Ova knjiga donosi veoma zanimljiv pristup ukljuivanja zapostavljene teme kulture u proces urbanog dizajna.

Proverene kroz rad sa studentima urbanog dizajna na Arhitektonskom fakultetu Univerziteta u Beogradu, ideje iznete u ovoj knjizi pokazuju kako uvaavanje kulturne raznolikosti omoguava bolje razumevanje lokalnog konteksta i vodi prilagoavanju metoda rada i kreiranju adekvatnijih predloga intervencije. Knjiga prati savremene tendencije interakcije kulturnih tradicija i oblika u pravcu stvaranja interkulturnog drutva koje utie na promenu ivotnih stilova i zahteva odgovarajua prostorna reenja i nove prostorne oblike. Problemi vezani za kulturu, kulturna prava, kulturnu odrivost, kulturne politike itd. danas imaju centralno mesto u svetskim agendama i deklaracijama ... Uvaavajui kulturu kao teinu temu u urbanom dizajnu, autori ukazuju na injenicu da nije mogue izgraditi jedinstven model koji je univerzalno upotrebljiv, ve da svaka nova situacija zahteva kreativan doprinos obzirom da su razliiti gradovi i njihovi delovi stvoreni i oblikovani istorijski i kulturno specifinim faktorima. Ovo delo predstavlja nesumnjivo korisno tivo za studente arhitekture, urbanog dizajna i urbanog planiranja, ija edukacija treba da ukljui saznanja o novom drutveno-ekonomskom i kulturnom svetu i oslobodi kreativnost sposobnu za davanje najboljeg strunog doprinosa urbanim intervencijama. Proirenje baze profesionalne discipline boljim uvidom u drutvene nauke moe pruiti razumevanje sloenih procesa koji utiu na proizvodnju prostora i omoguiti reavanje problema iz interdisciplinarne perspektive. Kompleksnost problema i ozbiljnost i trajnost posledica profesionalnog rada upuuje na stav da urbani dizajneri nuno moraju izai iz okvira usko uspostavljene discipline u kojoj nedostaje definisani stav u odnosu na fiziko i drutveno okruenje kao i na njihovu povezanost. Prof. mr Petar Arsi

Knjiga predstavlja jedno od retkih dela kod nas koje usmerava panju na temu kulture u urbanom dizajnu. Ono dolazi u trenutku kada gradovi, njihova uprava i struka pokuavaju da pronau nove odgovore na pritiske globalizacije koji vode ka kulturnom ujednaavanju i gubitku lokalnog identiteta. Poseban znaaj rukopis ima za zemlje u razvoju, kao to je Srbija, gde se traga za novim oblicima strunog delovanja, usled prelaska na demokratski sistem i trinu ekonomiju, i razvojem odgovarajuih instrumenata prostornog usmeravanja koji garantuju prepoznavanje kulturnih razlika i primenu adekvatnih kulturnih politika. U takvim uslovima, gde se urbana intervencija pomera ka drutveno-ekonomskim politikama sa jedne, i arhitekturi i graenju sa druge strane, autori predlau specifinu integraciju pristupa koja moe da se desi unutar oblasti urbanog dizajna. Sugerie se istraivaki orijentisan i inovativni pristup urbanom dizajnu kao analitiki i kreativni okvir za struno delovanje na transformaciji urbanih javnih prostora. Koncept stratekog urbanog dizajna, koji autori predlau podrazumeva promene procesa koji se kree od preispitivanja i modifikacije generalne strateke vizije razvoja grada u odnosu na lokalne okolnosti i formulisanja posebnih, kulturno osetljivih oblikovnih principa i politika... ...Rukopis knjige autora Prof. dr Nade Lazarevi Bajec i dr Marije Marune pod naslovom Strateki urbani dizajn i kulturna raznolikost predstavlja naunu monografiju koja sadri elemente udbenika iz naunih oblasti urbanog planiranja i urbanog dizajna. To je u naunom smislu kompetentno, a u edukativnom izvesno korisno i svrhovito delo koje zasluuje da se prezentuje kako naoj naunoj i strunoj javnosti i razliitim profesionalcima u praksi, tako i studentima osnovnih, magistarskih i doktorskih akademskih studija arhitekture, urbanizma i drugih, bliskih disciplina i struka. Prof. dr Zoran Nikezi

