. Latour uvodi pojmovnik „slijetanja na Zemlju“, odbacivanja ideje o beskonačnoj infrastrukturi i prepoznavanja tla kao aktivnog aktera. Clément u Manifestu trećeg pejzaža, napisanom nakon dugogodišnje prakse krajobraznog arhitekta, definira neodređene, napuštene i izvan kontrole planiranja ostavljene prostore kao ključna mjesta očuvanja bioraznolikosti. Treći pejzaž je politički prostor koji postoji jer je izvan sustava, a time Ekosustavni i i izvan eksploatacije. Donna Haraway u knjizi prostorni odnosi Staying with the Trouble, unutar ekofeminističu području kog i antropološkog okvira, zagovara stvaranje Ciglane srodstava između ljudskih i neljudskih vrsta. Črnomerec Pojam Chthulucena označava vrijeme suradnje i suživota, a ne dominacije, uz poziv na „ostajanje u nevolji“, djelovanje u postojećoj situaciji umjesto projekcije bijega ili potpunog resetiranja. Ti koncepti primjenjuju se na odabrani segment Ilice, kontekstnog prostora koji obuhvaća prostor ciglane, samu ulicu te okretište Črnomerec. Taj potez je odabran zbog najveće raznolikosti staništa i njihovih prostorno-ekoloških međuodnosa. Kako bi se teme iz tekstova prostorno interpretirale, povezuju se s elementima staništa prepoznatim na odabranom području kroz koncept kritične zone, pri čemu pojedini elementi omogućuju čitanje različitih tema. Primjerice šuma Črnomerec, kao i ostalih šest staništa (fig.1), prikazuje vertikalnu strukturu ekosu116 ◗

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Bruno Latour, Gilles Clément and Donna Haraway are the authors of three theoretical texts which allow us to understand space as a multilayered and codependent ecosystem. Latour’s text emerges through the Critical Zones exhibition, articulating a hypothesis of “critical zones” – the thin, planetary layers in which life takes place and all the geological, biological, and social processes circularly encounter each other. Latour introduces the concept of “landing on Earth”, which rejects the idea of an infinite infrastructure and recognizes the earth and soil as an active participant. Clément, in his “Third Landscape Manifesto”, which he wrote after practicing for years as a landscape architect, defines spaces which are undetermined, abandoned, or Ecosystems outside of planning legislation as the key locations for preserving biodiversity. The Third and Spatial Relations in the Landscape therefore becomes a political space Area of Ciglana which exists precisely because it is outside of the system, and thus outside the cycle of exČrnomerec ploitation. In Staying with the Trouble, through an ecofeminist and anthropological framework, Haraway calls for creating kinship between human and non-human species. She introduces the concept of Chthulucene which signifies an era of collaboration and cohabitation instead of one of dominance, calling us to “stay with the trouble” and act within our current context instead of attempting to escape or reset it. The concepts introduced through these three texts are applied to the chosen segment of Ilica street, encompassing the context of the former brick factory, surrounding street, and the Črnomerec tram terminus due to the most prom117 inent diversity of habitats and spatio-ecological relationHABITAT

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stava sa slojevima tla, vegetacije i zraka te mikroklimatskim procesima rashlađivanja i filtracije, kao primjer kritične zone prema Latouru. Jezera unutar ciglane oblikuju specifične mikrohabitate regeneracije i akumulacije vode u glinastom tlu, dok trgovački prostor i napuštena ciglana čine tipičan treći pejzaž u Clémentovu smislu, prostor pionirskih vrsta i industrijskih ostataka. Naselje uz šumu Črnomerec djeluje kao kontaktna zona u kojoj se prirodni i izgrađeni sustavi prelijevaju jedan u drugoga stvarajući male privatne i poludivlje habitate. Okretište Črnomerec predstavlja čvorište intenzivnih tokova ljudi i prometa, s izraženim toplinskim otocima i smanjenom propusnošću tla. Naselje preko puta Ilice formira zbijeno urbano tkivo s minimalnim ekološkim kapacitetom, ali s mogućnostima mikrohabitatâ u pukotinama i zelenim ostatcima. Uz njega, trgovačko-javni i industrijski prostor povećava opterećenje okoliša i fragmentira vezu među staništima, ali istovremeno doprinosi specifičnom ritmu korištenja i cirkulaciji resursa. Čitajući Latoura, bolje razumijemo tlo, vodu i zrak kao aktivne nositelje prostorne dinamike; Clément nas upućuje da uviđamo važnost napuštenih i neočekivanih prostora za bioraznolikost, a Haraway potiče da prepoznajemo koegzistenciju ljudskih i neljudskih vrsta kao neizbježnu i produktivnu. Ovaj segment Ilice postaje tako sedmerostruki ekosustav u stalnim promjenama i međuovisnostima, ključan za promišljanje budućih spekulativnih scenarija u sklopu kolegija. 118 ◗

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ships found in the area. It was also concluded that the concepts introduced by the authors recur across all three texts. In order to interpret them through the different elements of the found habitats – which were identified through their segments based on the concept of critical zones – each one can be used to illustrate a particular theme. For example, the Črnomerec forest, as the remaining six habitats (shown in the diagram [fig.1]), demonstrates the vertical structure of an ecosystem, together with different layers of soil, vegetation, and air, as well as the microclimatic processes of cooling and filtration, akin to Latour’s understanding of the critical zone. The lakes which are located within the old brickworks form specific microhabitats of regeneration and accumulation of water in clay soil, while the commercial area and the abandoned buildings embody a typical “third landscape” as described by Clément – a space of pioneering species and industrial remnants. The neighborhood next to the Črnomerec forest operates as a contact zone in which natural and built systems flow into each other, creating small-scale private and semi-feral habitats. The Črnomerec terminus represents a node of intense flows of both people and traffic, characterized by pronounced heat-island effects as well as reduced soil permeability. The neighborhood on the other side of Ilica street forms a dense urban fabric with minimal ecological capacity, but with ample opportunity for microhabitats to form within cracks and green leftover spaces. Next to it, a commercial-public and industrial space increases the environmental pressure and fragments connections between the habitats, contributing to a specific rhythm of use and resource circulation. Through Latour, we understand soil, water, and air as active carriers of spatial dynamics; through Clément, we recognize the importance of abandoned and unexpected spaces for biodiversity; through Haraway, we understand the coexistence of human and non-human species as both productive and inevitable. 119 This segment of Ilica therefore becomes a sevenfold ecoHABITAT

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system in a state of constant change and interdependence, giving us the basis for imagining future speculative scenarios.

● Dijagram kritične zone Dijagram prikazuje kritičko čitanje prostora Ilice kroz sedam različitih staništa na području Ciglane Črnomerec, sagledanih kroz ekosustavne slojeve tla, vode, vegetacije, tokova korištenja i mikroklime. Vertikalna organizacija dijagrama prikazuje Critical Zone (Latour), prostor u kojem se spajaju geološki, biološki i društveni procesi. Depresija tla i vodene akumulacije ciglane označene su kao Third Landscape (Clément), prostor spontane regeneracije i povećane ekološke vrijednosti. Tokovi kretanja ljudi i drugih vrsta (Haraway: Chthulicene) vizualizirani su ikonama prema pripadajućim staništima kako bi se pokrile sve temeljne teme tekstova, bez ponavljanja. Numerirana legenda omogućuje čitanje pojedinih segmenata čime se jasno ističe složenost odnosa različitih staništa unutar šireg konteksta Ilice.

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● Critical Zone Diagram The diagram depicts a critical reading of Ilica through seven different habitats found in the Ciglana Črnomerec. These habitats are viewed through their ecosystemic layers of soil, water, vegetation, patterns of use, and microclimate. The vertical organization of the diagram shows Latour’s Critical Zone – a space within which geological, biological, and social processes are combined. The ground depression and water accumulation of the brickworks are identified as Clément’s Third Landscape – a space signified by spontaneous regeneration and an increase in ecological value. The movement flows of both humans and non-humans (Haraway / Chthulucene) are visualized through a series of icons based on their corresponding habitats. The drawing therefore depicts all the key elements of the analyzed texts. A numbered legend also allows the viewer to read the specific segments of the drawing, highlighting the complexity of relationships between different habitats and within the broader context of Ilica.

Utopijski laboratorij Ilica

Čitanjem tekstova Fredrica Jamesona i Michela Foucaulta postaje jasno da se prostor u njihovim teorijama ne promatra kao neutralna kulisa društvenih procesa, nego kao aktivan element koji te procese i odražava i oblikuje. Obojica autora nude način razmišljanja o prostoru koji ne polazi od gotovih tipologija ili stabilnih značenja, nego od napetosti, lomova i kontradikcija koje su u prostor upisane. Takav pristup omogućuje da se grad ne čita kao jedinstvena cjelina s jasnom poviješću, već kao skup istodobnih slojeva i odnosa koji često nisu međusobno usklađeni. Jameson utopiju ne shvaća kao nacrt idealnog društva ili konačno rješenje, nego kao metodu mišljenja. Za njega utopija nije ono što pokazuje kako bi svijet trebao izgledati, već ono što razotkriva granice postojećeg sustava. Utopijsko mišljenje služi tome da pokaže gdje današnji društveni i prostorni Spekulativna okviri prestaju biti zamislivi drugačije, odnosno heterotopija gdje sustav postaje zatvoren za promjenu. U tom smislu utopija djeluje negativno, ne nudi rješenje, nego ukazuje na pukotine i nemogućnosti unutar postojećeg stanja. Prostor je pritom iznimno važan jer se upravo putem prostornih organizacija proizvodi privid reda, stabilnosti i koherentnosti društva. Metodološki, Jamesonov pristup omogućuje da prostor promatramo kroz ono što u njemu ne funkcionira ili se ne može do kraja objasniti kao cjelina. Foucault s druge strane uvodi pojam heterotopije kojim opisuje stvarne prostore u kojima se istovremeno pojavljuju različiti, često međusobno nespojivi slojevi i značenja. Heterotopija nije izmišljeni ili idealni prostor, nego konkretno mjesto koje na neki način zrcali, izokreće i destabilizira odnose drugih prostora. U takvim prostorima brišu se jasne granice, primjerice između javnoga i privat- 122 ◗

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Through reading the texts of Frederic Jameson and Michel Foucault, it becomes clear in their theories that space is not understood as a neutral backdrop to social processes, but rather as an active element that reflects and shapes them. Both authors propose a way of thinking about space that does not diverge from fixed typologies or stable meanings, but rather from conditions of tension, rupture, and contradictions described within it. This approach allows for the city to be read not as a unified whole with a clear history, but rather as a collection of layers and relationships which are often not aligned. Jameson sees utopia not as a blueprint of an ideal society or as its final solution, but rather as a method of thinking. For him, utopia does not merely depict how the world should look, but rather how its Speculative role reveals the limits of existing systems. Utopian thought therefore serves to expose the points Heterotopia in which contemporary social and spatial frameworks cease to be imaginable otherwise, and where existing systems become closed to any change. In that sense, utopia operates negatively, as it does not offer solutions, but rather points to the cracks and impossibilities of our current condition. In this context, space becomes increasingly relevant because it is precisely through spatial organization that we create the appearance of order, stability, and a coherent society. Methodologically, Jameson’s approach allows us to observe space through its non-functioning aspects or through that which cannot be explained as a whole. Foucault, on the other hand, introduces the concept of heterotopia, which he uses to depict real spaces in which different, often mutually incompatible 123 layers and meanings appear simultaneously. Heterotopia HABITAT

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noga, normalnoga i devijantnoga, vidljivoga i skrivenoga. Ono što je metodološki važno kod Foucaulta jest činjenica da heterotopija ne pokušava pomiriti te suprotnosti, nego ih ostavlja da postoje istovremeno, u stalnoj napetosti. Kada se Jamesonov i Foucaultov pristup promatraju zajedno, grad se može čitati kao sustav istodobnosti, a ne kao linearno razvijena struktura s jednim identitetom. Grad se sastoji od paralelnih prostora koji koegzistiraju, ali se ne moraju 124 ◗

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is therefore not an imagined or ideal space, but rather a concrete place which mirrors, reverses, or destabilizes the relations of other spaces. In such spaces, clear boundaries become blurred – such as those between the public and private, normal and deviant, visible and hidden. What is methodologically relevant with Foucault is also the fact that heterotopia does not attempt to reconcile these dualities, but leaves them to coexist in a state of constant tension. When Jameson’s and Foucault’s approaches are considered together, the city could be read as a system of overlapping conditions, rather than a linearly developed structure with a singular identity. The city consists of parallel spaces which coexist, but do not necessarily complement or correspond to one another. It is precisely within these mismatches and ruptures that space for speculative thinking emerges – one that does not seek a stable solution but instead tries to understand the complexity of the existing condition. Within this context, Ilica can be viewed not only as a traffic or commercial street, but as a heterotopian continuum in which different layers of history, social groups, ways of use, and invisible spatial regimes overlap. Ilica is not homogenous, but a series of different segments which are connected through a linear infrastructure. It is precisely this forced connection, together with its social and spatial discrepancy, which makes Ilica a fertile location for a utopian reading. Jameson’s approach therefore allows us to view Ilica as a space in which the utopian impulse emerges through the impossibility of viewing the street as a unified whole – a 125 stable organism. Foucault’s heterotopia helps us underHABITAT

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nužno nadopunjavati ili slagati. Upravo u tim nepodudarnostima i pukotinama otvara se prostor za spekulativno razmišljanje koje ne traži stabilna rješenja, nego pokušava razumjeti kompleksnost postojećeg stanja. U tom kontekstu Ilica se može sagledati ne samo kao prometna ili trgovačka ulica, nego kao heterotopijski kontinuum u kojem se preklapaju različiti povijesni slojevi, društvene skupine, načini korištenja i nevidljivi prostorni režimi. Ilica nije homogena cjelina, nego niz vrlo različitih segmenata koji su međusobno povezani prvenstveno linearnom infrastrukturom. Upravo ta prisilna povezanost, uz istovremenu društvenu i prostornu nepodudarnost, čini Ilicu pogodnim prostorom za utopijsko čitanje. Jamesonov pristup omogućuje da se Ilica promatra kao prostor u kojem se utopijski impuls pojavljuje kroz nemogućnost da se ulica sagleda kao jedinstven, stabilan urbani organizam. Foucaultova heterotopija dodatno pomaže u razumijevanju činjenice da se različiti prostorni režimi unutar Ilice ne poništavaju, nego postoje paralelno, proizvodeći trajne napetosti koje se ne mogu do kraja razriješiti. Metodološki gledano, ti tekstovi omogućuju čitanje Ilice kao prostora koji je istovremeno stvaran i spekulativan. Ulica se ne promatra kao problem koji treba riješiti ili urediti do kraja, već kao mjesto u kojem se prelamaju realni urbani procesi i utopijski impulsi. Takav pristup ne nudi konačne odgovore, nego otvara prostor za eksperiment, spekulaciju i kritičko promišljanje odnosa između prostora, društva i tehnologije.

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stand that the different spatial regimes within Ilica do not cancel each other out, but exist in parallel, creating a permanent state of tension which cannot be fully resolved. These texts allow us to read Ilica as a space that is both real and speculative. The street is observed not as a problem which needs to be solved or resolved, but rather as a space in which real urban processes and utopian impulses overlap. This approach does not offer final answers, but offers space for experimentation, speculation, and critical reflection on the relationships between space, society, and technology.

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Nakon analize obuhvata u kontekstu šume Črnomerec i prostora okretišta, kao i analize njegovih prirodnih, infrastrukturnih i društvenih karakteristika, metodološki pristup projekta temelji se na pojmu staništa. Stanište se pritom razumije kao složen sustav odnosa između korisnika, povijesnih slojeva i aktera koji na njega djeluju ili ga mogu promijeniti. Istraživanje ne polazi od prostora kao stabilne ili unaprijed definirane strukture, nego od međusobnog odnosa onoga što stanište jest, kako se koristi i kako se tijekom vremena transformira. U fokusu istraživanja nalazi se povratni odnos između korisnika i staništa. Korisnici ne djeluju samo unutar staništa, već ga svojim kretanjem, navikama i načinima korištenja stalno redefiniraju, dok istovremeno samo stanište utječe na njihovo ponašanje, percepciju i mogućnosti djelovanja. Posebna pažnja posveAktivatori ćena je povijesnim slojevima staništa i akterima staništa koji su ih tijekom vremena oblikovali, pri čemu se povijest ne shvaća kao statična memorija, nego kao aktivni sloj koji i dalje ima potencijal utjecaja na sadašnje i buduće stanje. Na temelju takvog istraživanja donesena je odluka da se metodološki pristup ne usmjeri na definiranje konačnih programa ili tipoloških rješenja, već na primjenu procesa promjene aktera. Cilj intervencije nije izravno oblikovati krajnji izgled staništa, nego utjecati na korisnike i druge aktere koji u njemu djeluju. Time se promjena staništa ne nameće odozgo, već se potiče nizom kontroliranih, ali otvorenih mehanizama koji djeluju na svijest, ponašanje i međusobne odnose aktera. U skladu s tim, projekt uvodi protuelemente – poticajne sastave i signalizacije koji imaju ulogu aktivatora staništa. Ti elementi osmišljeni su tako da privlače ili usmjeravaju 128 ◗

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Following the analysis of the site in relation to the Črnomerec forest and tram terminus, as well as the examination of its natural, infrastructural, and social characteristics, the methodological approach of this project bases itself on the concept of habitat. The habitat is understood here as a complex system of relationships between users, historical layers, and actors that have affected it or have the potential to transform it. The research does not approach space as a stable or predefined structure, but instead focuses on the relationship between what a habitat is, how it is used, and how it transforms over time. The focus of the research becomes the reciprocal relationship between the users and their respective habitat. The users do not merely act within a habitat, but continuously redefine it through their movement, Habitat habits, and modes of use. Simultaneously, the habitat has an effect on their behavior, percepActivators tion, and possibilities for action. Special focus is given to the historical layers of each habitat, and the diverse actors that have shaped them over time, viewing history in this context not as a mere static memory, but as an active layer which continues to have a potential influence on the current and future state of the habitat. Accordingly, the methodological approach is not geared towards defining programs or typological solutions, but rather triggering a process of changing the spatial actors. The goal of the intervention is not to directly shape the end state of the habitat, but to affect the users and other actors who operate within it. This way, the change of each habitat is not imposed from above, but is encouraged through a series of controlled but open mechanisms that affect the conscious129 ness, behavior, and interrelations between the actors. HABITAT

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različite vrste korisnika, uključujući ljude, životinje i promet, ali i da postupno mijenjaju njihove obrasce ponašanja. Njihova uloga nije isključivo orijentacijska ili informativna, nego i osjetilna i prostorna, s ciljem da korisnici postanu svjesniji staništa u kojem se nalaze i vlastite uloge u njegovoj transformaciji. Ključni dio metodologije proizlazi iz istraživanja staništa kroz njegove povijesne i materijalne slojeve. Identificirani elementi povijesti sagledani su kao slojevi smješteni u zemlji, ne kao izgubljena prošlost, već kao potencijalno aktivni nositelji značenja. Zaključeno je da upravo sloj zemlje predstavlja sloj komunikacije promjene, mjesto u kojem se susreću povijest staništa, njegovi sadašnji korisnici i mogući budući scenariji. Na toj osnovi uvedeni su veliki prostorni moduli koji prodiru kroz različita staništa sve do dubinskih slojeva tla, odnosno do samog korijena zemlje. Ti moduli djeluju kao posrednici između skrivenih povijesnih slojeva i vidljivog okruženja. Unutar njih se programiraju procesi prilagođeni specifičnim akterima pojedinog staništa, pri čemu se proizvode različiti učinci poput mirisa, materijalnih spojeva i drugih osjetilnih podražaja. Učinci se prenose u sve slojeve staništa, gdje mijenjaju okoliš i način na koji ga korisnici doživljavaju i koriste. Stanište se pritom ne transformira homogeno, nego diferencirano, u skladu s potrebama i karakteristikama pojedinih aktera. Svakom staništu pružaju se oni uvjeti i tvari koji su relevantni za njegove korisnike, čime se potiče raznolikost i specifičnost umjesto univerzalnog rješenja. Takav metodološki pristup omogućuje da stanište ostane otvoren i promjenjiv sustav u kojem promjena proizlazi iz odnosa između korisnika, povijesti i aktivnih elemenata intervencije. Spekulativni scenarij stoga ne nudi konačno stanje, nego uspostavlja okvir unutar kojeg se stanište može kontinuirano prilagođavati, reagirati i razvijati u međudjelovanju svojih aktera.

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Following this approach, the project introduces counter-elements – stimulatory assemblages and signalizations that take on the role of habitat activators. These elements are designed to either attract or guide different types of users – including humans, animals, and traffic – or to gradually change their patterns of behavior. Their role is not solely an orientational or informative one, but is also sensory and spatial, with the goal of making users more aware of the habitat they occupy and their role in its transformation. The key part of the methodology emerges from researching the habitats through their historical and material layers. The identified historical elements are understood as layers embedded in the ground – not as a lost history, but as a potential active carrier of meaning. It is precisely these layers of the earth that communicate change, a point in which the history of the habitat, its current users, and possible future scenarios meet. Based on this, large spatial modules were introduced in the sites which penetrate through different habitats and extend into the deeper layers of the soil, towards the very root of the earth. The modules operate as intermediaries between the hidden historical layers and the visible environment. Within them, different processes are programmed based on the specific actors of each habitat, producing different effects such as scents, material compounds, and other sensory stimuli. These effects are transmitted into all the layers of the habitat, where they alter the environment and the ways in which users perceive and operate within it. This process, however, does not transform the habitats in a homogenous way, but through a differentiated process adapted to the needs and characteristics of the specific actors. Each habitat is provided with the conditions and substances relevant for its users and inhabitants, encouraging diversity and specificity, instead of providing a universal solution. This approach allows for the habitat to remain an open and modifiable system in which change emerges 131 from the interrelations between the actors, history, and HABITAT

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active elements of intervention. The project therefore does not offer a concrete state, but establishes a framework within which a habitat can continuously adapt, react, and develop through the interaction of its actors.

● Dijagram staništa Dijagram prikazuje princip funkcioniranja i izvedbe modula, odnosno „cijevi“ koje svojim djelovanjem ispuštaju različite mirise, kemijske tvari, signale i valove. Njihova uloga je privlačenje i postupna promjena ponašanja aktera, pri čemu djeluju na razini nesvjesne percepcije. Na taj način moduli ne nameću izravne upute, nego potiču reakcije i prilagodbe korisnika kroz osjetilne i ambijentalne podražaje. Svaki pojedini filtar unutar modula programiran je da luči određene tvari u skladu s potrebama staništa i vanjskim uvjetima.

● Habitat Diagram The diagram illustrates the operating principles and construction of the modules or “tubes” which release different scents, chemical compounds, signals, and waves. Their role is to attract and gradually change the behavior of the actors by altering perception at the subconscious level. In this way, the modules do not impose direct instructions, but encourage users’ reactions through sensory and environmental stimuli. Each filter within a module is programmed to release specific substances according to the needs of each habitat and the external conditions.

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Staništa paralelno uzduž Ilice na području Črnomerca danas se pojavljuju kao složeni, ali opterećeni sustavi u kojima se preklapaju povijest, prirodni procesi, infrastruktura i ljudske aktivnosti. Iako su staništa višeslojna i potencijalno otporna, njihova se ravnoteža postupno narušava pod stalnim pritiscima tranzita, izgradnje i intenzivnog korištenja. Tlo, voda i zrak sve teže apsorbiraju posljedice svakodnevnih intervencija, dok se promjene često odvijaju ispod razine neposredne percepcije korisnika prostora. U tom se kontekstu postavlja pitanje tko je protagonist današnjih staništa. Jesu li to ljudi koji ih koriste, infrastruktura koja ih presijeca ili sama staništa te akteri koji u njima opstaju? Analiza pokazuje da ljudski akteri, iako najvidljiviji, više ne mogu biti shvaćeni kao nositelji stabilnosti i brige. Njihovo djelovanje, Prostorni oblikovano potrebom za kretanjem, komforom mehanizmi i potrošnjom, proizvodi kontinuirano opterećenje prostora, često bez svijesti o dugoročnim posljedicama. Čovjek se tako pojavljuje kao antagonist staništa – ne kao svjesni destruktor, nego kao dio sustava koji potiče eksploataciju, brzinu i fragmentaciju. Ljudski akteri mijenjaju stanište povećanjem nepropusnosti tla, emisijama u zrak i načinima otjecanja vode, dok u društvenom aspektu održavaju neadekvatna arhitektonska tijela u odnosu prema korisnicima, pri čemu se stanište tretira kao pasivna podloga, a ne kao aktivni ekosustav. Takvo djelovanje postupno iscrpljuje sposobnost prostora da se sam obnavlja i produbljuje udaljenost između prirodnih procesa i urbanog života. Istovremeno postaje jasno da promjena ne može proizaći isključivo iz poziva na svijest ili odgovornost korisnika. Društvene navike mijenjaju 134 ◗

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Habitats running parallel to Ilica in the Črnomerec area today appear as complex yet burdened systems in which different layers of history, natural processes, infrastructure, and human activity overlap. Although multilayered and potentially resilient, their balance is being gradually disrupted by the constant pressures of transit, construction, and intensive use. The soil, water, and air are increasingly less able to absorb the consequences of daily interventions, while the changes often occur outside of the level of users’ immediate perception. Within this context the question emerges of who are the protagonists of today’s habitats: the people who use them, the infrastructure that cuts through them, or the all-encompassing spaces themselves? Analysis shows that human actors, although Spatial the most visible, can no longer be entrusted as the carriers of stability and care. Their actions, Mechanisms shaped by comfort, consumption, and the constant need to move, continuously place pressure on the space, often without awareness of the long-term consequences. The human therefore appears to be the habitat’s antagonist – not deliberately, but as part of a system that supports exploitation, convenience, and fragmentation. Human actors change the habitat by reducing soil permeability, generating air emissions, and altering patterns of water runoff. In social terms, they sustain the architectural structures that are inadequate to their users, while treating the habitat as a passive backdrop, instead of an active ecosystem. Such actions gradually diminish the capacity of this space to regenerate itself and deepens the divide between natural processes and urban life. At 135 the same time, it becomes clear that change cannot occur HABITAT

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se sporo, dok degradacija staništa napreduje brže od mogućnosti pojedinca da reagira. U tom se neskladu otvara prostor za redefiniciju protagonizma. Protagonisti spekulativnog scenarija stoga nisu ljudi, nego akteri novih sustava, poput plinova, vibracija i projekcija, koji se uvode u stanište. Ti elementi ne djeluju putem vidljive kontrole ili oblikovanja prostora, nego procesima filtracije, isparavanja i emisije. Prodirući kroz sve slojeve staništa, oni uspostavljaju nove 136 ◗

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solely from appeals to the consciousness and sense of responsibility of the users. Social habits change slowly, while the degradation of habitats progresses much more quickly than the capacity of an individual to intervene. It is within this discrepancy that space opens up to redefine the context’s protagonist. The protagonists of this spatial scenario are therefore not humans, but actors of a new system – like gases, vibrations, and projections which are introduced into the habitat. These elements do not operate through visible control or spatial interventions, but through processes of filtration, evaporation, and emission. By penetrating all layers of the habitat, they establish new relationships between historical layers, biological processes, and contemporary infrastructural flows. Their role is therefore not one of creating a finite solution, but rather one of enabling the adaptation and regeneration of each habitat. In this way, they affect the consciousness of both users and biomes and, where necessary, programmatically establish a balance between biocenosis and the non-living context, both within the habitats and between the actors. While users and the existing context of the habitat create continuous pressures, the programmed protagonists absorb, analyze, and transform them. The filters become intermediaries between pressure and regeneration, while the introduced substances operate selectively, adapted to the specific needs of each habitat. Change does not occur uniformly, but in a differentiated manner, according to the characteristics of the soil, water, vegetation, and present actors of the non-living environment. The habitat is thus established as a space of encounter between opposing forces. It simultaneously accommodates human presence and non-human processes, erasing neither side but bringing both into coexistence. Within such a space, conflict does not result in victory or defeat, but with a continuous tension which allows for adaptation and cohabitation. Care is not based here on the ideal of the responsible user, but 137 on the spatial mechanisms that operate even within the HABITAT

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odnose između povijesnih slojeva, bioloških procesa i suvremenih infrastrukturnih tokova. Njihova uloga nije stvaranje konačnog rješenja, nego omogućavanje prilagodbe i oporavka staništa. Na taj način utječu na svijest korisnika i bioma te, prema potrebi, unutar staništa i između njih programski uspostavljaju biocenozu i neživi kontekst u ravnoteži. Sukob između antagonista i protagonista ne odvija se na razini forme ili programa, već unutar samog staništa. Dok korisnički akteri i kontekst samog staništa proizvode pritiske, programirani protagonisti ih apsorbiraju, analiziraju i transformiraju. Filtri postaju posrednici između opterećenja i regeneracije, a unesene tvari djeluju selektivno, prilagođene specifičnim potrebama pojedinih staništa. Promjena se ne događa jednoliko, već diferencirano, u skladu s karakterom tla, vode, vegetacije i prisutnih aktera neživog okoliša. Stanište se pritom uspostavlja kao prostor susreta suprotstavljenih sila. Ono istovremeno prihvaća ljudsku prisutnost i neljudske procese, ne brišući nijednu stranu, nego ih dovodeći u odnos. U takvom prostoru sukob ne rezultira pobjedom ili porazom, već stalnom napetošću koja omogućuje prilagodbu i suživot. Briga se ovdje ne temelji na idealu odgovornog korisnika, nego na prostornim mehanizmima koji djeluju čak i u uvjetima nebrige. Cijevi, filtri i tvari postaju tihi protagonisti koji omogućuju nastavak života u prostoru koji je istovremeno urban, prirodan i u stalnoj mijeni. ● Kritične zone Ilice Sva zagađenja područja glavni su pokretači promjene. Različitost staništa označena je kao jako bitna karakteristika i na nju se djeluje različitim pristupima. ● Ilica's Critical Zones All forms of pollution in the area are the main drivers of change. The diversity of habitats is identified as a highly important characteristic. It is intervened upon through different approaches. 138

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conditions of neglect. Tubes, filters, and substances become the quiet protagonists which enable the continuation of life within a space that is simultaneously urban, natural, and in a constant state of change.

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● Implementacija Feeltera Svaka tuba utječe na različite aktere prostora i upotrebljava druga osjetila. ● Implementing Feelters Each tube affects different spatial actors and employs different senses.

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● Mjerilo grada Osim na uže područje obuhvata, isti princip može se primijeniti na područje cijeloga grada. Rješenje bi svojom raznovrsnošću odgovaralo na različita staništa. ● City scale In addition to the narrower project zone, the same principle can be applied to the area of the entire city. Through its diversity, the solution would respond to different habitats.

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● Tipologija elementa – zvuk: > 50 – 300 Hz – aktivna redukcija buke koja ublažuje niskofrekventnu buku prometa proizvodeći zvuk iste frekvencije, ali u antifazi > 40 – 60 Hz – aktivna redukcija buke koja ublažava buku industrije 20 – 100 kHz > – ultrazvuk koji odbija šišmiše 1 – 4 kHz > – frekvencija koja privlači ptice 80 – 200 Hz > – frekvencija koja potiče rast biljaka

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● Element typology – sound: >50–300 Hz – active noise reduction that mitigates low-frequency traffic noise by producing a sound of the same frequency but in antiphase >40–60 Hz – active noise reduction that mitigates industrial noise 20–100 kHz> – ultrasound that repels bats 1–4 kHz> – frequency that attracts birds 80–200 Hz> – frequency that stimulates plant growth

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● Tipologija elementa – plin: CO₂ > O₂ – kisik – omogućava disanje životinja i biljaka noću, poboljšava opskrbu organizma kisikom O₂ > CO₂ – ugljikov dioksid – omogućava proces fotosinteze kod biljaka, smiruje životinje jer uzrokuje hiperkapniju H₂O > – voda – omogućuje transpiraciju biljaka, sudjeluje u prijenosu topline isparavanjem, sprječava isušivanje listova i sluznice C₁₀H₁₈O > – eukaliptol – miris eukaliptusa, razbuđuje ljude C₁₀H₂₀O > – mentol – miris mentola, razbuđuje ljude > PM 2.5/PM 10 – lebdeće čestice – uklanjanje uzrokuje lakše disanje ljudi i životinja NO₂ > N₂ – dušik – za razliku od dušikovog dioksida, dušik je inertan C₁₀H₁₈O > – linalool – miris lavande, smiruje ljude i životinje C₈H₁₀O > – feniletil-alkohol – blag, cvjetni, ugodan miris, smiruje ljude i životinje C₁₀H₁₆ > – limonen – prirodni spoj iz kore agruma, jak miris citrusa, razbuđuje ljude C₈H₈O₃ > – miris vanilije, smiruje ljude i životinje

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● Element typology – gas: CO₂ > O₂ – oxygen – enables animals and plants to breathe at night and improves the body’s oxygen supply O₂ > CO₂ – carbon dioxide – enables the process of photosynthesis in plants and calms animals by causing hypercapnia H₂O > – water – enables plant transpiration, participates in heat transfer through evaporation, and prevents the drying out of leaves and mucous membranes C₁₀H₁₈O > – eucalyptol – the scent of eucalyptus; stimulates and awakens people C₁₀H₂₀O > – menthol – the scent of menthol; stimulates and awakens people >PM 2.5 / PM 10 – particulate matter – its removal makes breathing easier for people and animals NO₂ > N₂ – nitrogen – unlike nitrogen dioxide, nitrogen is inert C₁₀H₁₈O > – linalool – the scent of lavender; calms people and animals C₈H₁₀O > – phenethyl alcohol – a mild, floral, pleasant scent that calms people and animals C₁₀H₁₆ > – limonene – a natural compound from citrus peel, with a strong citrus scent that stimulates and awakens people C₈H₈O₃ > – the scent of vanilla; calms people and animals

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● Tipologija elementa – slika: 590 — 750 nm > – narančasta, crvena i daleko-crvena svjetlost koja potiče rast biljaka, cvjetanje i fotosintezu i djeluje smirujuće na ljude i životinje jer ne potiskuje stvaranje melatonina 460 — 490 nm > – plava svjetlost koja potiče budnost, fokus i rad kod ljudi i životinja jer potiskuje stvaranje melatonina, potiče rast biljaka 350 — 380 nm > – spektar vidljiv kukcima, pomaže im u orijentaciji i prepoznavanju cvijeća

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● Element typology – image: 590 — 750 nm> – orange, red, and farred light that stimulates plant growth, flowering, and photosynthesis, and has a calming effect on people and animals because it does not suppress melatonin production 460 — 490 nm> – blue light that stimulates alertness, focus, and activity in people and animals because it suppresses melatonin production; it also stimulates plant growth 350 — 380 nm> – a spectrum visible to insects, helping them with orientation and the recognition of flowers

Utopijski laboratorij Ilica

Tema Procesa, koja proizlazi iz koncepata rada i proizvodnje, obuhvaća ne samo nove, korisne i potrošne proizvode nego i nusproizvode, nered, onečišćenje i višak. Putem teme Procesa istražuju se i promišljaju različiti nusprodukti rada i proizvodnje koji su se prethodno percipirani negativno, a ponekad čak i nisu bili fizičke prirode. To uključuje i koncepte poput špekulacija ili dugova. Tim pristupom možemo razmotriti učinke i potencijale svih pojava povezanih s Procesi proizvodnjom unutar našega izgrađenog i neizgrađenog okoliša. Temu Procesa produbljuju tekstovi Davida Gissena i Timothyja Mortona. Gissenov koncept „subnature” (podprirode) proširuje arhitektonsko razumijevanje prirode i okoliša kako bi se uključili i aspekti koji su se izvorno smatrali nepoželjnima i izvanjskima procesu projektiranja – poput prašine, dima, topline, otpada, vlage, korova i onečišćenja. U svom radu on te pojave aktivno koristi ne samo kao elemente koje treba uvažiti kritičkim čitanjem konteksta nego i kao potencijalno produktivne aspekte okoliša – nešto s čime možemo projektirati, a ne kao nešto protiv čega se borimo. Morton nas upoznaje s konceptom „hiperobjekata“ koji ne predstavljaju objekte u formalnom smi- 148 ◗

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The theme of Processes, growing from the concepts of work and production, encompasses not only the new, useful, and consumable products, but also the byproducts, the pollution, and the surplus. Through the scope of Process, a series of previously negatively perceived – and sometimes even non-physical byproducts of work and production such as speculation or debt – are investigated and speculated upon. Through this approach, we can consider both the effects Processes and the potential of all production-related occurrences within our (un)built environment. Processes as a theme are deepened by the texts of David Gissen and Timothy Morton. Gissen’s concept of “subnature” expands our architectural understanding of nature and the environment towards aspects which were originally deemed undesirable and external to the process of design such as dust, smoke, heat, waste, moisture, weeds, and pollution. In his work, he actively employs these phenomena as something we must make note of when critically reading a context, and also as potentially productive aspects of an environment – something we can design with 149 and not against. Morton introduces us to the concept en

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slu, nego procese, pojave i ishode koje nije moguće u potpunosti sagledati ili razumjeti iz jedne točke gledišta ili jednog trenutka. Oni uključuju koncepte i fenomene kao što su klimatske promjene, onečišćenje, kapitalizam i akumulacija topline. Zajedno nam omogućuju razumijevanje lokalnih i specifičnih prostornih uvjeta kao manifestacija mnogo širih sustava ili relacijskih mreža. Ti tekstovi zajedno omogućuju konceptualni pomak u promatranju procesa i njihovih ishoda, što nam omogućuje uključivanje niza nevidljivih i vremenski uvjetovanih procesa u naša promatranja i prostorne intervencije. Promatranje Ilice putem teme Procesa ima za cilj zamijeniti statično i fiksno iščitavanje prostora onim koje mapira tokove, intenzitete i transformacije tijekom vremena – bilo da je riječ o mirisima, svjetlosti, vjetrovima, ostacima materijala, toplini ili bilo kojoj drugoj takvoj čestici ili pojavi. Fokus se prebacuje i s objektivno provedenih prostornih analiza na one koje koriste subjektivna tjelesna i osjetilna iskustva kao način promatranja, opisivanja i intervencije u prostoru. Ovakav pristup također nam omogućuje razumijevanje lokalnih pojava kao segmenata širih okolišnih, ekonomskih, infrastrukturnih ili političkih sustava, umjesto kao izoliranih objekata ili stanja. U procesu projektiranja, promatranje lokacije putem teme Procesa potiče nas da fokus svojih intervencija premjestimo s objekata i/ili mjesta na manipulaciju ili prilagodbu uvjeta i različitih aspekata samih procesa, uz svijest o tome da će se intervencije najčešće odvijati u malom mjerilu, ali s potencijalno mnogo širim i sistemskim učinkom.

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of hyperobjects – which are not objects in a formal sense, but rather processes, phenomena, and outcomes that can never be fully perceived or understood from a single place or moment. These include concepts such as climate change, pollution, capitalism, and accumulated heat. Together, they allow us to understand local and specific spatial conditions as manifestations of much larger systems or relational networks. As a pair, these texts allow us to make a conceptual shift when observing processes and their outcomes, which in turn makes it possible to include an array of both invisible and temporal processes in our observations and interventions in space. By observing Ilica through the theme of Processes, our goal is to replace a static and fixed reading of space with one that maps flows, intensities, and transformations over time – be it those of scents, light, winds, debris, heat, or any other such particle or phenomena. It switches our focus from objectively performed spatial analyses to those which use subjective bodily and sensory experiences as a way of observing, describing, and intervening within space. It also allows us to understand locally occurring phenomena as elements of larger environmental, economic, infrastructural, or political systems, rather than as isolated objects or conditions. When approaching design, observing a site through the theme of Processes urges us to shift the focus of our interventions from that on objects and/or places, to manipulating or adjusting conditions and various aspects of the processes themselves, with the awareness that interventions will most commonly occur on the small scale, but with a potentially much wider and systemic impact.