The book is distinguished by an interesting approach that introduces a neglected theme of culture into the urban design process. Tested in work with urban design students at the Faculty of Architecture of Belgrade University, ideas put forth in this book demonstrate how the recognition of cultural diversity enables a better understanding of the local context, leading to adjustment of work methods and design of more adequate interventions. The book is inspired by contemporary tendencies of interaction of cultural traditions and forms toward creation of an intercultural society that transforms the lifestyles and calls for adequate spatial solutions and new spatial forms. The problems related to culture, cultural rights, cultural sustainability, cultural policies and similar emerge today at the forefront of global agendas and declarations Having recognized the pivotal role of culture in urban design, the authors argue against a one size fits all model, reminding us that each new situation requires a creative contribution and that different cities and their parts are created and shaped by historically and culturally specific factors. This is a valuable book for students of architecture, urban design and urban planning, who need to broaden their knowledge on the new socio-economic and cultural world and free their creativity in order to provide the best professional contribution in urban interventions. Stretching the boundaries of the profession by a better insight into the social sciences may contribute to comprehending of complex processes that have a bearing on space production and enable multidisciplinary problem solving. The complexity of problems and severity and persistence of consequences of professional work pushes urban designers out of their comfort zone - a narrowly defined discipline lacking perspective on physical and social environments and their interconnectedness. Professor Petar Arsi, MSc. BSc.Arch

This is one of the rare studies presented to our public that draws attention to the subject of culture in urban design. The book comes at a time when cities, their administrations and professionals are seeking new responses to culturally unifying globalization pressures that are weakening local identities. It bears special importance for developing countries, such as Serbia, where transition to democratic system and market economy has prompted the search for new forms of professional action and development of adequate tools for spatial guiding which would ensure the recognition of cultural differences and implementation of adequate cultural policies. In a situation where urban intervention has shifted toward socio-economic policies on the one hand and architecture and construction on the other, the authors suggest a specific merger of approaches, which can take place within the field of urban design. A research-oriented and innovative approach to urban design is proposed, as an analytical and creative framework for professional action on transformation of urban public spaces. The concept of strategic urban design put forward by the authors assumes changes in the process, from reexamining and modifying general strategic vision of city development, in view of local circumstances, to formulation of specific, culturally sensitive design principles and policies... ...The study of professor Dr Nada Lazarevi Bajec and Dr Marija Maruna Strategic Urban Design and Cultural Diversity is a scientific monograph including the elements of a textbook in the fields of urban planning and design. This scientifically meritorious and educationally valuable work deserves to be presented to our scientific public and professionals and practitioners of different profiles, as well students of undergraduate, graduate and doctoral studies in architecture, urbanism and other related disciplines. Professor Zoran Nikezi, Ph.D

Copyright Arhitektonski fakultet, 2009 http://www.arh.bg.ac.rs

Naslov knjige: Strateki urbani dizajn i kulturna raznolikost Book title: Strategic Urban Design and Cultural Diversity Autori Authors: Nada Lazarevi Bajec Marija Maruna Izdava Publisher: Arhitektonski fakultet Univerziteta u Beogradu Faculty of Architecture, University of Belgrade Za izdavaa For the publisher: Prof. dr Vladimir Mako Recenzenti Reviewers: Prof.dr Zoran Nikezi Prof. mr Petar Arsi Prevod Translation: Tamara Stanisavljevi, Svetlana Mini Nada Lazarevi Bajec, Marija Maruna Lektor i korektor Editing and proofreading: Svetlana Mini Dizajn knjige Book design: Milica Milojevi, Danijela Milojki Dizajn korica Cover design: ALIMDAR DESIGN tampa Print: COLORGRAFX Tira Number of copies: 300 Beograd Belgrade 2009. ISBN 978-86-7924-026-2

STRATEKI URBANI DIZAJN I KULTURNA RAZNOLIKOST STRATEGIC URBAN DESIGN AND CULTURAL DIVERSITY

Nada Lazarevi Bajec Marija Maruna

Beograd Belgrade 2009.