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VIDLJIVA I NEVIDLJIVA ILICA Novo čitanje Ilice polazi od neposrednog, tjelesnog iskustva prostora umjesto isključivo urbanističkih pokazatelja; u fokus se stavljaju nefizički fenomeni koji oblikuju svakodnevni doživljaj ulice i čine prolaznike aktivnim sudionicima urbanog ekosustava. Sustavnim mapiranjem i usmjeravanjem tih nevidljivih procesa predlažu se intervencije koje poboljšavaju mikroklimu, smanjuju buku i uklanjaju neugodne mirise. Ria Ivandić, Tea Pintar, Anja Pisačić

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VISIBLE AND INVISIBLE ILICA A new reading of Ilica begins from the immediate, bodily experience of space rather than exclusively from urban planning indicators. The focus is placed on non-physical phenomena that shape the everyday experience of the street and make passers-by active participants in the urban ecosystem. Through the systematic mapping and direction of these invisible processes, interventions are proposed that improve the microclimate, reduce noise, and eliminate unpleasant odours. 153 Processes

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U djelima Subnature: Architecture’s Other Environments (2009) i Hyperobjects: Philosophy and Ecology after the End of the World (2013) David Gissen i Timothy Morton iz različitih perspektiva promišljaju odnos između čovjeka, prostora i okoliša. Oba autora reagiraju na suvremene ekološke i urbane krize razvijajući nove pojmove za razumijevanje svijeta u kojem je priroda izgubila svoju romantičnu i čistu sliku koju je zapadna kultura štovala stoljećima. Gissen kao povjesničar arhitekture kritizira dominantne „zelene“ arhitektonske diskurse koji teže estetiziranju prirode i njezinu podvrgavanju ljudskim i tržišnim interesima. Uvodi pojam subnature – oblik prirode koju arhitektura i društvo tradicionalno potiskuju: blato, dim, prašina, korov, insekti, otpad. Ti elementi nisu neprirodni, nego predstavljaju neuglednu, ali vrlo autenVidljiva i tičnu komponentu urbanog života – potisnunevidljiva Ilica tu, nižu prirodu. Prema Gissenu arhitektura ih treba prepoznati kao dijelove stvarnih ekosustava grada i uključiti ih u svoj izraz. „Potisnuta priroda“ ruši granicu između čiste, kontrolirane prirode i prljave, nepredvidljive materijalnosti grada. S druge strane Morton, filozof spekulativnog realizma, u sličnom povijesnom trenutku ispunjenom ekološkim krizama i posthumanističkom filozofijom razvija pojam hiperobjekata – entiteta koji su toliko vremenski i prostorno rasprostranjeni da nadilaze ljudsku percepciju. Primjeri su globalno zatopljenje, plastika, radioaktivnost, kapitalizam. Hiperobjekti su ljepljivi (viskozni), nelokalni i vremenski neuhvatljivi. Oni pokazuju da čovjek više ne može stajati izvan prirode, već je uronjen u mrežu odnosa s neljudskim stvarnosti- 154 ◗

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In Subnature: Architecture’s Other Environments (2009) and Hyperobjects: Philosophy and Ecology after the End of the World (2013), David Gissen and Timothy Morton reflect, from different perspectives, on the relationship between humans, space, and the environment. Both authors react to contemporary ecological and urban crises and develop novel concepts for understanding the world in which nature has lost its romantic and pure image that Western culture has revered for centuries. Gissen, as an architectural historian, criticizes the dominant “green” architectural discourses that tend to aestheticize nature and subordinate it to human and market interests. He introduces the concept of “subnature” – a form of nature which is rejected by architecture and traditional society: mud, smoke, dust, weeds, Visible and insects, waste. These elements are not unnatural, but rather represent an unattractive, yet Invisible Ilica very authentic component of urban life – the suppressed, lower form of nature. According to Gissen, architecture should recognize these elements as parts of the city’s actual ecosystems and include them into its expression. “Suppressed nature” breaks the border between clean, controlled nature and the dirty, unpredictable materiality of the city. On the other hand, Morton, who is a philosopher associated with speculative realism, develops the concept of hyperobjects within a similar historical moment marked by ecological crises and posthumanist philosophy. He defines hyperobjects as entities which are so widely spatially and temporally distributed that they exceed human perception. Examples of them include global warming, plas155 tics, radioactivity, and capitalism. Hyperobjects are sticky Processes

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ma. Morton proglašava „kraj svijeta“, ali ne u smislu fizičkog kraja planeta, nego kraja ideje o svijetu kao stabilnom okviru odvojenom od čovjeka. Gissen i Morton svoje teorijske koncepte primjenjuju na više primjera, a mi ih proučavamo upravo u kontekstu zagrebačke Ilice. Osim što je reprezentativna gradska ulica, istovremeno je i sloj prašine, dima, vlage, otpada i ljudske mase – „potprirodnih“ elemenata koje Gissen vidi kao autentičan dio urbane ekologije. U skladu s Mortonovom filozofijom, Ilica je lokalna manifestacija hiperobjekta jer se globalni kapitalizam, klimatske promjene i urbano zagađenje očituju u svakodnevnom prometu, potrošnji i konzumaciji te isijavanju betona ljeti. Čitanje Ilice u skladu s Gissenovim i Mortonovim tumačenjima znači odustajanje od slike grada kao estetskog objekta te prihvaćanje njegovih nevidljivih, nelagodnih i neljudskih slojeva. Subnature nas uči da arhitektura i urbanizam moraju priznati vrijednost onoga što je potisnuto i prljavo. Hiperobjekti otkrivaju kako je Ilica dio golemih mreža materijalnih i vremenskih odnosa koji nadilaze čovjeka. Sintezom obaju pristupa Ilicu možemo promatrati kao dinamičan i složen ekosustav u kojem se isprepleću lokalno i globalno, materijalno i apstraktno, ljudsko i neljudsko. Takav okoliš i odnosi unutar njega te nusprodukti svih prisutnih procesa izvrsna su podloga za promišljanje novoga utopijskog izraza urbanog prostora Ilice.

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or viscous, non-local, and temporally elusive. They demonstrate that humans can no longer position themselves outside of nature but are rather immersed in a network of relations with non-human realities. Morton announces the “end of the world”, but not in the sense of the physical destruction of the planet, rather as the end of the idea of our world as a stable framework separate from humans. Both Gissen and Morton apply their theoretical concepts to a range of examples, while our work explores them specifically in the context of Zagreb’s Ilica street. Aside from being a representative city street, Ilica is simultaneously a layer of dust, smoke, moisture, waste, and human mass – “subnatural” elements which Gissen sees as an authentic part of the urban ecology. Using Morton’s concepts, Ilica becomes a local manifestation of a hyperobject, because global capitalism, climate change, and urban pollution are made manifest in everyday traffic, consumption, and heat radiating from the summer asphalt. Reading Ilica through Gissen and Morton means abandoning the image of the city as an aesthetic object, and accepting its invisible, uncomfortable, and non-human layers. Subnature teaches us that architecture and urbanism need to recognize the values of that which is repressed and dirty. Hyperobjects reveal that Ilica is part of vast networks of material and temporal relations which exceed the human scale. By synthesizing both approaches, we can observe Ilica as a dynamic and complex ecosystem in which the local and global, the physical and the abstract, the human and non-human intertwine. This type of environment, the relationships within it, and the byproducts of all the processes taking place there provide a productive base for imagining a new utopian expression of Ilica’s urban space.

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● Nusprodukti Procesi koji oblikuju prostor Ilice ostavljaju za sobom čitav niz nusprodukata. Ova analiza usmjerena je na podražaje koje bilježimo i interpretiramo. Konkretno, dijagram se bavi osjetima mirisa i sluha da donosi uvid u zvučne i olfaktorne karakteristike ulice. Prikazuje neke od najčešćih i najizraženijih podražaja zabilježenih u prostoru. Takvo grafičko mapiranje stvara osjetilnu kartu jedne od najživljih i neprepoznatljivijih gradskih ulica. ● Byproducts The processes which shape Ilica leave behind a series of byproducts. This analysis is geared towards the stimuli which we note and interpret. More specifically, the diagram deals with the senses of smell and sound, bringing insight into the sonic and olfactory characteristics of the street. It showcases some of the most common and pronounced stimuli recorded in the space. This type of graphic mapping creates a sensory map of one of the most important and recognizable streets in the city.

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Histories of Ecological Design: An Unfinished Cyclopedia autorice Lydie Kallipoliti donosi povijesni ne-linearni pregled razvoja metodoloških pristupa ekologiji, počevši od razdoblja u kojem se ekologija uspostavlja kao disciplina pa sve do suvremenog trenutka. Takvim pregledom autorica pokazuje kako se ekologija postupno prestaje shvaćati kao stabilna i normativna kategorija te se sve više razumijeva kao složen proces isprepleten tokovima materije, energije, tijela i ideologija. Analizirajući povijesne promjene u pristupima ekologiji, Kallipoliti nastoji pojasniti kako je došlo do današnjeg stanja, ali i zašto je nužno ponovno i drugačije promišljati ekologiju u kontekstu dizajna i arhitekture, izvan uskih tehničkih modela održivosti, uzimajući u obzir nusprodukte, toksičnost, otpad i ambivalentne učinke arhitektonskih i dizajnerskih praksi. Iako Ekologija i Kallipoliti polazi od arhitektonske teorije, oslametodologija nja se i na širok spektar teorijskih i istraživačkih polja, od filozofije i feminističke teorije do znanosti o okolišu, umjetnosti i političke ekologije s ciljem dokazivanja da se ekološki problemi ne mogu razumjeti isključivo kroz arhitektonske tipologije, tehnička rješenja ili formalne strategije. Na taj se način arhitektura ne promatra kao autonomna ili samodostatna disciplina, nego kao jedan od medija kojim se ekološki procesi, društveni odnosi i materijalni tokovi artikuliraju, materijaliziraju i postaju vidljivi u prostoru. Upravo takva interdisciplinarna pozicija čini ovaj pristup primjenjivim u arhitekturi, ali ne u smislu proizvodnje izoliranih „ekoloških objekata“. Umjesto toga, arhitektura se shvaća kao infrastruktura procesa koja sudjeluje u oblikovanju svakodnevnih praksi, odnosa moći, tijela i okolišnih tokova. Na taj se način fokus prebacuje s 160 ◗

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Histories of Ecological Design: An Unfinished Cyclopedia provides a non-linear historical overview of methodological approaches to ecology, from the period in which ecology was established as a discipline to the present day. Through such an overview, the author Lydia Kallipoliti shows how ecology gradually ceases to be understood as a stable and normative category and is increasingly understood as a complex process intertwined with flows of matter, energy, bodies, and ideologies. Analyzing historical changes in approaches to ecology, Kallipoliti seeks to explain how the current condition came about, but also reflects on why it is necessary to rethink ecology in the context of design and architecture – beyond the narrow technical models of sustainability, while taking into account byEcology and products, toxicity, waste, and ambivalent effects of architectural and design practices. Although Methodology Kallipolity begins with architectural theory, she leans on a wide spectrum of theoretical and research fields, ranging from philosophy and feminist theory to environmental sciences, art, and political ecology – all with the aim of proving that we cannot understand ecological issues exclusively through architectural typologies, technical solutions or formal strategies. In this way, architecture is no longer observed as an autonomous or self-sufficient discipline, but as one of the mediums through which ecological processes, social relations, and material flows are articulated, materialized and made visible within space. It is precisely this interdisciplinary position which makes this approach applicable within architecture – but not in the context of producing isolated “ecological 161 objects”. Instead, architecture is here understood as the Processes

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konačnog objekta na dugotrajne, a često i proturječne i nevidljive procese koji oblikuju prostor. U kontekstu istraživanja Ilice metodologija koju Kallipoliti predlaže omogućuje čitanje prostora kao složenog ekosustava proturječnih tokova umjesto kao uobičajene jedinstvene urbane cjeline, odnosno sustava ekonomskih, društvenih, materijalnih i simboličkih tokova. Ilica se može promatrati kroz vlastite nusprodukte poput napuštenih prostora, privremenih funkcija, nevidljivi rad, toksičnost, energetsku neučinkovitost, ali i kroz tijela koja je svakodnevno nastanjuju i transformiraju. Umjesto idealizirane slike „održive ulice“ naglasak se prebacuje na procese propadanja, adaptacije i neformalne uporabe kao legitimne izvore znanja o prostoru. Mogućnost drugačijeg čitanja Ilice otvara se zamjenom uobičajenih pojmova s pojmovima poput tijela i shvaćanjem tijela kao nositelja ekoloških procesa, kritičkim odnosom prema mjerljivosti i učinkovitosti te odbacivanjem jasnih podjela između prirode i kulture ili funkcije i otpada. Njezin utopijski potencijal ne leži u nekom konačnom rješenju ili idealnom stanju, nego u mogućnosti da se postojeće stanje sagleda i razumije drugačije. Takav metodološki pristup pritom služi kao alat za njezinu kritičku analizu; kriza, višak i nesavršenost shvaćeni su kao sastavni i značajni dijelovi urbanog procesa.

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infrastructure of processes which participates in the shaping of everyday practices, power relations, bodies, and environmental flows. As such, the focus shifts from finite objects towards longterm – and often contradictory and invisible processes which shape space. In the context of researching Ilica, the methodological approach offered by Kallipoliti allows us to read the space as a complex ecosystem of conflicting flows rather than as a conventional unified urban whole. It is seen here as a system of economic, social, material, and symbolic flows. Ilica can also be observed through its own byproducts such as abandoned spaces, temporary programs, invisible labor, toxicity, energy inefficiency, as well as the bodies that inhabit and transform it on a daily basis. Instead of an idealized image of a “sustainable street”, the emphasis shifts towards processes of decay, adaptation, and informal use as legitimate sources of knowledge about this space. The possibility of reading Ilica in a different way emerges by reconsidering common concepts,such as the body as the carrier of ecological processes; through establishing a critical relationship towards measurability and efficiency; and through rejecting the clear divisions between nature and culture, function and waste. The street’s utopian potential therefore does not lie in a finite solution or an ideal state, but rather in the possibility of viewing and understanding the site in a different way. This methodological approach then serves us as a tool for the street’s critical analysis; crisis, excess, and imperfection become understood as integral and relevant parts of the urban process.

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Scenarij koji razvijamo polazi od drugačijeg čitanja Ilice – ne kroz brojke i urbanističke pokazatelje, nego kroz neposredno, tjelesno iskustvo prostora. U fokusu su nefizički elementi poput zvuka, mirisa, topline i vjetra koji Ilicu čine istodobno privlačnom i napornom za boravak, a tijela prolaznika i stanara postaju aktivni sudionici urbanog ekosustava. Naš pristup podrazumijeva mapiranje i praćenje nevidljivih i osjetilnih fenomena – buke iz automobila i javnog prijevoza, mirisa iz ugostiteljskih objekata, akumulacije topline u tlu i zraku, koje promatramo ne samo kao statističke podatake nego kao iskustava koja tijelo proživljava. Kallipoliti podsjeća da ekologija nije apstraktan sustav, nego lived-experience; tijela upijaju, procesuiraju i reagiraju na okolišne uvjete, a osjetila te procese čine vidljivima i čujnima. Taj pristup u planiranje prostora uvoAntagonisti di etiku brige jer polazi od tjelesnog doživljaja i neljudski zagušenog i neuređenog prostora. Otvaraju se protagonist mogućnosti za intervencije koje ne teže samo tehničkoj optimizaciji nego poboljšanju svakodnevnog suživota u Ilici. Promatranje tijela kao dijela ekologije omogućuje razumijevanje prostora kroz odnose između ljudi, okoliša i društvenih praksi te povezuje osjetilno, društveno i ekološko iskustvo. Ilicu budućnosti zamišljamo kao aktivni javni gradski prostor, potpuno ispražnjenu od kolnog prometa. U profilu ulice zadržana je linija javnog prijevoza koja dinamizira ulicu i povezuje je sa širim gradskim kontekstom, a pješačke površine proširene su i obogaćene zelenilom. Nova Ilica sadržajem zadržava svoj dinamični društveni karakter i donekle čuva nekadašnju konzumerističku crtu, ali s potpuno izmijenjenom mikroklimom. Postaje pročišćena 164 ◗

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The developed scenario begins from a different reading of Ilica – one which does not use numbers and urban planning indicators, but instead focuses on the immediate, physical spatial experience. The focus shifts to non-physical elements such as sound, smell, heat, and wind which make Ilica simultaneously attractive and demanding to inhabit. In this context, the bodies of passers-by and the street’s inhabitants become active participants in this urban ecosystem. Our approach involves the process of mapping and tracing the invisible and sensory phenomena – noise from cars and public transport, smells from restaurants, the accumulation of heat in the ground and air – and exploring them not only as statistical information, but as embodied experiences. Kallipoliti reminds us Antagonists that ecology is not an abstract system but a lived and Non-Human experience: bodies absorb, process, and react to environmental conditions, and the senses make Protagonist these processes visible, heard, and felt. This approach introduces an ethic of care into urban planning because it begins with the bodily experience within a congested and unregulated space. It opens up the possibility for interventions which are not geared only towards technical optimization, but also at improving the everyday coexistence on Ilica. Viewing the body as part of ecology allows us to understand space through the relationships between humans, the environment, and social practices, bringing together sensory, social, and ecological experiences. We imagine the future of Ilica as an active urban space, completely cleared of vehicular traffic. The zone of pub165 lic transport is retained within the profile of the street, Processes

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i rasterećena urbana promenada koja se otvara kao poželjan javni prostor čijoj se vrevi stanovnici žure pridružiti. Atmosfera Ilice pročišćava se manipulacijom nevidljivim fenomenima poput vjetra i zvuka. Takve su promjene zapravo procesi, ne događaju se brzo, nego sustavno. Nova mikroklima ulice stvara se implementacijom nekoliko jednostavnih sustava koji iskorištavaju neizbježne atmosferske pojave, poput strujanja zraka i putovanja zvučnih valova u prostoru te sustavno djeluju na njih. Jednostavne opće intervencije poput uređenih dvorišta blokova, koja postaju zelene oaze u središtu grada i hrane Ilicu svježim zrakom, kao i postavljanje suvremenoga uličnog popločenja, koje neutralizira vibracije tramvaja i ne ometa promet pješaka, dugoročno pridonose stvaranju optimalnije mikroklime budućnosti. Specifično, instalacijom urbanih napa na mjesta koja emitiraju intenzivne neugodne mirise, kao što su mjesta za odlaganje otpada ili prostor ribarnice, na temelju inducirane topline pri vrhu kanala stvarao bi se podtlak i tako odvodio negativne mirise. Na pročelja zgrada postavili bi se vjetrohvati koji silom uzgona omogućuju prirodno provjetravanje prostora podruma i njihovo pročišćavanje te točkasto raspoređeni aparati za aktivno poništavanje buke ljudi čime bi se omogućilo novo iskustvo osluškivanja urbanog prostora. Takvim sustavnim intervencijama i manipulacijom nusproduktima nevidljivih procesa koji već oblikuju Ilicu prostor se pročišćava, a tjelesni doživljaj ulice postaje ugodniji.

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making the area more dynamic and linking it to a wider city context. The pedestrian surfaces become widened and enriched with greenery. The new Ilica retains its dynamic social character through its program, preserving some of its former consumeristic character, but with a completely transformed microclimate. It becomes a purified and unburdened urban promenade which opens itself up as a desirable public space that residents rush to join. The atmosphere of the street is purified through manipulating its invisible phenomena such as winds and sounds. Such changes are in fact processes: they do not occur quickly, but systematically. The new microclimate of the street is created through the implementation of several simple systems which make use of and systematically act upon the present atmospheric phenomena, such as air currents and the transfer of soundwaves through space. Simple generic interventions contribute to the long-term creation of an optimal future microclimate. Such interventions include landscaped block courtyards which become green oases in the city center and feed Ilica with fresh air, and the installation of modern paving systems which neutralized the tram vibrations without obstructing pedestrian movement. Additionally, urban hoods are installed in places which emit intense and unpleasant smells – such as waste disposal points or the fish market area – using negative pressure created through induced heat at the top of the duct, thereby extracting unwanted odors. Installation of wind catchers on building facades would, using buoyancy, enable natural ventilation and purification of basement spaces. Lastly, distributed devices for active noise cancelation of human-generated noise would allow for a new experience of listening to the urban space. Through a series of systemic interventions and the manipulation of the by-products of invisible processes already shaping Ilica, the space becomes purified, and the bodily experience more pleasant. 167 Processes

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● Prostor oblikovan nevidljvim Ilica budućnosti aktivni je javni prostor oslobođen kolnog prometa s naglašenom pješačkom zonom, ali sačuvanom linijom javnog prijevoza. Proširene površine za pješake i dodatno zelenilo stvaraju ugodniji okoliš, dok ulica zadržava svoj društveni i trgovački karakter. Poboljšanje mikroklime temelji se na sustavnim procesima koji koriste prirodna strujanja zraka i širenje zvuka kako bi se prostor postupno pročistio i uravnotežio. Intervencije uključuju zelena dvorišta, suvremeno popločenje koje smanjuje vibracije te sustave za ventilaciju, uklanjanje neugodnih mirisa i smanjenje buke. Takvim pristupom Ilica postaje pročišćena i privlačna urbana promenada ugodna za svakodnevni boravak. ● Shaping space with the invisible Ilica of the future is a public space liberated from vehicular traffic with an emphasized pedestrian zone and a retained line of public transport. Expanded pedestrian surfaces and additional greenery create a more pleasant environment, while the street retains its public and commercial character. The improvement of the street’s microclimate is based on a system of processes which make use of natural air currents and sound transfer in order to gradually purify and balance the space. Interventions include green courtyards, vibration-reducing paving, and ventilation systems which remove unpleasant odors and reduce noise. Through this approach, Ilica becomes a purified and attractive urban promenade suitable for everyday use.

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Ilica je poznata po dugom nizu izloga i fasada između kojih se neprestano provlače tramvaji i guraju ljudi. Ponekad se ta gusta linija pokreta i podražaja razlije u trgove ili pobjegne u poprečne ulice i sakrivena unutarnja dvorišta, dok je nevidljivo prati zrak ispunjen mirisima, toplinom i bukom, presudan za doživljaj glavne zagrebačke ulice. U tom kontekstu zrak kao medij koji sve povezuje dobiva ulogu protagonista; prolazi kroz grad, tramvaje, podrume i krošnje, osjetljiv je na arhitekturu i infrastrukturu te izravno utječe na disanje, slušanje i osjećanje prostora. Njemu su nasuprot antagonisti dim, smrad, buka i akumulirana toplina; nusproizvodi sadašnjeg režima Ilice vezani uz promet, ugostiteljstvo i nedovoljno funkcionalnu infrastrukturu unutar zbijene i neprozračene gradske strukture. Dim i neugodni mirisi koncentriraju se oko kontejne- Utopijski akteri ra, zatvorenih dvorišta i podruma; buka tramvai narativ ja, automobila i raznovrsnih uređaja u prostoru stvara kontinuirani zvučni sloj; toplina se nakuplja u asfaltu, fasadama i podrumima. Utopijski scenarij prometno rasterećuje Ilicu i uvodi infrastrukturu koja podržava strujanje zraka. Dvorišta blokova pretvaraju se u zelene oaze i izvore svježeg zraka, vjetrohvati na pročeljima usmjeravaju strujanje u podrume, a sustavi urbanih napa odvode topli i zagađeni zrak iznad razine prisutnih tijela. Aparati za aktivno poništavanje buke preobličuju zvučnu sliku ulice i novo popločenje smanjuje vibracije i pregrijavanje. Protagonist i antagonisti nisu moralno suprotstavljeni likovi, nego su dva uobličenja okolnosti: strujanje zraka koje teži cirkulaciji i razrjeđivanju u kontrastu je s dimom, smradom, bukom i toplinom koji se gomilaju i zadržavaju u prostoru. 170 ◗

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Ilica is known for its long sequence of shop windows and facades, between which trams constantly pass and people push their way through. Sometimes this dense line of movement and stimuli spills onto the adjacent squares or escapes into the side streets and hidden inner courtyards, all the while invisibly followed by an air filled with smells, heat, and noise, which is crucial to the experience of Zagreb’s main street. Within this context, air as the medium which brings everything together takes on the role of the protagonist: it passes through the city, the trams, the basements, and the tree canopies; it is sensitive to architecture and infrastructure and has a direct effect on our breathing, listening, and sensing of space. Opposed to it are the antagonists – smoke, stench, noise, and accumulated Utopian Actors heat; by-products of Ilica’s current use associated with traffic, hospitality, and an insufficiently and Narratives functional infrastructure located within a dense and poorly ventilated urban structure. Smoke and unpleasant smells concentrate around waste containers, enclosed courtyards, and basements; the noise from trams, cars, and diverse devices creates a continuous layer of sounds; heat accumulates in the asphalt, facades, and basements. The utopian scenario reduces traffic pressures on Ilica and introduces an infrastructure that supports air circulation. Block courtyards become green oases and sources of fresh air, windcatchers on facades direct the flow of air into basements, and a system of urban hoods extracts warm and polluted air above the bodies occupying the space. Active noise-cancelation devices reshape the street’s soundscape, while the new paving reduces vi171 brations and overheating. Processes

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U novim uvjetima oni ulaze u drugačiji odnos: dim i mirisi i dalje nastaju, buka i dalje prati kretanje ljudi i tramvaja, toplina se i dalje pohranjuje u materijalima, ali ih strujanje zraka neprestano razrjeđuje, premješta i raspoređuje. Umjesto da se gomilaju unutar blokova i uz rub ulice, ti se slojevi provlače kroz sustave dvorišta, vjetrohvata, napa i površina, pa antagonisti ostaju prisutni, ali manje agresivni. Rezultat je ulica u kojoj su neugode još uvijek prepoznatljive kao dio živoga grada, ali više ne dominiraju nad tjelesnim iskustvom prostora, nego se s njima može živjeti u stabilnijem, podnošljivom balansu. Strujanje zraka uz podršku novih prostornih i tehničkih rješenja te neželjene pojave redistribuira i razrjeđuje umjesto da im dopušta gomilanje čime je Ilica pretvorena u svakodnevni laboratorij za ispitivanje i oblikovanje osjećanja grada.

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The protagonists and antagonists are not seen here as morally opposed figures, but as two embodiments of specific circumstances: airflow which tends towards circulation and dilution is contrasted with smoke, stench, noise, and heat which accumulate and are retained in space. Under the new conditions these phenomena enter into a different correlation: smoke and stench continue to be produced, noise continues to accompany the movement of people and trams, accumulated heat remains stored within materials – but the airflow continuously dilutes, moves, and distributes them. Instead of accumulating within blocks or along the edges of the street, these layers move through systems of courtyards, windcatchers, hoods, and surfaces: the antagonists remain present, but become less aggressive. The result is a street in which the unpleasant is still a recognizable part of city life, but it no longer dominates the bodily experience of space. These phenomena can instead be lived with in a more stable and tolerable balance. Supported by new spatial and technical solutions, airflow redistributes and dilutes these unwanted phenomena rather than allowing them to accumulate, transforming Ilica into an everyday laboratory for testing and shaping the experience of the city.

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● Karta nevidljive Ilice Ekosustav ulice analizira se kao jedan od procesa koji mijenjaju grad. Promet i arhitektura nisu jedini čimbenici promjene u takvom prostoru. Ulicu proučavamo zajedno sa njenim nevidljivim, nelagodnim i neljudskim slojevima. Mapiranjem i interpretacijom podražaja duž ulice dobivamo osjetilnu kartu Ilice. Intenzitet djelovanja tih nevidljiv aktera u prostoru istaknut je na području Britanca, Rokovog perivoja te duž infrastrukturnog pravca u cijeloj ulici. ● Map of Invisible Ilica The street ecosystem is analyzed as one of the processes that transform the city. Traffic and architecture are not the only factors of change in such spaces. We observe the street together with its invisible, uncomfortable, and non-human layers. By mapping and interpreting the stimuli along the street, we create a sensory map of Ilica. The intensity of the influence of these invisible spatial actors is particularly emphasized in the zone of the Britanski trg, Rokov perivoj, and along the street’s infrastructural axis.

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● Mapa intervencija Istraživanje je nadalje usmjereno na djelovanje unutar sfere nevidljivoga. Analizirali smo tjelesno iskustvo bivanja u prostoru i pokušavamo razviti novi scenarij u kojem se osjetilno iskustvo prostora pročišćava i mijenja. Pitamo se kako mijenjati prostor mijenjajući ono što je nevidljivo. Cilj je stvoriti minimalne intervencije u infrastrukturi koje će pokrenuti niz novih procesa čiji će nusprodukti opet djelovati u prostoru i time promijeniti osjetilnu kartu Ilice. Atmosfera Ilice pročišćava se manipulacijom nevidljivim fenomenima poput vjetra i zvuka. Takve su promjene zapravo procesi, ne događaju se brzo, nego sustavno. ● Map of Interventions The research is further directed towards interventions within the sphere of the invisible. We have analyzed the bodily experience of being in space and have attempted to develop a scenario in which the sensory experience of space is purified and transformed. We ask how space can be changed by modifying only that which is invisible. The aim is to create minimal interventions within the street’s infrastructure which will trigger new processes whose byproducts will once again act within the space and change the sensory map of Ilica. The atmosphere of the street will be purified through manipulating invisible phenomena such as wind and sound. These types of changes are in fact processes – they do not occur quickly, but systematically.

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● Faze transformacije Ilice Faze sustavne transformacije mikroklime Ilice u novi ekosustav – naoko isti, ali doživljajno pročišćen. Postupnim uklanjanjem starih i dodavanjem novih procesa stvaraju se novi nusprodukti. Promjena se očituje u prostoru s infrastrukturnim elementima napa i vjetrohvata koji se pojavljuju kao nadogradnje na postojeću arhitekturu. Parazitirajuće strukture koje simboliziraju promjenu. Strujanje zraka koje teži cirkulaciji i razrjeđivanju u kontrastu je s dimom, smradom, bukom i toplinom koji se gomilaju i zadržavaju u prostoru. U novim uvjetima oni ulaze u drugačiji odnos: dim i mirisi i dalje nastaju, buka i dalje prati kretanje ljudi i tramvaja, toplina se i dalje pohranjuje u materijalima, ali ih strujanje zraka neprestano razrjeđuje, premješta i raspoređuje.

● Phases of Ilica's Transformation The systematic transformations of Ilica’s microclimate create a new ecosystem in phases. This new ecosystem is seemingly the same, but experientially purified. Through a gradual removal of old processes and the introduction of new ones, new by-products emerge. The change is made evident within the space through a series of infrastructural elements such as hoods and windcatchers which operate as additions to the existing architecture, as parasitic structures which signify change. The flow of air which tends towards circulation and dilution is contrasted with the smoke, stench, noise, and heat which have built up within the space. In these new conditions, these elements form a new correlation: smoke and stench still occur, noise still follows the movement of people and traffic, heat is still stored within the built fabric, but the flow of air continuously dilutes, relocates, and rearranges them.

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● Procesi i intervencije Konvekcija – omogućuje prirodnu ventilaciju prostora kroz uzlazno strujanje toplog zraka i dotok hladnijeg zraka u donjim zonama. Združivanjem ugodnih mirisa s hladnim zrakom i neugodnih mirisa s toplim zrakom generiraju se strujanja koja omogućuju manipulaciju i usmjeravanje fluida kroz prostor. Hvatači vjetra – čišćenje zrakom: hladni čisti zrak dovodi se u podrume i prozračuje podrumske etaže. Ulične nape – točkasti izvori koncentriranog i intenzivnog neugodnog mirisa i točkasto rješavanje buke s ulice postavljanjem na strateška mjesta: strujanje zraka = stvaranje podtlaka crna boja = zagrijavanje = stvaranje podtlaka noise cancellation sustav zvuk + „antizvuk“ = tišina Ulično popločenje – podloga za tračni promet uronjena je u pijesak koji anulira vibracije i smanjuje prekomjerno stvaranje buke.

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● Processes and Interventions Convection – enables natural ventilation of spaces through the upward movement of warm air and the inflow of cooler air in the lower zones. By combining pleasant smells with cool air and unpleasant smells with warm air, air currents are generated that allow these gases to be manipulated and directed through space. Windcatchers – air purification: cool, clean air is introduced as a ventilation system for basement levels. Street hoods – nodal sources placed at strategic locations of concentrated and intense smells are combined with the elimination of street noise. Airflow = creation of negative pressure Black color = heating = creating negative pressure Noise cancellation system Sound + “anti-sound” = silence Street paving – the surface for rail traffic is embedded in sand which absorbs vibrations and reduces excessive noise generation

Utopijski laboratorij Ilica

Koncept Brige nadograđuje utopijsku temu upravljanja, koja je možda jedan od aspekata utopijskih narativa koji je najmanje usmjeren na prostor. Iako je izvorno bio korišten za osmišljavanje društvenih, političkih i gospodarskih uređenja ljudskih života i aktivnosti, taj se koncept sada proširuje kako bi obuhvatio niz drugih aktera. Prebacivanjem odnosa moći s vertikalne i hijerarhijske strukture u kojoj nekolicina odlučuje o sudbini većine, prema drugačijem modelu, Briga ima za cilj Briga osnažiti kolektivni sustav i u njega uključiti one glasove i aktere koji su uobičajeno zanemareni, marginalizirani ili nedovoljno zastupljeni. Umjesto stvaranja društvene strukture suživota nametnute odozgo, Briga teži uspostavi horizontalne strukture u kojoj svi akteri prepoznaju svoju međusobnu ovisnost i zajednički djeluju na održavanju povoljnih uvjeta za sve. Tema Brige istražena je s pomoću djela Spatial Agency autora Awana, Schneider i Tilla i Staying with the Trouble ◗

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Care builds on the utopian theme of governance, perhaps one of the least spatially focused aspects of utopian narratives. Originally geared towards devising social, political, and economic arrangements of humans and their activities, this theme broadens the categories to include an array of other actors. Shifting the power relations from a vertical and hierarchical one in which the few decide on the fate of the many, Care seeks to give agency to and include withCare in a collective system those voices and actors that are commonly overlooked, marginalized, or underrepresented. Instead of creating a top-down societal structure of cohabitation, Care strives to create a horizontal structure in which all actors acknowledge their interdependence and work together to sustain favorable conditions for all. 183

The theme of Care was explored through Awan, Schneider, and Till’s Spatial Agency, Donna Haraway’s en

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Donne Haraway te tekst Stevena J. Jacksona „Rethinking Repair”. Spatial Agency redefiniranjem pojma autorstva, šireći ga izvan samog kruga arhitekata i urbanista na sve sudionike u prostoru, omogućuje nam da arhitekturu promatramo kao društveno ukorijenjenu i relevantnu praksu koju neprestano oblikuju njezini korisnici, zajednice, institucije i drugi prisutni akteri. Nadovezujući se na to stajalište, Haraway promatra brigu kao proces kontinuirane suradnje i stvaranja srodničkih veza, ali i kao proces u kojem se problemi nikada ne rješavaju konačno. Umjesto toga, ostajemo angažirani i „ostajemo s problemom” (staying with the trouble), odnosno s nesavršenim i složenim uvjetima u kojima živimo sa svojim srodnicima. Slično tom procesu te uvodeći koncept „broken world thinkig“, Jackson nas potiče da pozornost preusmjerimo s inovacija na održavanje i popravak kao kontinuirani proces pogodan za život unutar već oštećenih i slomljenih uvjeta, ne promatrajući to stanje kao nedostatak, nego kao stvarnost i potencijalnu polazišnu točku. S metodološkoga gledišta tema Brige najviše odstupa od standardiziranih arhitektonskih pristupa time što isključuje projektiranje kao mogući prvi korak. Umjesto toga, zahtijeva pažljivije razmatranje mapiranja i prepoznavanja složenih veza između različitih prostornih aktera, stanovnika i prostora u kojima se oni nalaze. Prepoznavanjem brige i zanemarivanja, raznih prostornih praksi, odnosa te oblika znanja – bilo proizvedenih ili zaboravljenih – koji proizlaze iz samog prostora, ta tema izravno se bavi postojećim stanjem promatranog konteksta te ga koristi kao živi materijal za sve daljnje intervencije ili preinake. Primjena postupaka poput popravka, održavanja, prilagodbe ili čak svjesne odluke o izostanku intervencije mijenja položaj i ulogu arhitekta: od isključivog autora i projektanta novih forma, arhitekt postaje aktivan sudionik i koautor unutar postojećeg prostora, pri čemu intervenira prvenstveno modifikacijom ili preispitivanjem odnosa, obrazaca ponašanja i mogućnosti korištenja, a ne samih fizičkih oblika. 184 ◗

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Staying with the Trouble, and Steven J. Jackson’s text “Rethinking Repair”. Spatial Agency, through their broadening of the concept of authorship beyond architects and urban planners towards all spatial participants, allows us to view architecture as a socially embedded and relevant practice that is continuously shaped by its users, communities, institutions, and other present actors. Building on this view, Haraway situates care both as a process of continuous cooperation and kinship, and also as a process in which problems are never definitively solved. Instead, we remain engaged, and “stay with the trouble” and the complex and imperfect conditions which we inhabit with our kinfolk. Similar to this process, Jackson introduces the concept of “broken world thinking”, which directs us to shift our attention away from innovation and novelty towards maintenance and repair – a continuous process where we live within the already damaged and broken conditions, viewing them not as a detriment, but as reality and as a potential starting point. From a methodological point of view, the theme of Care moves furthest from standardized architectural approaches by removing design as a possible first step. It asks for a more careful consideration when mapping and identifying the intricate correlations between the different spatial actors, inhabitants, and the spaces in which they are situated. By identifying both care and neglect, various spatial practices, relationships, and produced or forgotten forms of knowledge emerging from the space, this theme engages precisely with the existing condition of a context, and uses it as a living material for any further interventions or modifications. Using tools such as repair, maintenance, adaptation, or even nonintervention, changes the position and role of the architect from one of a single author and designer of new forms, to one of active participant and co-author within the existing space, who intervenes predominantly by changing or challenging relationships, behaviors, and possibilities of use, rather than the physical forms. 185 CARE

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ILICA OD — DO Paučina je okupirala Ilicu. Nebriga se iščitava kroz napuštene obrtničke prostore, zajednička dvorišta blokova, umrljane fasade; te najbitnije kroz otuđenost i manjak interakcije među susjedima, korisnica. Uvukla se u sve pore društva. Možda je rješenje upravo paradoks; eliminacijom ili nebrigom prema određenim elementima stvoriti potrebu za međusobnom BRIGOM među budućim korisnicima. Paula Budija, Helena Čačić, Antonio Drandić

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ILICA FROM — TO Cobwebs have taken over Ilica. Neglect can be read through abandoned craft-shops, shared block courtyards, stained facades, and most importantly, through alienation and the lack of interaction among neighbors and users. It has seeped into every pore of society. Perhaps the solution lies precisely in this paradox: by eliminating or neglecting certain areas, we can create a need for mutual care among future users.