CONTENTS Foreword

SADRAJ Predgovor

URBAN DESIGN IN AN INTERCULTURAL SETTING URBANI DIZAJN U INTERKULTURNOM AMBIJENTU 9 Urban identity 9 9 Urbani identitet Culture 11 11 Kultura The urban design ideology 16 14 Ideologija urbanog dizajna Education 17 17 Edukacija Integral approach to urban design 20 20 Integralni pristup urbanom dizajnu Summary 23 23 Rezime CULTURAL DIVERSITY AS AN URBAN RESOURCE 27 KULTURNA RAZNOLIKOST KAO URBANI RESURS Globalization processes and urban identity 27 27 Procesi globalizacije i urbani identitet Globalization and production of new cultures 30 30 Globalizacija i proizvodnja novih kultura Multiple cultural identities 31 31 Viestruki kulturni identiteti Multicultural communities and intercultural environment 33 33 Multikulturne zajednice i interkulturno okruenje Mixing of cultures 35 35 Meanje kultura Guidelines for new cultural policies 39 39 Smernice za nove kulturne politike New agendas and declarations Nove agende i deklaracije Role of local government 40 40 Uloga lokalne uprave IDEOLOGICAL POSITION OF URBAN DESIGN 45 IDEOLOKA POZICIJA URBANOG DIZAJNA The changed context of urban design 45 45 Promenjen kontekst urbanog dizajna Strategic urban design 51 51 Strateki urbani dizajn Strategy and design 54 54 Strategija i oblikovanje Design by research 57 57 Dizajn kroz istraivanje Local diversity development strategy 59 59 Strategija razvoja lokalne raznolikosti Creation of recognizable urban spaces 62 62 Kreiranje prepoznatljivih urbanih prostora Developing language of communication 65 65 Razvijanje jezika komunikacije

URBANI PROSTORNI I KULTURNI PROCESI URBAN SPATIAL AND CULTURAL PROCESSES 69 69 Razumevanje kulture i Understanding culture and 69 kulturne raznolikosti u urbanom dizajnu cultural diversity in urban design 70 Mapiranje kulturne raznolikosti Cultural diversity mapping 70 90 Istraivanje vrednosti Values research 90 UPRAVLJANJE RAZVOJNIM POTENCIJALIMA MANAGING DEVELOPMENT POTENTIALS 97 uRBANIh PoDRuJA OF URBAN AREAS 97 Analiza razvojnih procesa Development processes analysis 97 99 urbani ivot i proizvodnja prostora Urban life and space production 99 100 Ekonomski kriterijumi Economic criteria 100 110 Lokalne razvojne politike Local development policies 110 AGENDA FOR URBAN PRACTICE 121 AGENDA ZA URBANU PRAKSU 121 Redefinicija pristupa urbanim intervencijama Redefining the approach to urban interventions 121 122 Mogunosti i ogranienja Possibilities and limitations 122 124 Nova uloga urbanog dizajna The new role of urban design 124 125 Dizajn i kultura Design and culture 125 References 130 Photography credits 138 130 Literatura 138 Autori fotografija

Foreword

Pronounced cultural diversity, as an important factor in a modern society breeding new forms of cultural life, is also a starting point for creative professional intervention in urban space design. Development of a new, research-oriented and innovative approach to urban design that draws on intercultural dynamic and culturally sensitive values is a challenge to traditional professional education, since it requires building and expanding of knowledge and skill sets. Along these lines, contemporary ideas converge toward a new ideology, exploring the ways for integration of urban design and strategically oriented and targeted urban planning. Strategic urban design, as the book defines it, is a comprehensive, value-ridden, process and product oriented approach to design, focused on translation of public policies that promote cultural integration into quality urban forms and creation of distinctive place identity. Intercultural approach to urban design has been applied since 2005 within Studio Project 3 Urbanism (undergraduate course at the Faculty of Architecture, University of Belgrade) led by professor Dr Nada Lazarevi Bajec, in cooperation with junior lecturer Dr Marija Maruna. Numerous associates participated in Studio work: senior lecturer Ivan Rakovi, Dejan Mra, BSc(Arch), Dr Ivana Prica, sinologist and Vladimir Jereminov, BSc(Arch). In 2007 Danijela Milojki and Zorana Mati, who were at that time attending master studies in urbanism at the Faculty of Architecture, also joined the Studio and significantly contributed to success of this course by their energy and commitment to working with students. Milica Milojevi, BSc(Arch) and Danijela Milojki, M.Arch showed great understanding in translation of the course experiences into the publication, by furnishing an excellent graphic form. We are indebted to the Secretariat for Culture, City Assembly of Belgrade and Faculty of Architecture, university of Belgrade for the financial assistance in publication of this book. Nada Lazarevi Bajec Marija Maruna