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Dok istražujemo pojam brige u suvremenom ustroju društva i recentnim utopijskim spekulacijama, otkrivamo da se ona razvija iz teme upravljanja u utopijama 20. stoljeća, no nastoji zamijeniti težnje vladajuće manjine potrebama individua i manjih grupa unutar mreže socijalnih i kulturoloških aktera. Knjige poput Spatial Agency: Other Ways of Doing Architecture, autora Awan, Schneider i Till, nastoje proširiti krutu, strogu i suviše „usku“ definiciju arhitekture i arhitektonskog djelovanja u smislu produkcije arhitekture te pri tome ukazati na moguće varijacije u samom procesu. Prva od značajnih tema koju otvaraju ti autori je činjenica da arhitektura ne pripada samo arhitektima, nego pripada i svim korisnicima, njenim konzumentima, pa i samim usputnim prolaznicima, promatračima, ulici, gradu i društvu u cjelini. Uz to žele ukazati da arhitektura ne Aftermath smije biti marginalna, nego mora biti duboko Ilice povezana s društvenom i političkom situacijom u kojoj nastaje, iz koje zapravo i sama proizlazi. Nastoje naglasiti ulogu arhitekture ne samo kao profesije koja se bavi proizvodnjom prostornih formi, nego kao društveno angažirane djelatnosti koja ima uvid u različite aspekte društva, kao i utjecaj na njih. Stoga o arhitektonskoj praksi ne smijemo govoriti kao marginalnoj ili alternativnoj jer su i ti pojmovi već suviše determinirajući. Takvi pojmovi u samoj definiciji odvajaju arhitekturu iz sfere stvarnosti koja je okružuje i premještaju je u sferu puke estetizacije pojedinačnog i statičnog objekta. Samim time otvara se i druga značajna tema obrađena u tekstu, a koja se odnosi na činjenicu da estetika ne smije zamijeniti etiku, točnije, događa se da se pri promišljanju arhitekture zanemaruju sami procesi produkcije, temporalnost 188 ◗

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While exploring the concept of care within the contemporary organization of our society and through recent utopian speculation, we discover that it can be observed as equivalent to the 20th century topic of governance. However, within the contemporary context, care seeks to replace the aspirations of the ruling minority with the needs of individuals and smaller groups within a network of social and cultural actors. Texts such as Spatial Agency: Other Ways of Doing Architecture by Awan, Schneider, and Till seek to broaden the rigid, strict, and overly “narrow” definition of architecture and architectural production and point towards possible variations in the process itself. The first relevant topic which these authors bring forth is the fact that architecture does not only belong to architects, but also to Aftermath its users and consumers, as well as to passers-by, of Ilica onlookers, the street, the city, and society as a whole. In addition to this, they demonstrate that architecture should not be marginal, but rather deeply connected within the social and political context from which it emerges – and in which it is created. They seek to emphasize the role of architecture not merely as a profession that deals with the production of spatial forms, but as a socially engaged activity which has insight into different aspects of society. We cannot therefore discuss architectural practice as being marginal or alternative, because these concepts are too deterministic. In their own definition, they disconnect architecture from the reality that surrounds it, shifting it into the sphere of pure aestheticization of the individual static object. This opens up the second relevant topic addressed in their book, name189 ly one where aesthetics should not replace ethics. More CARE

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te povezanost s društvom i prirodom. Autori naglašavaju kako im je cilj shvaćanje arhitektonskog djelovanja odmaknuti od objekta i usmjeriti na prostor, pritom ne zamjenjujući arhitektonsko djelovanje, nego osvijestiti upravo arhitektonsku struku da treba stvarati prostor koji – priznaje i druge autore, priznaje promjene tijekom vremena, priznaje greške i razgovore svoga društva. Prostorno djelovanje koje zagovaraju autori naglašava kritič- 190 ◗

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specifically, it often occurs that within the process of conceiving architecture, the processes of its actual production are often neglected, along with its temporality and correlation to both society and nature. The authors emphasize that their main goal is to separate the understanding of architecture from that related to the object, and direct it towards the production of space – one that takes into account other authors, acknowledges changes over time, and admits to both the errors and conversations of its society. Spatial practices which the authors advocate emphasize the critical examination of the existing condition, and the collection and sharing of knowledge, followed by a change for the better. The analyzed texts bring together the built environment and its different systems, processes, actors, and inhabitants living in and around it. These topics are also addressed by Donna J. Haraway in her book Staying with the Trouble: Making Kin in the Chthulucene, in which through a critique of the age we call the “Anthropocene”, she emphasizes the importance of understanding the mutual interconnectedness of everything on Earth. She points out that when faced with our daily capitalist and Anthropocene realities, people tend to find solutions for everyday problems – even the major ones – in either technology or God, in the sense of a single and definitive fix or a way out; or they simply give up, declare the end of a meaningful world, and abandon it. As a reaction to such a state, which the author calls the state of unsettled disturbance, she sees potential in discovering the unexpected and endless con191 nections which the world offers in its entirety. However, CARE

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ko ispitivanje postojećega, sakupljanje i razmjenu znanja, te zatim promjenu na bolje. Analizirani tekstovi dovode u međuodnos izgrađeni prostor i različite sustave, procese, aktere i stanovnike u njemu i oko njega, čime se dodatno bavi Donna J. Haraway u knjizi Staying with the Trouble: Making Kin in the Chthulucene, gdje kroz kritiku doba koje nazivamo „antropoceno“ ističe važnost shvaćanja uzajamne povezanosti svega na Zemlji. Autorica naglašava kako se, suočeni sa svakodnevnom kapitalističkom i antropocenom stvarnošću, ljudi najčešće pri pronalasku rješenja na svakodnevne problema, pa i one kapitalne, s jedne strane okreću ili tehnologiji ili Bogu, u smislu jednoznačnog popravka, izlaza ili s druge strane jednostavno odustaju, proglase kraj smislenog svijeta i dignu ruke od njega. Odgovor na takvo stanje, koje autorica naziva stanjem neodlučne uznemirenosti, ona vidi u pronalasku neočekivanih i beskrajnih povezanosti koje svijet nudi u svojoj cjelovitosti. No činjenica da su ljudi globalno fokusirani uvijek samo na jednu stranu situacije, dio slike, pola procesa ili krhotinu cjelovite stvarnosti, naglašava se i u trećem navedenom tekstu „Rethinking Repair“ Stevena J. Jacksona. U tekstu autor uvodi pojam „broken world thinking“, pomoću kojeg opisuje svijet kao bipolaran, s jedne strane fragmentirani skoropropadajući svijet, uvijek fokusiran na senzaciju novoga i inovaciju, dok je s druge strane uvijek prisutna, iako potisnuta, konstanta popravka. U nizu pojedinačnih primjera iz svijeta tehnologije i svakodnevice autor se osvrće na pitanje: kako napraviti humaniju i progresivniju politiku tehnologije, te na kraju i sam zaključuje kako je zapravo svijet uistinu konstruiran od ostataka, krhotina onoga što je bilo prije, kao i da uvijek živimo u aftermathu nečijega prethodnog djelovanja, no prema njegovu mišljenju rješenje nije u novom, nego u popravljenom.

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the fact that people tend to be globally focused on only a single aspect of a situation – a detail of a wider image, a partial process, or a shard of the entire reality – is also emphasized in Steven J. Jackson’s “Rethinking Repair”. Here, he introduces the concept of “broken world thinking”, describing the world as bipolar: on the one hand, a fragmented world on the verge of collapse, always focused on the sensation of the new and innovative, and on the other, the continuously present, yet repressed, constant of repair. Through a series of individual examples from the world of technology and everyday life, Jackson reflects on how we could create a more humane and progressive politics of technology, concluding that our world is indeed structured out of leftovers, fragments of what came before, and that we live in the aftermath of someone’s previous actions. But according to him, the solution lies not in the new, but in the repaired.

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● Dijagram Ilice danas Prostor odabran za analizu teme BRIGA je potez Ilice između Britanca i Tuđmanca, ironično, upravo zbog njena izostanka. Taj potez, u cjelini Ilice, ostavlja dojam preskočenoga, zapuštenog te isključivo tranzitnog prostora, gdje se korisnici nemaju razloga zadržavati, nego samo prolaze. Gradska ulica u samom centru grada, koja svojim karakterom treba biti usmjerena pješaku, u potpunosti ga je izgurala i dominantan postaje kolni promet. Rijetke neizgrađene urbane šupljine zapunjene su parkiranim automobilima i zapuštenom izgradnjom. Sve navedeno bio je cilj na crtežu prikazati upravo onakvim kakvo je, bez imalo uljepšavanja; kaotično, napušteno, sa samo nekoliko svijetlih točaka. Uz analizu ulice, analiziramo i stanje brige za arhitekturu, konkretno održavanje pročelja i krovišta i način BRIGA korištenja unutarnjih dvorišta gradskih blokova.

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● Diagram of Ilica Today The area selected for the analysis of the theme of Care is the stretch between Britanski trg and Trg dr. Franje Tuđmana, precisely because the area evidently lacks care. Within Ilica as a whole, this specific area gives the impression of remaining overlooked, abandoned, and exclusively transitory – a space in which users have no reason to linger and simply pass through. Located in the center of the city, Ilica should be geared towards the pedestrian, but it has completely pushed them out in favor of vehicular traffic. The rare unbuilt urban caves are fully filled with parked cars and dilapidated buildings. The aim of the drawing was to depict everything as it is, without embellishment: chaotic, abandoned, with just a few bright spots. Through the analysis of the street, we observe the levels of care for the architecture, specifically for the maintenance of the facades and roofs, as well as the care through which the inner courtyards are used.

Utopijski laboratorij Ilica

Čitanjem metodološke literature upoznajemo se s nizom pristupa i koncepata, produbljujući pritom i samu utopijsku temu – briga kao nevidljivi sloj socijalnih i kulturoloških aktera, koji unatoč svojoj neprostornosti uvelike utječe na artikulaciju prostora, njegove korisnike i događaje koje on generira ili, u slučaju promatranog poteza Britanac – Tuđmanac, ne generira. Prvi od referentnih tekstova je Histories of Ecological Design: An Unfinished Cyclopedia autorice Lydije Kallipoliti u kojem ona u cyclopediji, kako je sama naziva, odnosno nedovršenoj enciklopediji iznosi svoje stavove i znanja o ekologiji na nekronološki, nelinearan način. Za takvu sistematizaciju sadržaja odlučuje se jer smatra da znanje nije zaokruženo, kako to često biva u tipičnim enciklopedijama, nego da ono kruži. Znanje nikada nije definitivno, dovršeno, nego je u konstantnoj Ideje mogućih mijeni u odnosu na ljudske i neljudske subjekbudućnosti te koji na njega utječu. Samu ekologiju stavlja u centar zbivanja ističući da je ona upravo primjer takvog oblika ljudskih i neljudskih agenata, obavijena idejama o onome što bi svijet trebao biti. Oslovljavanjem mnogih tema iz područja ekologije također se daje naslutiti pitanje jesu li ekologija i održivost kao takva možda samo nova maska kapitalizma obučena u etiku očuvanja okoliša. Što se tiče uočenih metodoloških postupaka koje možemo primijeniti na prostorno-društvenu analizu i sagledavanje Ilice, činjenica je da ništa ne smijemo gledati s jedne točke gledišta, nego kroz niz potpuno suprotnih pogleda na istu situaciju, imajući na umu da je činjenično znanje i o ekologiji, a u našem slučaju i o prostoru Ilice promjenjivo, nestalno i višeznačno. Sam pojam brige kojim se bavimo može se reinterpretirati u kontekstu Ilice na mnogo 196 ◗

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Through reading the methodological texts, we become familiar with a range of approaches and concepts, while at the same time deepening the utopian theme of Care as the invisible layer of social and cultural actors which, despite of their lack of spatiality, have a great influence on the articulation of space, its users, and the events it generates, or in the case of the observed stretch of Ilica – does not generate. The first reference text is – Histories of Ecological Design: An Unfinished Cyclopedia by Lydia Kallipoliti, in which the author brings forth a non-linear and non-chronologic history of ecology through an encyclopedia-like format. Kallipoliti structures her book in this way due to her consideration that knowledge is never complete – as it is often perceived in encyclopedias – but rather Ideas of Possible circulates. Knowledge is never definitive, but rather in a constant process of change in relaFutures tion to both the human and non-human subjects which affect it. Kallipoliti places ecology itself in the center, pointing out that it gives us a precise example of this cloud of human and non-human agents, enveloped with ideas of what the world should be. Reflecting on various themes from the field of ecology, she also hints at the question of whether correlation of ecology and sustainability are just a new mask of capitalism dressed in the ethics of environmental preservation. Regarding the observed methodological approaches which could be applied to the social analysis of Ilica, we can infer that we should never observe only from a single perspective, but rather through a series of completely opposing views, while keeping in mind that factual knowledge, 197 including that related to ecology, and as in our case – of CARE

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različitih načina, od kojih su samo neki, površni, oblici brige – briga za arhitekturu, briga za pročelja i krovove, briga za ljude, te oni nešto skriveniji aspekti brige poput brige za stanište, brige za ostala živa bića, pa i brige za društveni život i životnost prostora. Kallipoliti inzistira da se ekološki dizajn razumije kroz tokove, recirkulaciju i utjelovljene učinke (tijela, otpad, toksini i sl.), uz isticanje da je općenito svijetu potrebna rekonceptualizacija, tj. prijenos fokusa s kompilacije objekata na svijet kao složeni sustav tokova – gdje i pojam brige može dobiti svoju redefiniciju. Promatramo li brigu kao proces koji odmaknemo od samog objekta ili fizičkog prostora, imat ćemo veće učinke i šire polje refleksije naših spekulacija. Drugi tekst, u sklopu istraživanja metoda i koncepata utopije, sastoji se od odabranih poglavlja iz knjige Speculative Everything: Design, Fiction, and Social Dreaming, autora Anthonyja Dunnea i Fione Raby. Mnoge njihove konstatacije, ali i primjeri iz disciplina koje nisu arhitektonske mogu se primijeniti na prostor Ilice i njene spekulativne scenarije. Metoda koju autori najviše zagovaraju i prakticiraju je metoda propitivanja budućnosti/dizajna na način da se ne stvara ona user friendly, idilična budućnost, nego niz (B, C, D…) scenarija koji na neki način propituju, dovode u neravnotežu ili konflikt onaj „očekivani“ scenarij A. Ispitujući ideje mogućih budućnosti, prema autorima, one se mogu koristiti kao alati za bolje razumijevanje sadašnjosti i onoga što prostoru stvarno treba. Svojim karakterom spekulacije su provokativne, fiktivne i namjerno simplificirane geste kako bi ljude potaknule na razmišljanje i reakciju, bila ona pozitivna ili negativna. Ovaj pristup primjenjujemo formirajući koncept koji je u svojoj suštini zapravo iznimno jednostavna gesta sadržana u – izbijanju prizemnih interijera Ilice. Taj koncept je u svojoj namjeri provokativan, a po svom karakteru spekulativan jer nismo postavili pitanje što nakon izumrlih obrtničkih radnji na njihovu mjestu treba biti, nego pitanje što bi bilo, kad ih ne bi bilo. 198 ◗

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Ilica – is changeable, unstable, and ambiguous. The very concept of care that we are working with can be reinterpreted within the context of Ilica in many different ways – from those which are direct, such as the care of architectural objects, facades, and roofs – as well as care for people, habitat, other living beings, and for social life and the vitality of a space. Kallipoliti insists that ecological design should be understood through flows, recirculation, and embodied effects (such as bodies, waste, toxins, etc.), while pointing out that the world is in need of a reconceptualization – from a mere compilation of objects to a complex system of cause and effect– in which the concept of care can also be redefined. If we understand care as a process that is removed from the object or physical space, we can create a wider field of influence and reflection for speculation. The second text we studied, Dunne and Raby’s Speculative Everything: Design, Fiction, and Social Dreaming, can also be applied to the Ilica space and its speculative scenarios, even though their examples are not strictly architectural. The method for which the authors most strongly advocate and practice is one of questioning the future and design in a way that does not create a “user friendly” or idyllic future, but rather a series (B, C, D, …) of scenarios, some of which question, bring into disequilibrium, or conflict the “expected” scenario A. Testing concepts of possible futures, according to the authors, allows us to use them as tools for better understanding the present and what our space really needs. By their nature, speculations are provocative, fictional, and purposefully simplified gestures which aim to encourage people to think and act, regardless of whether they are positive or negative. We apply this approach by creating a concept which is, in essence, an extremely simple gesture – one of removing Ilica’s ground floor interiors. Provocative in its intention and speculative in character, this approach does not ask what should replace the extinct craft-shops, but rather asks what would happen if they were not even there? 199 CARE

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Nakon detaljnoga analitičkog sagledavanja prostora Ilice i njenih socijalnih, arhitektonskih i drugih aktera, produkata i nusprodukata, kao najupečatljivija odrednica specifično definiranog poteza Britanac – Tuđmanac, javlja se svojevrsni izostanak protagonista. Nekad su protagonisti Ilice bili njeni mnogi vrijedni obrtnici i njihovi klijenti, ali i svakodnevni usputni prolaznici koji su spontanom šetnjom niz ulicu razvijali specifičan odnos prolaznik – izlog – obrtnik – zanat – proizvod, karakterističan za neka prošla vremena i sve ono što je s njima dolazilo. U današnjem sagledavanju istog poteza treba ostati realan i ne suviše nostalgičan prema onome što je bilo, nego s neke, u potpunosti nove točke gledišta promatrati isti prostor novim očima i orijentirati se na spekulacije o tome što on može biti. Kako i Dunne i Raby u Speculative everything NEnostalgična ističu: „…postaje jasno da su mnogi izazovi s koIlica jima se danas suočavamo nerješivi i da je jedini način da ih prevladamo promjena naših vrijednosti, uvjerenja, stavova i ponašanja“ (Dunne, Raby, 2013). Upravo kao polazište koncepta uzima se ta ideja; promjena vrijednosti, ponašanja i načina korištenja prostora postaje pokretač i katalizator novog prostora Ilice. Obrt kao nekadašnji prostor proizvodnje i trgovine danas je neadekvatan kako za način suvremene konzumacije proizvoda, tako i kao prostor njihove proizvodnje. Postavlja se pitanje što onda prostor prizemlja donjogradskih blokova želi, treba ili može biti. Naslanjajući se i dalje na metodološki pristup iznesen u tekstu Speculative everything, cilj spekulativnog scenarija nije predvidjeti budućnost, nego kroz katalog od nekoliko arhitektonskih, prostornih intervencija omogućiti cijeli niz budućih scenarija o kojima se može razmišljati. 200 ◗

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After performing a detailed analytical reading of Ilica and its social factors, architectural components, and its other actors, products, and byproducts, the most striking characteristic of the specifically defined stretch between Britanski trg and Tuđmanac appears to be a certain lack of protagonists. In the past, Ilica’s protagonists were the many skilled craftspeople and their clients, and also the everyday passers-by who, by simply walking the street, developed a specific spatial relationship of passer-by – shop window – craftsperson – craft – product, which was a staple of an earlier time and everything that came with it. Observing that space today, we need to remain realistic and not overly nostalgic towards what once was. Rather, we need to observe the space from a new perspective and focus on speculating Non-Nostalgic what this space could become. As Dunne and Raby in Speculative EveryIlica thing point out “it becomes clear that many of the challenges we face today are unsolvable and that the only way to overcome them is by changing our values, beliefs, attitudes, and behavior” (Dunne, Raby, 2013). This idea is taken as a starting point of our concept – changing values, behavior, and the ways in which the space is used become the triggers and catalysts of a new Ilica. Craft, as a former space of production and commerce, becomes inadequate both for contemporary modes of consuming products and as a space for their production. The question therefore arises as to what the ground floor spaces of Ilica actually want, need, and can become. Leaning on the methodological approach presented in Speculative Everything, the goal of our speculative scenario is not one of 201 predicting the future, but of allowing for a wide range of CARE

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Također, sagledavajući trenutačno stanje poteza Britanac – Tuđmanac, dolazi se do zaključka da je sadašnji osjećaj ili karakter tog prostora prilično negativan. Prostor ne generira nikakve ljudske interakcije, nikakve događaje ni susrete. Dakle, težnja naših spekulacija je, u kontekstu današnje Ilice i suvremenog društva, postaviti neke ulazne parametre koji će potencijalno povećati mogućnost za stvaranjem poželjnije i pozitivnije budućnosti tog prostora. Glavna arhitektonska intervencija u prostoru unutar spekulativnog scenarija sastoji se od gradacijskog prošupljivanja nekadašnjih obrtničkih prizemlja Ilice. Gradacija od prošupljivanja izgradnje oboda blokovskih struktura linearnim poprečnim prolazima, do tretiranja cijelog poteza Britanac – Tuđmanac kao linearne plaze, moguća je u vremenskom i prostornom okviru gdje je karakter intervencije određen upravo činjenicama postojećeg stanja u prostoru. Takav metodološki pristup, osim na postavke spekulacija o budućnosti iznesenih u knjizi Speculative design, oslanja se i na utopijsku temu naše intervencije – brigu, kako brigu za prostor, tako i ljude i život koji taj prostor generira. Unutrašnjost blokova trenutačno zapuštena, skrivena i sekundarna, postaje izravni produžetak Ilice otkrivajući što se nalazi iza nje same, bio to strmi teren i prirodni elementi sjeverno od njene osi ili društveno generativni javni i kulturni sadržaji skriveni u srcu blokova južno.

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possible future scenarios by creating a catalogue of architectural and spatial interventions. Simply by observing the current condition of the segment between Britanski trg and Tuđmanac, we can conclude that the current character of the space is predominantly negative. The space does not generate human interactions, events, or encounters. The aim of our speculative scenario, in the context of Ilica today, is to establish certain initial parameters that could potentially increase the possibility of creating a more desirable and positive future for this space. The main architectural intervention within this speculative scenario becomes the action of gradually perforating Ilica’s former craft-shop ground floors. The gradation would range from perforating the built edges of the block structures by creating linear transverse passages, to treating the entire section of Ilica as a linear plaza. This process could be made possible through a temporal and spatial framework in which the character of the intervention is determined precisely by the current found conditions. This methodological approach does not lean only on the ideas of speculative futures presented by Dunne and Raby, but also on the utopian theme of our intervention – care – as care for the space, for the people, and for the life the space generates. The interiors of the blocks, which are currently neglected, hidden, and secondary, become the direct extensions of Ilica, revealing what occurs behind the street façade – whether the steep natural terrain and elements of nature in the north, or the generative public spaces and cultural programs hidden within the city blocks to the south.

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● Dijagram transformacije Ilice Dijagram kreće od postojećeg stanja – današnje Ilice koju karakteriziraju njena linearna forma te pojmovi obrađeni u tekstu; obrt, zanat, izlog, korisnik, ambijent, akteri… No dva pojma: suvremenost – koja nadilazi tradicionalni karakter Ilice; te protagonisti – koji iz nje izostaje upravo zbog njena trenutačnog stanja, izlaze iz samih okvira Ilice. Pojmovi Britanac i Tuđmanac daju naslutiti prostornu poziciju analizirane zone. Strelice koje „izlaze“ prema gore i prema dolje sugeriraju širenje Ilice, izbijanje prizemlja, a pojmovi koji pritom „ispadaju“ s obje strane sugeriraju ono što se događa nakon tog širena. Na sjeveru, susret ljudi i prirode, a na jugu, intenziviran ljudski kontakt i društveni život korisnika, protagonista Ilice. Zadnji sloj čini mreža nefizičkih, neprostornih aktera koji suptilno svakodnevno utječu na prostor, ideje o prostoru i odluke u prostoru. ● Diagram of Ilica's Transformation The diagram departs from the existing condition of Ilica today, which is characterized by its linear form and the concepts addressed in the text: craft, craftsmanship, shop window, user, atmosphere, actors. But two concepts – contemporaneity, which goes beyond the traditional character of Ilica, and protagonists, who are absent from it precisely because of its current condition – move beyond the boundaries of the street itself. The terms Britanac and Tuđmanac indicate the spatial position of the analyzed zone. Arrows moving upwards and downwards from the street indicate the expansion of Ilica and the removal of the ground floors.