Predgovor

Izraena kulturna raznolikost je znaajan inilac savremenog drutva koji vodi ka uspostavljanju novih oblika kulturnog ivota i predstavlja polazite za kreativnu strunu intervenciju u oblikovanju urbanih prostora. Izgradnja novog istraivaki orijentisanog i inovativnog pristupa urbanom dizajnu koji polazi od prepoznavanja interkulturne dinamike i kulturno osetljivih vrednosti predstavlja izazov za tradicionalno obrazovanje strunjaka jer zahteva razvoj i ukljuivanje daleko irih znanja i vetina. Savremene ideje se, u tom smislu, kreu u pravcu razvoja nove ideologije koja bi trebalo da istrai naine za integraciju urbanog dizajna i strateki ciljno orijentisanog urbanog planiranja. Definisan u ovoj knjizi kao strateki urbani dizajn, ovaj sveobuhvatni, vrednosno utemeljen, procesno i proizvodno orijentisan pristup dizajnu je usmeren na prevoenje javnih politika koje promoviu kulturnu integraciju u kvalitetne urbane forme i stvaranje karakteristinog identiteta mesta. Interkulturni pristup oblikovanju urbanih prostora se primenjuje u okviru Studio projekta 3 -Urbanizam u dodiplomskoj nastavi na Arhitektonskom fakultetu Univerziteta u Beogradu od 2005. godine koji vodi Prof. dr Nada Lazarevi Bajec u saradnji sa asistentom dr. Marijom Marunom. u radu studija uestvovali su mnogobrojni saradnici: Doc. Ivan Rakovi, dipl.ing. arh., Dejan Mra, dipl.ing.arh, dr Ivana Prica, sinolog i Vladimir Jereminov, dipl.ing.arh., a 2007. godine pridruile i Danijela Milojki i Zorana Mati, tadanji studenti master studija urbanistikog usmerenja na Arhitektonskom fakultetu koje su svojom velikom energijom i posveenou u radu sa studentima znaajno doprinele uspehu ovog kursa. Veliko razumevanje za prevoenje iskustava sa kursa u publikaciju ove vrste su pokazale Milica Milojevi, dipl.ing.arh. i Danijela Milojki, dipl.ing.arh., kroz kreiranje izvanredne grafike forme. Zaslugu za izdavanje ove knjige dugujemo Sekretarijatu za kulturu Skuptine grada Beograda kao i Arhitektonskom fakultetu univerziteta u Beogradu koji su finansijski podrali ceo poduhvat. Nada Lazarevi Bajec Marija Maruna

1.1

Urban design in an intercultural setting

The general purpose of this book is to direct attention to the neglected subject of culture in urban design. After defining the importance of cultural diversity for urban development and establishing new ideology for professional action we analyze the features of cultural identity of place as one of the main responses to globalization pressures. The concept of strategic urban design that we propose is the analytical and creative framework for professional activity in the transformation of urban public space. This research oriented, innovative approach to design is based on the recognition of intercultural dynamics and allows for consideration of cultural sensitive values, goals and criteria, as well as construction and verification of new methods and techniques. The ideas presented in this book have proven effective in work with students of urban design at the Faculty of Architecture, University of Belgrade (Serbia). The results show how a new cultural strategy allows a better understanding of local context, thereby facilitating adjustment of work methods and creation of better intervention proposals.

Urbani dizajn u interkulturnom ambijentu

Osnovni cilj ove knjige je da usmeri panju na zapostavljenu temu kulture u urbanom dizajnu. Nakon definisanja znaaja kulturne raznolikosti za razvoj gradova i uspostavljanja nove ideologije u profesionalnom radu u tekstu se analizira karakter kulturnog identitet 'mesta' kao odgovor na pritiske globalizacije. Koncept stratekog urbanog dizajna koji predlaemo, predstavlja analitiki i kreativni okvir za struno delovanje na transformaciji urbanih javnih prostora. Ovaj istraivaki orijentisani, inovativni pristup dizajnu polazi od prepoznavanja interkulturne dinamike i omoguava razmatranje kulturno osetljivih vrednosti, ciljeva i kriterijuma, kao i izgradnju i proveru novih metoda i tehnika. Ideje iznesene u ovoj knjizi su proverene u radu sa studentima urbanog dizajna na Arhitektonskom fakultetu Univerziteta u Beogradu (Srbija). Rezultati pokazuju kako nova kulturna strategija, pre svega, omoguava bolje razumevanje lokalnog konteksta, a zatim vodi prilagoavanju metoda rada i kreiranju adekvatnijih predloga intervencije.

Urbani identitet
Gradovi danas okupljaju ljude razliitog porekla, nacionalnosti, nasleenih vrednosti, ideja, i religija, koji u interakciji kreiraju nov kulturni izraz, specifinu meavinu ivotnih stilova. Kulture stupaju u interakciju sa drugim kulturama, utiu jedne na druge, meaju se i evoluiraju. Ljudi danas esto menjaju mesta boravita, ostvaruju nove kontakte, i nuno pri tom menjaju svoje osnovne kulturne odlike. Obeleja kultura se modifikuju dobijaju hibridni karakter i stvaraju nove obrasce svakodnevnog ivota. Nacionalne zajednice gube svoju koherentnost i postaju sve vie fragmentirane, obuhvataju kola lo9

Urban identity
Cities today assemble people of different origin, nationality, inherited values, ideas and religions, who create new cultural expression, characteristic mixture of lifestyles through interaction. Cultures interfere with other cultures, influence each other, mix and evolve. People today often change places of residence, get in touch with other people and necessarily in the process change their basic cultural attributes. Cultural traits become modified and hybrid in their character, producing new patterns of every day life.

National communities lose their coherence and become more fragmentised, embrace the collage of local communities where new cultural mixtures emerge that include characteristics of traditional cultures, but also to some point represent integration and exchange in producing new quality. These place-specific cultural mixtures, worldviews, patterns and lifestyles can be valorised as an enormous potential for enrichment of the society and preservation of particularities that the world of capital in many occasions tends to brutally eradicate. Intercultural dynamics is more distinctive in cities that develop and change rapidly, where migratory processes and changes of population structure are faster. Namely, it happens in cities where local policies lay a foundation for creating intercultural networks, which can be used for promoting the citys distinctive identity on the global scene. Physical environment helps in many ways to shape and develop a communitys identity and provides a sense of orientation. We argue that it is possible to single out a number of requirements that certain cultural patterns, customs, lifestyles, set in relation to the public or private space. Sometimes it is about individual activities and demands, other times it is about collective ones, those of organizations, families, clubs, etc. Multilayered and changing cultural heritage testifies about cultural creativity and presents a foundation for identity construction. Cultural identity relies on the past; it is historically conditioned and requires continuity. Collective memory is associated with space, which makes it important for urban planning and design. However, as British historian Raphael Samuel reminds us, memory is not passive, an archive of images from the past, but dynamic, developing with those who do the remembering, it is historically conditioned changing colour and shape according to the emergencies of the moment. It is creative and involves a series of erasures, amendments and amalgama10