Concepts appearing on both sides of the street suggest what could occur after this expansion. In the north, people and nature reconnect, and in the south human contact becomes intensified together with the public life of the users – the new protagonists of Ilica. The last layer of the drawing represents the network of non-physical and non-spatial actors that subtly affect this space every day such as ideas and decisions made about the space.

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Zagrebačka Ilica; granica grada i prirode, nekadašnja žila kucavica, mjesto trgovine, obrta, namjernih i nenamjernih susreta, već je neko vrijeme u silaznoj putanji starog sjaja. Promatrajući je, posebice u potezu između Britanskog i Tuđmanova trga, uviđa se prostor izgubljena identiteta, tranzitan i preskočen; tek prašnjavi izlozi i oronuli znakovi pokazuju natruhe socijalizacije nekih vremena. U suvremenom kontekstu izostanak obrtnika ekvivalentan je smrti prizemlja koje vapi za novim korisnicima. No oni neće doći, barem ne u obliku kakvom su nekad bili. Katovi kuća, bez entuzijazma, tek ponekom upaljenom IKEA lampom iskazuju posljednje izdisaje, ali to nisu akteri, nego nevidljivi prolaznici u Airbnbovim smještajima. Stoga se postavlja pitanje tko je protagonist/ korisnik današnje Ilice? Nema ga. Može li onda Antagonisti upravo redefinirana Ilica postati katalizator i neljudski glavnih ideja spekulativnog scenarija, njegov protagonist neljudski protagonist? U hiperubrzanom i digitaliziranom svijetu postojeća graditeljska baština tehnološki nije dostatna novim životnim potrebama; postaje scaenae frons predstave bez glumaca, protagonista. Polako umire – spas pronalazi tek u destrukciji vlastitih temelja i otvaranja dosad nepristupačne unutrašnjosti. Činom rastvaranja prikazuje vlastite slabosti sakrivene iza nekoć raskošnih fasada. Ulica kao protagonist simboličnim intervencijama mijenja svoj karakter, mijenja karakter svojih unutarnjih dvorišta i mračnih prolaza, time i karakter samog života koji se u njoj odvija. Širenjem granice onoga što je javno, Ilica postaje poligon većeg broja i intenziteta ljudskih susreta i interakcija. Osim toga, dolazi do sukoba, ali i suživota, neukroćene prirode koja se potiho približava urbanom 206 ◗

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Zagreb’s Ilica street – a boundary between the city and nature, once a vital artery, a place of trade, crafts, intentional and accidental encounters, has for some time been on a downward trajectory from its former splendor. Observing it, especially in the zone between Britanski trg and Tuđmanac, we see that the space has lost its identity, it is transitory and overlooked, its dusty shop windows and decaying signs show remnants of some past social life. Within the contemporary context, the lack of crafts becomes equivalent to the loss of function on the ground floors which ask for new users. But these new users will not arrive, at least not in the same form as they used to. The upper floors of the buildings, lacking any enthusiasm, and with the occasional lit IKEA lamp depict the final breaths of the Antagonists street. These are not the street’s main actors, and Non-Human but rather the invisible passers-by going to their Airbnbs. Protagonists Observing this, we ask who the protagonists and the users of today’s Ilica are? They do not exist. Can we then imagine how a redefined Ilica can become a catalyst for a speculative scenario, its non-human protagonist? Within a hyper-accelerated and digitalized world, the existing built heritage is technologically insufficient for new ways of living; it becomes a scaenae frons of a performance without actors – without protagonists. It slowly dies – finding salvation only in the destruction of its own foundations and the opening up of its previously inaccessible interior. Through the act of opening-up, it begins to show its weaknesses, hidden behind once glorious facades. The street as a protagonist changes its character through 207 symbolic interventions. It changes the character of its inCARE

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tkivu i zaokuplja pažnju do sada inertnih prolaznika. S druge strane, konzumeristički i hiperprodukcijski sustav, u Ilici manifestiran u obliku automobilske invazije svakog centimetra slobodnog prostora, predstavlja kontradiktornog i invazivnog antagonista. Svojom prisutnošću eliminirajući svjetlost i mogućnost života, suprotstavlja se težnjama spekulacije da ljudi i priroda ipak uspiju preuzeti glavnu riječ na prostorima Donjega grada. Izbijajući nekad sjajne izloge, figurativno se destruira konzumerizam kao nužno zlo koje odvodi pojedinca od brige prema javnome. U tom mijenjajućem, neutralnom gridu: prolaza, inundacija i (trgova) limesa pojavljuje se suptilan prostor (parter) dviju opreka – šume sa sjevera i civilizacije s juga. Ilica postaje mjesto dodira tih dviju ruku. Dodir kao mjesto pomirbe, novog početka, usmjerenoga prema zajednici. Novi stanovnici aktivno okupiraju prostor ovisno o trenutačnoj preferenciji – bivaju na otvorenom i izloženom ili zatvorenom i privatnom komadu sada svima dostupne zemlje. No potreba za tranzitom i mijenom i dalje je prisutna. Možda i više nego ikada. Vozila nanovo iskazuju tendenciju osvajačkih pohoda. Kako ih spriječiti? Kako stvoriti balans između potrebe za stacionarnim i dinamičnim, mirnim i užurbanim, konstantnim i mijenom? Novi korisnici jednostavno odlučuju prihvatiti grad kao kompleksan organizam opreka. Na oprečnosti grade svoju sadašnjost. Parter (limes) postaje mjesto brige, a i nebrige. Društvo je teško preodgojiti i potaknuti na brižnost, no možda je u prostoru bez fizičke barijere lakše potaknuti razvoj empatije i želju za boljitkom zajednice. Ukoliko ne zbog altruističkih pobuda, onda barem zbog onih samoživih jer grad doslovno postaje svačije dvorište. 208 ◗

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ner courtyards, dark passages, and the character of life itself which unfolds upon it. By broadening the boundary of what is public, Ilica becomes a polygon for more frequent and intense human encounters and interactions. What also occurs are both conflict and coexistence of untamed nature which quietly approaches the urban tissue and captures the attention of previously inert passers-by. On the other hand, the consumerist and hyper-productive system, made manifest here through the vehicular invasion of every available open space, represents a contradictory and invasive antagonist. With its presence, eliminating light and the possibility of life, it opposes the tendencies of the speculative scenario in which people and nature manage to take the leading role in the Lower Town area of Zagreb. By knocking out the once-amazing shop windows, consumerism is figuratively destroyed as the necessary evil which draws the individual away from caring for the public good. Within this changing, neutral grid of passages, inundations, and (squares) limes, a subtle space – the ground plane – of two opposites appears: nature from the north and urbanity from the south. Ilica becomes the point of contact between these two entities; a place of reconciliation, of a new beginning centered around the community. New inhabitants begin to actively occupy the space based on their preferences – they inhabit open and exposed or private and enclosed private spaces, all of which are now accessible. But the need for transit and change remains present, perhaps now more than ever. Vehicles 209 once again begin to show a tendency towards conquest. CARE

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But how to stop them? How to create a balance between the need for the stationary and the dynamic, the calm and the hurried, the constant and the changing? New users decide to accept the city as a complex organism full of opposites. They build their present based on contradictions. The ground level (limes) becomes a space of care and of neglect. Society is difficult to re-educate and encourage towards care. But perhaps in a space without physical barriers, it would be easier to encourage the development of empathy and the desire for community improvement. And if not for altruistic reasons, then at least for selfish ones, as the city literally becomes everyone’s backyard.

● Mapiranje brige i nebrige Odabrani potez između Trga dr. Franje Tuđmana i Britanskog trga u široj urbanističkoj slici promatran je poput prijelaza između užeg i šireg centra grada. Na tom tragu očekivalo bi se kako je prostor socijalno vrlo aktivan. No, krajnje suprotno, evidentirana je isključivo praznina i jeziva tišina na svakom koraku. Prostor koji bi trebao bujati lišen je života te figurativno prekriven paučinom nebrige.

● Mapping Care and Neglect The selected stretch of Ilica street between Trg dr. Franje Tuđmana and Britanski trg is viewed within the broader urban context as a transitional zone between the inner and wider city center. Following this logic, one would expect the area to be very socially active. However, quite the opposite is true – what we uncovered is primarily emptiness and an eerie silence following every step. A space that should be buzzing with activity and thriving, is deprived of life and covered in the cobwebs of neglect.

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● Tri tipa intervencije Sama intervencija provodi se točkasto u tri karakteristična tipa na unaprijed predviđenim lokacijama. Intervencije afirmiraju postojeće datosti uže lokacije te se razlikuju u radikalnosti tretiranja frontalne ulične izgradnje te pripadajućih prostora u unutrašnjosti bloka. Teza je usmjerena na promišljanje o unifikaciji ulice i blokovskih dvorišta u nedjeljivu cjelinu. Krajnji cilj hipoteze je usmjeriti građanstvo na aktivno korištenje i brigu o svojim i zajedničkim dvorištima bilo iz altruističkih pobuda ili pak onih nastalih od susramlja vlastite nebrige. ● Three Types of Intervention The speculative intervention is implemented nodally through specific points and three characteristic types on predetermined locations. The interventions affirm the existing condition and are differentiated through the degree of radicality with which they treat the frontal street fabric and corresponding spaces in the block interiors. The narrative is directed towards the unification of the street and inner courtyards into an indivisible whole. The ultimate aim of the project is to direct the citizens to actively use and care for both their own and the shared courtyards, either moved by altruistic reasons or from a sense of embarrassment caused by their own neglect.

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● Tip intervencije 1: Prolaz Po uzoru na prolaz Tuškanac, danas Dežmanov prolaz – prolaz se interpolira u Ilicu. Intervencija je svedena na arhitektonsku artikulaciju prostora iza postojećih prolaza u Ilici, oslobađajući ih pritom od automobila. Cilj je stvoriti ulicu intimniju od Ilice, ali unijeti ipak javni karakter u blokove stvarajući prostore javnog dobra i kolektivne brige. ● Intervention type 1: The Passage Following the example of the Tuškanac passage, today known as Dežmanov prolaz, this intervention likewise introduces passages into Ilica. The task focuses on articulating through architecture, the spaces behind existing passages on Ilica, freeing them from cars. The main goal is to create a street that is more intimate than Ilica, while still introducing a public character into the blocks by creating spaces of public good and collective care.

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● Prolaz Ulica kao protagonist kroz simbolične intervencije mijenja svoj karakter, mijenja karakter svojih unutarnjih dvorišta i mračnih prolaza, time i karakter samog života koji se na njoj odvija. U usporedbi triju tipova, prolaz je ponajviše estetska intervencija koju je najbolje okarakterizirati osvještavanjem postojećega u neposrednoj blizini. Prolaz je zaista tu i postoji, no bez ciljanog odlaska u njegovu nutrinu standardni korisnik ne percipira njegovu postojanost. ● The Passage The street as a protagonist changes its character through symbolic interventions, reshaping its dark inner courtyards, and in turn, the life that takes place within them. Of the three proposed types, the passage intervention is seen as primarily an aesthetic one, best characterized as a process of raising awareness of what already exists in one’s immediate surroundings. The passage was already here, but without intentionally entering it, the typical user does not perceive its presence.

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● Tip intervencije 2: Proširenje Intervencija se bazira na uklanjanju frontalnog reda oronulih kuća, uz otkrivanje javnih sadržaja koji su ostali u drugom planu. Cilj je stvoriti mali urbani džep koji funkcionira kao proširenje Ilice ili kao pretprostor nekoga javnog sadržaja, koji dosad nije imao prikladno artikuliran pristupni trg i ulaz. ● Intervention type 2: The Expansion This intervention is based on the process of removing the frontal row of dilapidated houses, while revealing public programs that have remained in their background. The aim is to create small urban pockets that function as extensions of Ilica and as entrance zones for public spaces, which have up until now lacked an appropriately articulated entrance square and access.

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● Proširenje Izbijajući nekad sjajne izloge, figurativno se destruira konzumerizam kao nužno zlo koje odvodi pojedinca od brige prema javnome. Proširenje stvara trgove / džepove s tendencijom stvaranja poprečne osi dominantno izduženoj Ilici. U užoj situaciji proširenja su strateški pozicionirana u odnosu na intrigantne javne objekte kojima nedostaje prikladan prag, to jest pretprostor. ● The Expansion By removing the once beautiful shop windows, consumerism – seen as a necessary evil that draws the individual away from care for the public realm – is figuratively destroyed. The expansion of the street enables the creation of squares and pockets with a tendency towards introducing a traverse axis into a dominantly linear form of Ilica. Within the immediate context, these expansions are strategically positioned in relation to intriguing public buildings which have thus far lacked an appropriate threshold and forecourt.

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● Tip intervencije 3: Linear Plaza Uklanjanje prizemlja ili gotovo cijele kuće osim njena nosivog kostura postiže se neutralna os Ilice koja postaje dodirna točka prstiju dviju oprečnih ruku: prirode sa sjevera te antropogenoga s juga, ukidajući u potpunosti tradicionalni presjek ulice. ● Intervention type 3: The Linear Plaza The last intervention type involves completely removing the ground floor, or even entire buildings, leaving only their structural frames. This removal creates a neutral axis from Ilica that becomes the point in which two opposing spaces meet: nature from the north and the urban from the south, completely abolishing the traditional street section.

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● Linearna plaza Činom rastvaranja grad prikazuje vlastite slabosti sakrivene iza nekoć raskošnih fasada. Primjer linear plaze je najradikalniji tip intervencije te predstavlja trenutak gdje arhitekt čini suprotno od onoga za što je školovan: ne projektira, ne promišlja, ne stvara novu situaciju, nego je prepušta sirovom propadanju. Prva potencijalna linear plaza pozicionira se pokraj Likovne akademije s pripadajućim dvorištem koji postaju aktivatori socijalnog života, dok su kuće na sjevernoj uličnoj fronti lišene funkcije te prepuštene destrukciji, odnosno prirodi. Pomalo naivno romanticizira se nekontroliran tijek događanja pitanjem: hoće li upravo tad postati socijalno i društveno najaktivniji? ● Linear Plaza In a hyper-accelerated and digitalized world, the existing built heritage becomes technologically insufficient for new ways of living, and as such, becomes slowly obsolete. Through the act of opening up the ground level, the street reveals its own weaknesses, hidden behind its once beautiful facades. The linear plaza is therefore the most radical intervention and represents precisely the moment in which architecture does the opposite of what it is trained to do. Instead of designing, planning, and creating a new condition, it leaves it to decay. The linear plaza emerges as a meeting point of two types of spaces which connect in the middle of present-day Ilica – nature from the north, and the urban from the south. Within the example, the intervention is positioned next to the Academy of Fine Arts and its associated courtyard, both of which

become activators of social life. At the same time, the houses along the northern street are stripped of function and left to atrophy and nature. In a somewhat naïve way, the uncontrolled course of events becomes romanticized through asking if this is the moment in which this space once again becomes most socially active.

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Tema Sustava proširuje pojam tehnologije u kontekstu suvremenih promjena u opsegu inovacija, koje su nadišle mjerilo pojedinačnog objekta te se usmjerile na inoviranje i implementaciju na sistemskoj razini. Promatrajući tehnologiju kao temeljni gradbeni element svakoga (infrastrukturnog) sustava, ta tema ne razmatra samo pojedinačne objekte ili inovativne tehnologije nego istražuje njihovo međudjelovanje, promatrajući ih kao elemente koji se danas pretežno Sustavi razvijaju u službi i radi podrške većim infrastrukturnim sustavima. Ta tema istražuje različite teorijske koncepte i pristupe koje su predstavili Keller Easterling, Ivica Mitrović, Julian Hanna i James Auger te Albert Pope. Easterling u svojoj knjizi Extrastatecraft: The Power of Infrastructure Space raspravlja o infrastrukturi kao obliku prostornog softvera koji posjeduje vlastita pravila, protokole, standarde i mreže, kao i aktivne oblike koji organiziraju prostor i sustave znatno više od samih ljudi. Ti aktivni oblici – poput skretnica ili multiplikatora – omogućuju nam uvidimo da Sustavi koji naizgled djeluju neutralno zapravo mogu utjecati na ponašanje i razvoj, a da pritom ne moraju djelovati putem konvencionalnih arhitektonskih formi. U uvodnom tek- 226 ◗

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The theme of Systems widens the concept of technology based on the contemporary change in the scale of innovation, which has moved beyond the single object towards innovating and implementing on a systemic level. Understating technology as the basic building block of every (infrastructural) system, this themes takes into consideration individual objects and innovative technologies, and observes how they work together, understanding this connection Systems as something which is today predominantly developed in service of and for the need to support larger infrastructural systems. This theme explores different theoretical concepts and approaches brought forth by Keller Easterling, Ivica Mitrović, Julian Hanna and James Auger, and Albert Pope. In her book Extrastatecraft: The Power of Infrastructure Space, Easterling discusses infrastructure as a form of spatial software which has its own rules, protocols, standards, and networks, as well as active forms which organize space and systems much more powerfully than humans. These active forms, such as switches or multi227 pliers, enable us to understand that systems which seem en

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stu za publikaciju Beyond Speculative Design: Past – Present – Future autori Auger, Hanna i Mitrović pozivaju na odvajanje razumijevanja spekulativnog dizajna od onoga povezanog s „uvriježenim dogmama” – prvenstveno onih koja proizlaze iz tehnološkog optimizma 20. stoljeća i modernističkih ideologija koje dizajn vide isključivo kao alat za napredak i inovaciju. Umjesto toga, oni ga definiraju kao alat kojim se mogu preispitivati dominantni sustavi, vrijednosti i pretpostavke koje određene budućnosti prikazuju kao neizbježne. Popeov uvodni tekst za Inverse Utopia bavi se pitanjem mjerila u suvremenom pristupu prostornom dizajnu te nesrazmjerom između mogućih i uobičajenih razmjera arhitektonskih i urbanističkih intervencija, kao i sve većih tehnoloških, infrastrukturnih i ekoloških sustava koji oblikuju naš izgrađeni (i neizgrađeni) okoliš. U takvom kontekstu moramo razumjeti ograničenja i mogućnosti vlastitog djelovanja i intervencija te ih promatrati kao sastavne dijelove većih sustava i mreža. Razumijevanje sustava putem navedenih pristupa omogućuje nam analizu i promatranje prostora ne samo u njegovim fizičkim oblicima i organizaciji nego i putem različitih pravila, protokola, informacijskih tokova i mreža koji ga oblikuju. Aktivnim bavljenjem tim kategorijama postaje nam lakše otkriti tko 228 ◗

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neutral can actually influence both behavior and development without having to act through conventional architectural form. The introductory text to Beyond Speculative Design: Past – Present – Future, Auger, Hanna, and Mitrović call to separate speculative design from existing “perceived dogmas”, predominantly those rooted both in the 20th century techno-optimism and modernist ideologies in which design is treated as a tool intended exclusively for progress and innovation. Instead, they frame it as a tool which can be used to challenge dominant systems, values, and assumptions which tend to make certain futures seem inevitable. Lastly, Pope’s introductory text to Inverse Utopia addresses the notion of scale when approaching spatial design today, and the discrepancy between the possible and common scale of architectural and urban interventions with the increasingly larger technological, infrastructural, and ecological systems that shape our (un)built environment. Within such a context, we must understand both the limits and the possibilities of our actions and interventions and see them as integral parts of larger systems and networks. Understanding Systems through such approaches allows us to analyze and observe space not only through its physical 229 forms and organizations, but also through the various SYSTEMS

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ili što proizvodi, kontrolira, prima, filtrira i redistribuira oblike, događaje, informacije, pojave i sve druge „stvari” unutar određenog konteksta. Takvim shvaćanjem se različiti infrastrukturni sustavi, poput internetskih kablova ili čak tramvajske mreže, više ne shvaćaju samo kao neutralna sredstva prijenosa nego kao aktivni nositelji i poveznice brojnih sustava, podataka i aktera. Mapiranjem tih često nevidljivih ili iznimno složenih i isprepletenih sustava možemo prepoznati točke potencijalne intervencije u kojima bi manje akcije mogle proizvesti sistemske učinke. Rad sa sklopkama, filterima, blokatorima, pojačivačima i spojnicama preusmjerava arhitektonski fokus s forme i objekata na ponavljajuće i sastavne komponente, što nam potencijalno omogućuje manipulaciju tokova i tendencija te činjenje nevidljivih sustava vidljivima.