kalnih zajednica u kojima se stvaraju nove kulturne meavine koje sadre karakteristike tradicionalnih kultura, ali u odreenoj meri predstavljaju integraciju i razmenu u stvaranju novog kvaliteta. Ove meavine kultura karakteristine za mesto, pogledi na ivot, obrasci i ivotni stilovi se mogu valorizovati kao veliki potencijal za obogaenje drutva i zatitu posebnosti koje svet kapitala u mnogim sluajevima brutalno unitava. Interkulturna dinamika je izrazitija u gradovima koji se ubrzano razvijaju i menjaju, gde su migratorni procesi i promene strukture stanovnitva bre. Odnosno, u gradovima u kojima se posebnim lokalnim politikama kreira osnova za stvaranje interkulturnih mrea putem kojih bi se poseban identitet mogao promovisati na globalnoj sceni. Fiziko okruenje na mnogo naina pomae uspostavljanju i izgradnji identiteta neke zajednice i obezbeuje oseaj orijentacije. Smatramo da je mogue izdvojiti brojne zahteve koje odreeni kulturni obrasci, obiaji, stilovi ivota postavljaju u odnosu na javni ili privatni prostor. Nekada se radi o individualnim aktivnostima i zahtevima, nekada o kolektivnim, grupnim, zahtevima organizacija, porodica, klubova, itd. Slojevito i promenljivo kulturno naslee svedoi o kulturnoj kreativnosti i predstavlja temelj za izgradnju identiteta. Kulturni identitet se oslanja na prolost, istorijski je uslovljen i zahteva kontinuitet. Kolektivna memorija se povezuje sa prostorom i zato je od posebnog znaaja za urbani dizajn i planiranje. Meutim, kako nas britanski istoriar Rafael Samjuel podsea, memorija nije pasivna, arhiv slika iz prolosti, ve je ona dinamina, razvija se sa onima koji se seaju, ona je istorijski uslovljena promena boje i oblika u odnosu na nunosti momenta. Ona je kreativna ukljuuje brisanje i spajanje ... integrie ono to je u originalu moglo biti drugaije ... oivljava poluzaboravljeno i na taj nain produkuje slike jasnije od realnosti. (Samuel, 1996, x )

tions it integrates what in the original may have been divergent and brings the half/forgotten back to life and in that way produce images far clearer than any reality could be (Samuel, 1996, x ). Life in the community that cultivates values of distinctive cultures generates possibilities for creative development and innovation of cultural forms. Built urban structure related to distinct cultural characteristics provides support to continuity of the community and determines the framework in which future changes are shaped. Multiculturalism is an official policy in many modern societies. However, the problem of how to associate the right to diversity with the support for intercultural communication, as a dynamic phenomenon of cultural exchange, in order to translate concepts into policies and spatial projects (interventions) poses a great professional challenge. Globalisation does not necessarily mean homogenisation of culture and domination of one model over another. In a modern society community project supports generation of general, common values, hand in hand with multiculturalism and respect for differences. In that sense, the concept of diversity is focused on establishing new forms of urban life, primarily expressed through using and shaping of public spaces where different cultures meet. A pronounced cultural diversity is an important part of contemporary society and presents a starting point for creative professional intervention that will find the way to provide local specific changes in urban structure of cities.

ivot u zajednici koja neguje vrednosti posebnih kultura, stvara mogunost za kreativan razvoj i inovaciju kulturnih formi. Izgraena urbana struktura povezana sa kulturnim posebnostima obezbeuje podrku kontinuitetu zajednice i predstavlja definisani okvir u kome se trae reenja za budue promene. Multikulturalizam predstavlja zvaninu politiku u mnogim savremenim drutvima. Meutim, problem kako pravo na razliitost povezati sa podrkom interkulturnoj komunikaciji, kao dinaminom fenomenu kulturne razmene, sa ciljem prevoenja koncepata u politike i prostorne projekte (intervencije) se namee kao veliki profesionalni izazov. Globalizacija ne mora da znai homogenizaciju kulture i dominaciju jednog modela nad drugim. U modernom drutvu projekat zajednice podrava izgradnju optih, zajednikih vrednosti, ali i multikulturalizam, potovanje razliitosti. U tom smislu, koncept raznolikosti je usmeren na uspostavljanje novih oblika urbanog ivota, pre svega iskazanih kroz upotrebu i oblikovanje prostora u kojima se susreu razliite kulture. Izraena kulturna raznolikost je znaajan inilac savremenog drutva i predstavlja polazite za kreativnu strunu intervenciju koja e pronai naine da obezbedi lokalno specifine promene u urbanoj strukturi gradova.

Kultura
Iako se danas susreemo sa brojnim razliitim definicijama kulture, u generalnom smislu moemo rei da je kultura istorijski izgraen nain egzistencije zajednice, stil ivota odreene grupe ljudi. Kulturu ine akumulirani obrasci vrednosti, verovanja i ponaanja sa kojima se grupa identifikuje, verbalni i ne verbalni sistem simbola. To je skup normi i vrednosti koji se izraavaju kroz ponaanje lanova grupe, prostor u kome se lanovi oseaju dobro, u kome dele vrednosti koje ne moraju objanjavati. Oblikuje se jezikom, etnikom pripadnou, religi11

Culture
Although today we encounter numerous different definitions of culture, in general sense we can say that culture is historically developed way of existence of a community, a life stile of a certain group of people.

1.2

It consists of accumulated patterns of values, beliefs and behaviour with which the group identifies, verbal and non verbal system of symbols. It is a set of norms and values that are expressed through the behaviour of group members, the space in which the members feel comfortable, in which they share values that are mutually understood and do not have to be explained. Culture is shaped by language, ethnicity, religion, attitude toward power, class, history, geography, gender, way of life, values, beliefs, traditions, ways of thinking and acting. Hofstede who views culture as a value system defines culture as a collective programming of the mind which distinguishes the members of one group or category of people from another (Hofstede 1980, 260). UNESCO Universal Declaration on Cultural Diversity regards culture as the set of distinctive spiritual, material, intellectual and emotional features of society or a social group, and that encompasses, in addition to art and literature, lifestyles, ways of living together, value systems, traditions and beliefs (UNESCO,2001). Franois Matarasso offers the following view about the importance of culture for the city:
Culture is the expression of human values. When we express ourselves we create meanings where there were none, and consequently change the way in which we and others behave. In shaping European society, and the values of nations and communities within it, culture is of the utmost importance. It is, indeed, perhaps the only thing which can save the city (Matarasso, 2001, 55).

jom, odnosom prema moi, klasom, istorijom, geografijom, rodnom pripadnou, nainom ivota, vrednostima, verovanjima, tradicijom, nainom miljenja i delovanja. Hofstede koji posmatra kulturu kao sistem vrednosti, definie je kao kolektivno programiranje uma koje razlikuje lanove jedne grupe ili kategorije ljudi od druge. (Hofstede 1980, 260) Opta deklaracija o kulturnoj raznolikosti UNESCO-a posmatra kulturu kao skup posebnih duhovnih, materijalnih, intelektualnih i emocionalnih karakteristika drutva ili drutvenih grupa, i to obuhvata, pored umetnosti i knjievnosti, stilove ivota, naine zajednikog ivota, sisteme vrednosti, tradicije i verovanja. (UNESCO, 2001) Fransoa Mataraso nudi sledei stav o znaaju kulture za grad:
Kultura je izraz ljudskih vrednosti. Kada se izraavamo mi stvaramo znaenja tamo gde ih nije bilo, i time menjamo nain na koji se mi i drugi ponaamo. U oblikovanju evropskog drutva, kao i vrednosti naroda i zajednica unutar njega, kultura je od najvee vanosti. To je, zaista, moda i jedina stvar koja moe spasiti grad. (Matarasso, 2001, 55)

It should be stressed that in this book we accept a broad definition of culture as the complex of values, customs, beliefs and practices which constitute the way of life of a specific group (Eagleton, 2000, 34). The choice of definition influences the basic concepts adopted. That is why we consider the concept of multiculturalism inadequate. Systematization of cultures on the one hand leaves out many impor13