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rules, protocols, information flows, and networks that organize it. By actively engaging with these categories, it becomes easier to uncover who or what produces, controls, receives, filters, and redistributes forms, events, information, phenomena, and all other “things” within a certain context. Within this context, different infrastructural systems, such as internet cables, or even the tram network become understood not just as neutral transport, but as active carriers and connectors of multiple systems, data, and actors. Through mapping these often invisible or extremely complex and interwoven systems, we can potentially identify points of possible intervention in which smaller actions could produce systemic effects. Working with switches, filters, blockers, amplifiers, and connectors shifts the architectural focus from forms and objects to repetitive and integral components, which potentially allows us to manipulate flows and tendencies and make invisible systems perceptible.

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INFRASTRUKTURA INFORMACIJA Spekulativni scenarij utopije sustava prijenosa informacija bazira se na postojećem infrastrukturnom sustavu, kroz oblik prisile kontrole prijenosa informacija. Stalna prisutnost suprotstavljene sile nužan je preduvjet djelovanja spekulativnih intervencija: cilj projekta nije njezino uklanjanje, već njezino razotkrivanje i suočavanje s problemom. Laura Grancarić, Zino Marković-Juričak, Mia Mezić, Patrik Štefiček

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INFORMATION INFRASTRUCTURE The speculative scenario of an informationtransfer system utopia is based on the existing infrastructural system and is created through a form of imposed control over the transmission of information. The constant presence of an opposing force becomes a necessary precondition for the operation of speculative interventions: the aim of the project is not to eliminate it, but to reveal it and confront the problem.

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Sustavi kao pojam primarno su vezani za promet, infrastrukturu, politiku… Njihova značenja, iako prividno različita te povezana tek bazičnom strukturom i kategorizacijom specifičnih tema i ideologija, mnogo su jasnije povezana formom, strukturom te logistikom. Sustav u obliku kompleksnog „spatial softwarea“ govori o nevidljivoj „igri“ prostora, kojom forme bivaju postavljene u dijalog (Easterling, 2014, 8). Te forme se čitaju izvan svoga uobičajenog strukturalnog ili funkcionalnog okvira, kao „akcije“. Relevantno je napomenuti važnost čitanja akcije ne kinetičkom terminologijom, nego potencijalom koje individualne forme, postavljene u specifičan kontekst, posjeduju. Aktivne forme tako postaju primarni oblik provođenja te poticanja nevidljivih prostornih relacija. Njihovim djelovanjem potiče se promjena – gdje se aktivna forma „multipliera“ Informacijski razumije kao umnažajući promjenjivi elementa, sustavi ali i kao aktivna forma „switcha/remotea“ koja kontrolira te „preusmjerava“ i čijim djelovanjem na širem mjerilu utječemo na smjer razvoja prostora (Easterling, 2014, 74–76). U prostoru, aktivne forme postaju intuitivni marker političkih ideoloških aspiracija te razdora, naglašavajući relevantnu podlogu iza vlastitog postojanja. U službi kontekstualnih prostornih aktera formiraju svojevrstan „politički poligon“ širenja specifičnih informacija i mišljenja. Oblik sustava baziran na širenju informacija, a primarno pod kontrolom filtriranih retorika, važan je aspekt značajnih javnih prostora kao što su trgovi, tržnica, parkovi… Takvi su javni prostori više od sebe samih, oni su svojevrsne javne učionice informacija. Informacije se kroz prostor šire na različite načine, a kontrola njihova širenja i prenošenja 234 ◗

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As a concept, systems are primarily associated with traffic, infrastructure, politics… Although these fields may appear different and connected only through a basic structure and the categorization of specific themes and ideologies, their meanings are more clearly linked through form, structure, and logistics. A system in the form of a complex “spatial software” speaks of an invisible “game” of spaces, through which forms are placed into a dialogue (Easterling, 2014, 8). These forms are read outside their usual structural and functional framework as “actions”. It is relevant to note the importance of understanding action not as a kinetic concept, but as a potential which an individual form holds when placed into a specific context. Active forms therefore become the primary means of Information implementing and stimulating invisible spatial relations. Through their operation, change is Systems encouraged, with the active form of the “multiplier” understood as a multiplying, transformable element, but also as an active form of the “switch/remote” that controls and “redirects,” allowing us to affect spatial development on a larger scale (Easterling, 2014, 74-76). Within space, active forms become intuitive markers of political ideological aspirations and divisions, accentuating the relevant background behind their own existence. In the service of contextual spatial actors, they form a kind of “political field” for the dissemination of specific information and opinions. A system based on the ability to disseminate information, and primarily governed by filtered rhetoric, becomes an important aspect of relevant public spaces such as 235 squares, markets, and parks. These become more than SYSTEMS

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značajno utječe na društveno-političku situaciju. Informacijski sustavi prevode se kroz vid informacijskih medija kao snažni senzorni podražaji. Svakodnevna „konzumacija“ podražaja značajno utječe na viđenja te percepciju kolektiva. Ilica kao prometna te infrastrukturna kralježnica, ali i jedna od najvažnijih gradskih (zagrebačkih) urbanih elemenata povezuje utjecajne javne prostore / trgove poput linearnoga grada tehnoloških elemenata. „unfolding the relationship between potentials“ u široj slici grada postaje njena skrivena uloga (Easterling, 2014, 72). Vizualno povezujući te vodeći nas putem širenja informacija, izloženi smo pronalasku vlastite percepcije mjesta. Taj isprva neosporivo jasan infrastrukturni pravac postaje proctor nevidljivih interakcija aktivnih formi, čije relacije formiraju „urbane akceleratore“ prostora (Easterling, 2014, 90). Njene fasade postaju reklamni oglasi simplificiranoga binarnog koda, njeni prepoznatljivi prostorni akcenti slike stranih retorika te njeno tlo mreža kompleksnoga infrastrukturnog sustava kao generatora prostornih promjena koje tijekom vremena oblikuju prostor oko nas, gdje ljudi obavljaju ulogu primatelja i prenositelja pomno kontroliranih informacija. Sposobnost upravljanja informacijama ovdje se izjednačava sa sposobnošću formiranja prostora.

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spaces in themselves – they become public classrooms for information. Information spreads through space in varying ways, and the manner in which this spread is controlled has a significant impact on the broader socio-political context. Information systems are translated through different media into strong sensory stimuli. The everyday “consummation” of these stimuli also significantly affects the perception of the collective. Ilica Street, seen as the transitory and infrastructural spine, but also as one of Zagreb’s most relevant urban elements, connects influential public spaces and squares as a linear city of technological elements. Its hidden role becomes “unfolding the relationship between potentials” within the wider scope of the city (Easterling, 2014, 72). By visually connecting information flows and leading us through them, it exposes us to the formation of our own perception of place. This clearly defined infrastructural axis becomes a proctor of the invisible interactions of active forms, whose relations form “urban accelerators” of space (Easterling, 2014, 90). The facades of the street become advertisements for a simplified binary code, recognizable spatial accents become images of foreign rhetorics, and the ground becomes a network of complex infrastructural systems that generate spatial change and, over time, shape the space around us. People within this space take on the role of both receptor and transmitter of diligently controlled information. The ability to control information is then equated with the ability to form space.

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● Transfer informacija Složeni informacijski sustavi iščitavaju se kroz vid senzornih informacijskih medija, kao repetitivni niz nevidljivih prostornih relacija. Dijagram prikazuje proces prijenosa te primanja informacija u obliku kompleksnoga informacijskog sustava. U kontekstu Ilice pojedinac je postavljen ili u ulogu primatelja ili prenositelja. ● Information Transfer Complex information systems are read through sensory information media as a repetitive sequence of invisible spatial relations. The diagram shows the process of transmitting and receiving information as a complex information system. Within the context of Ilica, the individual takes on the role of either transmitter or receiver.

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Ekološki dizajn pojam je fokusiran na problematiku nedostatka integracije ljudskog/artificijelnog djelovanja u prirodnom kontekstu. Kao oblik ciklične političke intervencije tehnološkog karaktera na prirodne procese (Kallipoliti, 2024, 17) prikazuje idealiziran suživot isprva oprečnih elemenata. Procvat doživljava po završetku Drugoga svjetskog rata, kao vid svijetle alternative „neizbježno kobnoj“ budućnosti. Formom „sintetičkog naturalizma“, pomoću kojeg se zakoni prirode i metabolizma translatiraju u urbane sustave, ostvaruje se primarna ideja sustavne reprodukcije prirode kroz strukturu (arhitektura, dizajn...). Sintetizirana/artificijelna priroda, kao dominantna ideja ekološkog dizajna na prijelazu stoljeća, doživljava drastični preobrat, svojevrsnu inverziju problematike teme (Kallipoliti, 2024, 18). Degradacija okoliša sve više biva Percepcija viđena kao nešto očekivano, nešto neizbježno, sustava nešto PRIRODNO. Postupnom mentalnom atrofijom situacije sukoba s bolnom slikom sutrašnjice (koja unatoč našem utjecaju/doprinosu biva sudbonosno predodređena), dostižemo sustavnu krajnost te sintetiziranjem artificijelne prirode zapravo negiramo njenu istinsku bit (Kallipoliti, 2024, 18). Dovedeni smo na rub „nepreglednog“ ponora, u potpunoj separaciji od ne tako starih, ali sada već prividno „zastarjelih“ ideja utopija. Pojam utopije postaje oznaka konceptualnoga / spekulativnoga / NEDOSTIŽNOGA, vizual sustavne regresije ljudskog uma, proizašao iz mistificiranja njene tematike. Ekologija, kao svojevrsna utopijska ideja simbioze čovjeka (kao aktera u prirodnom kontekstu), postaje banalizirana u svrhu mehanizma dizajna. Njenom klasifikacijom putem održivosti 240 ◗

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Ecological design is a concept concerned with the integration of human/artificial action within a natural context. As a form of cyclical political intervention with a strong technological character that affects natural processes (Kallipoliti, 2024, 17), it represents an idealized coexistence of initially opposing elements. It flourished as a concept after the end of WWII as an alternative to an “inevitable fatal” future. Through the concept of “synthetic naturalism”, where laws of nature and metabolism are translated into urban systems, it enables systematic reproduction of nature through structure (architecture, design, etc.). Synthetized/artificial nature, as the dominant idea of ecological design at the turn of the century, undergoes a drastic reversal almost as an inversion of the issue itself (Kallipoliti, System 2024, 18). Environmental degradation increasingly comes to be seen as something expected, Perception inevitable, and NATURAL. Through a gradual mental atrophy produced by confronting the painful image of tomorrow (which, despite our influence and contribution, appears fatefully predetermined), we reach a systemic extreme and, by synthesizing artificial nature, we ultimately negate its true essence (Kallipoliti, 2024, 18). We are brought to the edge of an “unfathomable” abyss, completely separated from the not-soold, but seemingly “outdated” ideas of utopia. The concept of utopia becomes a label for the conceptual / speculative / UNNATAINABLE, a visual representation of the systematic regression of the human mind produced by the mystification of its subject matter. Ecology, as a kind of utopian idea of the symbiosis of man – as an actor within 241 the natural context – becomes banalized in order to susSYSTEMS

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/ održivog dizajna postavlja se ironija oprečnosti standardizacije pojma koji je istinski neodređen i autentičan. „Nature is not necessarily a physical entity or simply a neutral and free structure, but a great and general product that must be wrapped up to look like a perfect image of itself.“ Dokumenti poput LEED-a (Leadership in Energy and Environmental Design) postaju sredstva koristi, lišeni svoje prvobitno pozitivne intencije te sustavno poduprijeti kapitalističkim, korporacijskim te političkim sustavima (Kallipoliti, 2024, 18). Sustavno postavljanje okvira putem subjektivne regulacije prijenosa informacija, element je koji obilježava i prostor Ilice, kao i njenih ekstenzija u obliku javnog prostora trga (Trg bana Jelačića, Trg Franje Tuđmana, Britanski trg...). Postojanje velikih javnih prostora, potpomognuto željom promoviranja određenih političkih ideala, zapravo vidno prikazuje promjenu percepcije povezane s njihovim nastajanjem. Oni postaju poput pozornica / fizičkih platformi iznošenja i izmjene informacija, dostupnih svima. Ilica ovdje zauzima formu infrastrukturne kralježnice, ostvarujući neometanu tranziciju iz prostora u prostor.

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tain the design mechanism. Classifying it through the concepts of sustainability and sustainable design creates an irony of disparate standardization of a concept that is, by nature, undefined and authentic. “Nature is not necessarily a physical entity or simply a neutral and free structure, but a great and general product that must be wrapped up to look like a perfect image of itself.” Documents such as LEED (Leadership in Energy and Environmental Design) become instruments of utility, stripped of their original good intentions and systematically supported by capitalist, corporate, and political systems (Kallipoliti, 2024, 18). The systematic establishment of frameworks through the subjective regulation of information transfer is also characteristic of Ilica, as well as of its extensions towards the adjacent squares (Trg bana Jelačića, Trg Franje Tuđmana and Britanski trg). The existence of large public spaces, supported by the desire to promote certain political ideals, visibly demonstrates the changes in perception associated with their formation. These spaces become stages / physical platforms for the transfer of information, accessible to everyone. Here, Ilica Street takes on the role of an infrastructural spine, enabling an uninterrupted transition from one space to the other.

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Spekulativni scenarij utopije sustava prijenosa informacija za nas se bazira na ideji distopijske kontrole. Pomoću metodoloških pristupa literature L. Kallipoliti: Histories of Ecological design te Coupling Infranet Laba, kao i scenarija distopijskih budućnosti, poput Orwellove 1984., pokušali smo reagirati na naizgled neizbježnu budućnost. Gdje se drugi oblici utopija referiraju na trenutačne krize, nama je cilj predvidjeti situaciju sukladnu sadašnjim ekonomskim i političkim strujama u pogledu kontrole prijenosa informacija. U kontekstu djela L. Kallipoliti jasno uočavamo prikaz različitih percepcija iste situacije. Histories of Ecological Design predstavlja spisak sustavno kategoriziranih teoretskih polazišta koja prikazuju razvitka teorija o definiciji ekologije te ekološkog dizajna, pri čemu se jasno iskazuje Koncept doza autorske subjektivnosti pri njihovim tumametodološkog čenjima. Snažan je fokus postavljen na koncepciji pristupa „ciklopedije“ koju definira svojevrsno „zaokruživanje znanja“, no ne nužno samo kroz svoju sveobuhvatnost te opširnost, nego podložnost kritikama i različitosti u mišljenjima. Prikupljanjem potrebnih informacija definira se svojevrstan ciklički sustav strujanja znanja, koji se sukladno tome kosi s uobičajenom linearnošću pri prezentiranju informacija. „Cycling denotes a feedback loop of ideas and practices that circulate and travel... It also suggests a journey rather than a singular critical perspecitve... The cycling of ideas also offers a means of resistance to a project‘s linearity or casualty to respond as a solution to named problems; cycling becomes a disruption to and idealized continuum...“ (Kallipoliti, 2024, 5) 244 ◗

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The speculative scenario of our utopia for the transfer of information is based on the dystopian idea of control. Drawing on the methodological approaches inspired by L.Kallipoliti’s Histories of Ecological Design and Coupling by Infranet Lab, as well as numerous dystopian narratives such as Orwell’s 1984, we attempted to respond to a seemingly inevitable future. Whereas other forms of utopia tend to address the current crises, our aim was to anticipate a situation consistent with our present economic and political tendencies regarding the control and transfer of information. We clearly recognize the presentation of different perceptions of an identical situation as a key approach in Kallipoliti’s work. Histories of Ecological Design presents a series of systemConcept of the atically categorized theoretical starting points Methodological that trace the development of theories and definitions of ecology and ecological design, while Approach clearly articulating a level of authorial subjectivity and reflection in their interpretation. A strong focus is placed on the concept of a “cyclopedia,” defined through a process of “rounding up knowledge”, not necessarily through comprehensiveness and extensiveness, but through its openness to critique and difference of opinion. By collecting the necessary information, a cyclical system of knowledge circulation is established, standing in contrast to the conventional linearity of presenting information. “Cycling denotes a feedback loop of ideas and practices that circulate and travel... It also suggests a journey rather than a singular critical perspective... The cycling of ideas 245 also offers a means of resistance to a project‘s linearity or SYSTEMS

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U skladu sa zadatostima prethodno navedenih pristupa (sustavnost, kategorizacija, cikličko strujanje kao oblik antilinearnosti informacija, pluralistička perspektiva, kritički stav) oblik arhitektonske prostorne intervencije zadan je prethodnim analizama postojećega infrastrukturnog sustava te njegova društvenog utjecaja. Jasno postavivši negativnu konotaciju kontrole informacija kao neizbježnog aktivatora svakoga infrastrukturnog sustava, uočavamo potrebu za odgovarajućom sustavno intervencijom. Vraćamo se prvobitno analiziranim javnim prostorima grada kao relevantnim prostornim ekstenzijama ulice te analiziramo njihove individualne kontekste. Finalno rješenje sastoji se od triju odabranih lokacija (Trg bana Jelačića, Tuđmanac te naposljetku i sam prostor ulice) sustavno povezanih infrastrukturnim elementom tramvaja. Protuteža ideje adicije pozitivnog aspekta prikupljanja informacija u obliku ekstenzije (negativnog konteksta) kontroliranoga infrastrukturnog sustava te translatiranje prikupljenih podataka u prostore koji kreiraju kompenzaciju trenutačnim prostornim ograničenjima odabranih lokacija postavlja se kao oblik protuakcije na postojeće stanje. Postavljeni arhitektonski elementi podložni su promjenama, u skladu s prikupljenim informacijama stanovništva, dok je njihovo prvobitno stanje oblik subjektivne arhitektonske intervencije, sukladne s kontekstualnim nedostacima.

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casualty to respond as a solution to named problems; cycling becomes a disruption to an idealized continuum...“ (Kallipoliti, 2024, 5) In accordance with these approaches –systematization, categorization, cyclical flow as a form of anti-linearity of information, pluralist perspectives, and critical positioning – we have created an architectural spatial intervention which emerges from the analysis of the existing infrastructural system and the social influence it creates. By identifying the negative connotations of information control as an inevitable activator of every infrastructural system, we recognized the need for a corresponding spatial intervention. Coming back to the initial analysis of public spaces within the city as relevant spatial extensions of the street, we observe their individual contexts. The resulting proposal therefore consists of three chosen locations – Trg bana Jelačića, Tuđmanac, and the street itself – which become systematically linked through the infrastructural object of the tram. As a form of counteraction to the existing condition, a counterbalance is established by adding a positive prefix to the information collection, acting as an extension of the controlled infrastructural system within its negative context. This counteraction would translate the collected data into spaces that compensate for the current spatial limitations of the selected locations. The introduced architectural elements are also subject to change, triggered by the data collected from the population, while their initial state represents a form of subjective architectural intervention corresponding to the contextual deficiencies.

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● Infrastruktura informacija Promatrana su tri prostora u Ilici (Trg bana Josipa Jelačića, Trg dr. Franje Tuđmana i prostor same Ilice) koji imaju različite karakteristike, a prema tome i iziskuju različite intervencije. Razlikuju se prema načinu prijenosa informacija, stoga se svakom prostoru pruža i onaj alternativan postojećem. Rješenje je pronađeno u tri arhetipa prostora koji različito odgovaraju na specifične uvjete konteksta. To su blokator vizualnih informacija, zvučno-izolacijski tunel te dizalo za bijeg iz kaosa. U ovom spekulativnom scenariju tramvajska mreža ne bi služila samo za prijevoz putnika, nego i kao infrastrukturni element koji međusobno povezuje ta tri prostora koridorom Ilice. ● Information Infrastructure We observed three spaces along Ilica Street – Trg bana Jelačića, Trg Franje Tuđmana, and the street itself – each defined by different characteristics, and therefore requiring a different set of interventions. At each location, the information is transmitted in a unique way, and each space is therefore provided with its own alternative. The resulting three spatial archetypes correspond to their respective context. They consist of a visual information blocker, a soundinsulation tunnel, and an elevator for escaping chaos. In our speculative scenario, the tram network would not only serve as passenger transport, but would also become an infrastructural element connecting these three spaces through the Ilica corridor.

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Linearna struktura zagrebačke Ilice, potpomognuta tramvajskom mrežom, omogućuje neprekidan protok ljudi, robe i informacija. No iza toga prividno neutralnog sustava stoji suprotstavljena sila – kontrolirani sustav informacija. Tu informacije nisu samo pasivni prijenosnici sadržaja, nego aktivna prostorna i društvena sila koja strukturira javni prostor. U tom okviru javni prostori poput Trga bana Josipa Jelačića, Trga Franje Tuđmana i same Ilice gube svoju izvornu ulogu prostora susreta i razmjene informacija, postaju kulise ideoloških projekcija i kontrole ponašanja. U takvom distopijskom scenariju Trg bana Jelačića funkcionira kao prostor potpunoga gubitka spontanih ljudskih interakcija. On je samo fizički „otvoren”, dok je pojedinac u stalnoj masi ljudi zatvoren u vlastite misaone okvire. „Boravak“ u Infrastruktura prostoru postaje prolaz i konzumacija informainformacija cija. Reklame, fasade, urbani elementi postaju odašiljači ideoloških poruka i bombardiraju masu informacijama, oblikujući njezinu percepciju i ponašanje. Interakcija više nije ljudska, nego na razini pojedinca i sustava. Trg dr. Franje Tuđmana u ovom scenariju obilježen je sezonskim i programiranim oblicima ponašanja. Prostor aktiviran nizom programa u kojem svaki ima svoj vremenski okvir i scenarij aktivnosti. Spontanost je nestala dok nas sustav polako uvlači u svoj programirani tok. Interakcija je ovdje dopuštena, ali koreografirana. Sloboda izbora također postoji, ali samo između onih ponuđenih opcija. Ilica, kao infrastrukturna kralježnica grada povezuje trgove i ostale točke okupljanja oblikovane ideološkim narativima i sustavima kontrole informacija. Upravo zbog te uloge postaje prostor koji najviše trpi neprekidnu izmjenu i 250 ◗

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The linear structure of Zagreb’s Ilica, together with its tram network, allows for an uninterrupted flow of people, goods, and information. Yet behind this seemingly neutral system, we uncover its opposing force: a controlled system of information. Within it, information ceases to be a passive transmitter of content and becomes an active spatial and societal force that structures public space. Within this framework, spaces such as the Ban Jelačić Square, Trg Franje Tuđmana, as well as Ilica itself lose their original roles as spaces for encounters and information exchange and become backdrops for ideological projections and behavioral control. Within this dystopian scenario, Ban Jelačić Square functions as a space from which all spontaneous human interaction has disappeared. Information While the square remains physically “open”, the individual is both closed in their own mindset Infrastructure and enclosed by a mass of people. “Inhabiting” the space becomes based on transiting it and consuming information. Commercials, facades, and other urban elements become the transmitters of ideological messages that bombard the masses with information, shaping their perception and behavior. Interaction is no longer primarily between people, but between the individual and the system. In this scenario, Trg Franje Tuđmana is signified by seasonal and programmed forms of behavior – a space activated through a series of programs, each with its own timeframe and scenario. Spontaneity has disappeared as the new system slowly draws us into its own flow. Interaction is allowed here, but it is choreographed. Freedom of choice exists, but only within the choices that are 251 offered. Ilica, as the infrastructural spine of the city, conSYSTEMS

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preopterećenje informacija. Prostor ne dopušta zastajanje, a čovjek je izložen nizu podražaja sa svih strana. Stalna prisutnost suprotstavljene sile nužan je preduvjet djelovanja spekulativnih intervencija: cilj projekta nije njezino uklanjanje, nego njezino razotkrivanje i suočavanje s problemom. Kao odgovor na sveprisutni sustav kontrole informacija nameću se tri prostorna arhetipa/protagonista: blokator vizualnih informacija, zvučno-izolacijski tunel, dizalo za bijeg iz kaosa. Svaki djeluje unutar specifičnih uvjeta pojedine lokacije, ne suprotstavljaju se samom sustavu, nego ga destabiliziraju blokiranjem signala, informacija, podražaja. Na Trgu bana Jelačića protagonist se manifestira kao blokator vizualnih informacija. Objekt izvana dodatno intenzivira postojeće podražaje trga, replicirajući jezik ideološkog sustava, te na taj način privlači prolaznike. Ulaskom dolazi do potpune vizualne izolacije od grada, prostor je lišen signala, a jedini kontakt ostvaruje se s nebom i drugim posjetiteljima. Potaknut novim iskustvom, pojedinac se iz pasivnog promatrača transformira u aktivnog sudionika u prostoru. Zvučno-izolacijski tunel proteže se površinom Trga Franje Tuđmana, gotovo nevidljiv, neopipljiv i diskretan stvara analogni prostor parka. Međudjelovanjem niza obruča stvara se elektromagnetsko polje, time dolazi do potpunog prekida zvuka i signala. Planiranim ili slučajnim ulaskom pojedinac može slobodno iskusiti prostor izvan programa i kontrole. Isprva, još samo jedno od ometala u kaosu Ilice, u sljedećem trenutku postaje dizalo za bijeg iz preopterećenog sustava. Dizalo nas polako izdiže, tek kroz tanki prorez pratimo 252 ◗

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nects the squares as well as other spaces which have been shaped by ideological narratives and systems of information control. Because of this role, it becomes the space subject to the greatest exchange and overflow of information. It does not allow for stopping, and the individual is exposed to a series of stimuli coming from all directions. This continuous presence of an opposing force remains a necessary prerequisite for the speculative interventions. Their goal is not to remove it, but to reveal it and force us to confront the problem. In response to the omnipresent system of information control, three spatial archetypes/ protagonists emerge: the visual information blocker, the sound-insulation tunnel, and the elevator for escaping chaos. Each operates within the specific conditions of its location, not by opposing the existing system, but by destabilizing it through blocking of signals, information, and stimuli. At the ban Jelačić Square, the archetype / protagonist is made manifest as a blocker of visual information. On its outside, the object intensives existing stimuli by replicating the language of the ideological system and attracting passers-by. Once inside, one experiences a complete visual isolation from the city: a space devoid of signals, with the only possible points of contact being the sky and other visitors. Triggered by this new experience, the visitor is transformed from a passive observer to an active spatial participant. The sound insulation tunnel – barely visible, untouchable, and discrete – spreads throughout the Trg Franje Tuđmana and creates an analogous park. The interaction of its loops creates an 253 electromagnetic field which fully disrupts all sounds and SYSTEMS

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kretanje, iznad oblaka, ostajemo sami sa svojim mislima, oslobođeni sustav. S vremenom sva tri arhetipa ne ostaju statični, šire se po cijelom gradu, mijenjaju oblik, veličinu, prilagođavajući se količini i vrsti informacija koje prikuplja tramvajska mreža. Parametri poput buke, anksioznosti, jačine signala, broja ljudi i vremenskih uvjeta diktiraju njihovu prisutnost i intenzitet. Unatoč kontroli i preopterećenju informacijama koje nameće sustav, arhetipovi u gradu reagiraju i prilagođavaju se, stvarajući prostorna iskustva kontakata, izolacije i introspektivne slobode.

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signals. Entering the tunnel either intentionally or by accident, the individual can experience the space outside of program and control. Finally, initially perceived as just another disturbance within the already chaotic space of Ilica, the elevator becomes a means of escape from the oversaturated system. It raises us slowly above the clouds, where we remain alone with our thoughts. Following our ascent only through a thin slit, we become free of the system. Over time, all three archetypes / protagonists remain dynamic. They spread throughout the city, change in shape and size, and adapt to the amount and types of information collected by the tram network. Parameters such as noise, anxiety, signal strength, number of people, and weather conditions dictate their presence and intensity. Despite the control and information overload imposed by the system, the archetypes react and adapt, creating experiences of spatial contact, isolation, and introspective freedom.

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● Zvučno-izolacijski tunel Zvučno-izolacijski tunel proteže se površinom Trga Franje Tuđmana, gotovo nevidljiv, neopipljiv i diskretan stvara analogni prostor parka. Međudjelovanjem niza obruča stvara se elektromagnetsko polje, time dolazi do potpunog prekida zvuka i signala. Planiranim ili slučajnim ulaskom pojedinac može slobodno iskusiti prostor izvan programa i kontrole. ● Sound Insulation Tunnel The sound insulation tunnel spans the surface of Trg Franje Tuđmana. Almost invisible, untouchable, and discrete, it creates an analogous park. An electromagnetic field is created through the interaction of its rows of loops, creating a disruption of sound and signal. Entering the tunnel by chance or intentionally, the individual can experience the space outside program and control.

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● Dizalo Isprva, još samo jedno od ometala u kaosu Ilice, u sljedećem trenutku postaje dizalo za bijeg iz preopterećenog sustava. Dizalo nas polako izdiže, tek kroz tanki prorez pratimo kretanje, iznad oblaka, ostajemo sami sa svojim mislima, oslobođeni sustava. ● The Elevator Initially perceived as just another disturbance in the already chaotic space of Ilica, the elevator becomes a means of escape from the oversaturated system. It raises us slowly above the clouds, where we remain alone with our thoughts. Following our ascent only through a thin slit, we become free of the system.

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● Blokator informacija Protagonist se manifestira kao blokator vizualnih informacija. Objekt izvana dodatno intenzivira postojeće podražaje trga, replicirajući jezik ideološkog sustava, te na taj način privlači prolaznike. Ulaskom dolazi do potpune vizualne izolacije od grada, prostor je lišen signala, a jedini kontakt ostvaruje se s nebom i drugim posjetiteljima. Potaknut novim iskustvom, pojedinac se iz pasivnog promatrača transformira u aktivnog sudionika u prostoru. ● Information Blocker The archetype/protagonist is made manifest as a blocker of visual information. On its outside, the object intensives existing stimuli by replicating the language of the ideological system and attracting passers-by. Once inside, one experiences a complete visual isolation from the city: a space devoid of signals, with the only possible points of contact being those with the sky and with other visitors. Triggered by this new experience, the visitor is transformed from a passive observer into an active spatial participant.

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Bilješke / Endnotes Razvoj utopijske pedagogije / Developing Utopian Pedagogy 1 Važno je napomenuti da se koncept „utopijske arhitekture” na koji se Webb poziva ne odnosi na sferu proizvodnje, već na proces njezina nastanka. Raspravljajući o „utopijskoj arhitekturi”, Webb govori o procesu utopijske pedagogije koji nije usmjeren na otkrivanje i problematiziranje, već nudi konkretna rješenja ili „nacrte”. ● 38 / It is important to note that the concept of “utopian architecture” which Webb refers to is not related to the field of production, but rather the process of its creation. When discussing “utopian architecture” Webb discusses a process of utopian pedagogy which focuses not on the process of uncovering and problematizing, but one which offers concrete solutions or “blueprints”. ● 39 2

Ovaj tekst predstavlja izdvojeni segment znanstvenog članka EDUTOPIA – New Methods for the Design Studio, koji je u cijelosti prvotno objavljen u zborniku Proceedings of the International Conference Architecture Pop-up Lab Exchange (APLE) 2026: Teaching Practices, Practicing Architecture, a potom u časopisu Acta Architectonica et Urbanistica, Vol. 2, No. 1 (2026), str. 93–104. ● 46 / This text is an excerpt from the scientific article EDUTOPIA – New Methods for the Design Studio, first published in full in the Proceedings of the International Conference Architecture Pop-up Lab Exchange (APLE) 2026: Teaching Practices, Practicing Architecture, and subsequently in Acta Architectonica et Urbanistica, Vol. 2, No. 1 (2026), pp. 93–104. ● 47

Okviri Utopijskog laboratorija Ilica / The Framework of Utopian Laboratory Ilica 3 Jana Čulek. „Utopia as Critical Method: A Comparative Analysis of Six Architectural and Literary Utopias“. Doctoral dissertation, TU Delft, 2023. ● 72, 73

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Projekt Ilica: prostor kao infrastruktura odnosa / Project Ilica: Space as an Infrastructure of Relations ● 50 ivana borovnjak (oaza) Projekt Ilica autorski je rad kolektiva Oaza, koji čine Nina Bačun, Ivana Borovnjak, Roberta Bratović, Tina Ivezić, Maja Kolar i Maša Poljanec. Sve što ovaj tekst opisuje — istraživanje, metodologija i njezini ishodi — zajednički je rad svih šest članica; ovdje ga, u ulozi pripovjedačice, samo prepričavam i pokušavam prevesti u okvir koji bi mogao biti koristan za arhitektonsko i spekulativno čitanje prostora. / ivana borovnjak (oaza) Project Ilica is an authored work by the Oaza collective, consisting of Nina Bačun, Ivana Borovnjak, Roberta Bratović, Tina Ivezić, Maja Kolar, and Maša Poljanec. Everything described in this text — the research, methodology, and its outcomes — is the joint work of all six members; here, in the role of narrator, I am merely recounting it and attempting to translate it into a framework that might be useful for an architectural and speculative reading of space.

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Bibliografija / Bibliography Razvoj utopijske pedagogije / Developing Utopian Pedagogy ● 34 Choay, Françoise. The Rule and the Model: On the Theory of Architecture and Urbanism. Cambridge, MA: MIT Press, 1997. Coleman, Nathaniel. Utopias and Architecture. New York: Routledge, 2005. Ford, Derek R., and Maria Svensson. “Still-Existing Utopian Pedagogy: Architecture, Curriculum, and the Revolutionary Imaginary.” Review of Education, Pedagogy, and Cultural Studies 46, no. 4 (2024): 561–77. Helmersen, Kim. “Contemporary Studio Teaching in Europe: Towards a Theoretical Framework.” In Against and for Method: Revisiting Architectural Design as Research, edited by Jan Silberberger, 142–69. Zurich: gta Verlag, 2021. Jameson, Fredric. Archaeologies of the Future: The Desire Called Utopia and Other Science Fictions. London: Verso, 2005. Lee, Keunhye, Eunki Kang, and Eun Joo Park. “Storytelling as a Learning Tool in Creative Education: A Case Study in an Architecture Design Studio.” Thinking Skills and Creativity 48 (2023): 101274. Levitas, Ruth. The Concept of Utopia. Syracuse, NY: Syracuse University Press, 1990. Levitas, Ruth. Utopia as Method: The Imaginary Reconstitution of Society. Basingstoke: Palgrave Macmillan, 2013. Manuel, Frank E., and Fritzie P. Manuel. Utopian Thought in the Western World. Cambridge, MA: Belknap Press of Harvard University Press, 1979. Mumford, Lewis. The Story of Utopias. New York: Boni and Liveright, 1922. Suvin, Darko. Metamorphoses of Science Fiction: On the Poetics and History of a Literary Genre. New Haven, CT: Yale University Press, 1979. Vieira, Fátima. “The Concept of Utopia.” In The Cambridge Companion to Utopian Literature, edited by Gregory Claeys, 3–27. Cambridge: Cambridge University Press, 2010. Webb, Darren. “Critical Pedagogy, Utopia and Political (Dis)engagement.” Power and Education 5, no. 3 (2013): 280–90. Webb, Darren. “Educational Archaeology and the Practice of Utopian Pedagogy.” Pedagogy, Culture & Society 25, no. 4 (2017): 551–66.

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Ekosustavni i prostorni odnosi u području Ciglane Črnomerec / Ecosystems and Spatial Relations in the Area of Ciglana Črnomerec ● 116 Latour, Bruno. “Seven Objections against Landing on Earth.” In Critical Zones: The Science and Politics of Landing on Earth, edited by Bruno Latour and Peter Weibel, 12–19. Cambridge, MA: MIT Press, 2020. Haraway, Donna J. Staying with the Trouble: Making Kin in the Chthulucene. Durham, NC: Duke University Press, 2016. Clément, Gilles. Manifeste du Tiers paysage. Paris: Sujet-Objet, 2004.

Spekulativna heterotopija / Speculative Heterotopia ● 122 Foucault, Michel. “Of Other Spaces.” Translated by Jay Miskowiec. Diacritics 16, no. 1 (Spring 1986): 22–27. Jameson, Fredric. “World Reduction in Le Guin.” In Archaeologies of the Future: The Desire Called Utopia and Other Science Fictions, 267–80. London: Verso, 2005.

Aktivatori staništa / Habitat Activators ● 128 Foucault, Michel. “Of Other Spaces.” Translated by Jay Miskowiec. Diacritics 16, no. 1 (Spring 1986): 22–27. Jameson, Fredric. “World Reduction in Le Guin.” In Archaeologies of the Future: The Desire Called Utopia and Other Science Fictions, 267–80. London: Verso, 2005.

Vidljiva i nevidljiva Ilica / Mapping Visible and Invisible Ilica ● 152 Gissen, David. Subnature: Architecture’s Other Environments. New York: Princeton Architectural Press, 2009. Morton, Timothy. Hyperobjects: Philosophy and Ecology after the End of the World. Minneapolis: University of Minnesota Press, 2013.

Ekologija i metodologija / Ecology and Methodology ● 160

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Antagonisti i neljudski protagonist / Antagonists and Non-Human Protagonist ● 164 Kallipoliti, Lydia. Histories of Ecological Design: An Unfinished Cyclopedia. New York: Actar Publishers, 2024.

Utopijski akteri i narativ / Utopian Actors and Narratives ● 170 Gissen, David. Subnature: Architecture’s Other Environments. New York: Princeton Architectural Press, 2009. Morton, Timothy. Hyperobjects: Philosophy and Ecology after the End of the World. Minneapolis: University of Minnesota Press, 2013. Kallipoliti, Lydia. Histories of Ecological Design: An Unfinished Cyclopedia. New York: Actar Publishers, 2024.

Aftermath Ilice / Aftermath of Ilica ● 188 Awan, Nishat, Tatjana Schneider, and Jeremy Till. Spatial Agency: Other Ways of Doing Architecture. London: Routledge, 2011. Haraway, Donna J. Staying with the Trouble: Making Kin in the Chthulucene. Durham, NC: Duke University Press, 2016. Jackson, Steven J. “Rethinking Repair.” In Media Technologies: Essays on Communication, Materiality, and Society, edited by Tarleton Gillespie, Pablo J. Boczkowski, and Kirsten A. Foot, 221–40. Cambridge, MA: MIT Press, 2014.

Ideje mogućih budućnosti / Ideas of Possible Futures ● 196 Dunne, Anthony, and Fiona Raby. Speculative Everything: Design, Fiction, and Social Dreaming. Cambridge, MA: MIT Press, 2013. Kallipoliti, Lydia. Histories of Ecological Design: An Unfinished Cyclopedia. New York: Actar Publishers, 2024.

NEnostalgična Ilica / Non-Nostalgic Ilica ● 200 Dunne, Anthony, and Fiona Raby. Speculative Everything: Design, Fiction, and Social Dreaming. Cambridge, MA: MIT Press, 2013.

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Kallipoliti, Lydia. Histories of Ecological Design: An Unfinished Cyclopedia. New York: Actar Publishers, 2024.

Informacijski sustavi / Information Systems ● 234 Easterling, Keller. Extrastatecraft: The Power of Infrastructure Space. London: Verso, 2014. Mitrović, Ivica, James Auger, Julian Hanna, and Ingi Helgason, eds. Beyond Speculative Design: Past–Present–Future. Split: SpeculativeEdu and Arts Academy, University of Split, 2021. Pope, Albert. “0.0 The Promethean Increment.” In Inverse Utopia: Urbanism and the Great Acceleration. Basel: Birkhäuser, 2024.

Percepcija sustava / System Perception ● 240 Kallipoliti, Lydia. Histories of Ecological Design: An Unfinished Cyclopedia. New York: Actar Publishers, 2024. Dunne, Anthony, and Fiona Raby. “Design as Critique.” In Speculative Everything: Design, Fiction, and Social Dreaming, 33–46. Cambridge, MA: MIT Press, 2013. Jameson, Fredric. “World Reduction in Le Guin.” In Archaeologies of the Future: The Desire Called Utopia and Other Science Fictions, 267–80. London: Verso, 2005.

Koncept metodološkog pristupa / Concept of the Methodological Approach ● 244 Kallipoliti, Lydia. Histories of Ecological Design: An Unfinished Cyclopedia. New York: Actar Publishers, 2024. Bhatia, Neeraj, Maya Przybylski, Lola Sheppard, and Mason White. Pamphlet Architecture 30: Coupling: Strategies for Infrastructural Opportunism. New York: Princeton Architectural Press, 2010. Orwell, George. Nineteen Eighty-Four. London: Secker & Warburg, 1949.

Infrastruktura informacija / Information Infrastructure ● 250 Kallipoliti, Lydia. Histories of Ecological Design: An Unfinished Cyclopedia. New York: Actar Publishers, 2024.

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