Treba naglasiti da u ovoj knjizi prihvatamo iroku definiciju kulture kao kompleks vrednosti, obiaja, verovanja i prakse koji predstavljaju nain ivota za odreenu grupu. (Eagleton, 2000, 34) Izbor definicije uslovljava i osnovne koncepte koje usvajamo. To je razlog zbog kojeg smatramo da koncept multikulturalizma nije adekvatan. Razvrstavanjem kultura, sa jedne strane, izostavljaju se mnoge vane grupe i identiteti, imenujui ih sub-kulturama, na periferiji modela. Sa druge strane, ljudi ne pripadaju samo jednoj odreenoj kulturi ve se menjaju, zadravaju tradicionalne obrasce ili ih se oslobaaju, zamenjujui ih univerzalnijim formama kroz promiljanje i dijalog. Za razliku od multikulturalnosti, koncept interkulturalnosti, kulturne raznolikosti nam omoguava da sagledamo i uporedimo razliite vrednosti, vero-

tant groups and identities labelling them as subcultures on the periphery of the model. On the other hand, rather then belonging to a single specific culture, people change, retain the traditional forms or break free from them, replacing them with more universal forms through reasoning and dialogue. Unlike the concept of multiculturalism, concept of interculturalism, cultural diversity enables us to perceive and compare different values, beliefs and lifestyles and assess the impact of cultures on the dynamics of urban space production. Books, buildings and other products of human action can not be considered a culture. They only represent things that are produced and used through knowledge and skills of a culture and reflect the cultural pattern. That is why it is not easy to reconstruct a distinct culture on the basis of physical artefacts of which we are aware in archaeology and even more in contact with less known cultures while travelling. Common human perception usually can identify three levels of culture. The first level is the cultural tradition by which communities differ. The second level consists of subcultures as a part of personal identity. The third level is one of cultural mixtures. In complex and diverse societies, people who come from different corners of the world often retain much of their original cultural traditions while accepting some forms of the culture they live in and in this way become part of new, often unidentified and separate mixture within the community. In research of local urban situations when the term culture is used, cultural mixtures are of special interest as retreats from dominant culture (super culture that characterizes a society), i.e. as varieties of realization of culture. Diversions from the basic model, selections from the corpus of cultural behaviour, new cultures arising in the process of intercultural communication, can also be defined as a dynamic model of cultural patterns that we try to recognize, evaluate and connect with places and physical forms. It is most certainly challenging, and not an easy task.
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vanja i stilove ivota i procenimo uticaj koji kulture imaju na dinamiku proizvodnje urbanog prostora. Knjige, zgrade i drugi proizvodi ljudskog delovanja se ne mogu smatrati kulturom. Oni samo predstavljaju stvari koje su proizvedene i koriene kroz znanje i vetine neke kulture i koje odraavaju kulturni obrazac. Zato nije lako rekonstruisati specifinu kulturu polazei od fizikih artefakata ega smo svesni u arheologiji, a jo vie u susretu sa manje poznatim kulturama prilikom putovanja. Uobiajena ljudska percepcija moe da prepozna tri nivoa kulture. Prvi nivo predstavlja kulturna tradicija po kojoj se zajednice razlikuju. Drugi nivo ine subkulture kao deo linog identiteta. Trei nivo ine kulturne meavine. U sloenim i raznolikim drutvima, ljudi koji dolaze iz razliitih krajeva sveta esto zadravaju velik deo svojih izvornih kulturnih tradicija uz prihvatanje nekih oblika kulture u kojoj ive i na taj nain postaju deo nove, esto neidentifikovane i odvojene meavine unutar zajednice. Prilikom prouavanja lokalnih urbanih situacija kada upotrebljavamo termin kultura posebno su nam interesantne kulturne meavine kao odstupanja od preovlaujue kulture (superkulture koja karakterie jedno drutvo), odnosno, kao raznolikosti realizacije kulture. Odstupanja od osnovnog modela, izbori iz celine kulturnog ponaanja, razliite nove kulture nastale u procesu interkulturne komunikacije, se takoe mogu definisati kao dinamian model kulturnih obrazaca koji pokuavamo da prepoznamo, vrednujemo i poveemo sa prostorom i fizikim formama. To sigurno predstavlja izazovan ali ne i lak zadatak.

Ideologija urbanog dizajna

Podravanje interkulturnog identiteta svakako ukljuuje sve oblasti drutvenih politika od ekonomije do urbanog planiranja. Prirodni procesi u stvarnom svetu prevazilaze koegzistenciju razliitih kultura u odreenoj sredini i usmeravaju nau panju na odnose izmeu tradicionalnih kultura kao i novih oblika

1.3

The urban design ideology

Supporting intercultural identity indeed includes all domains of social policy from economics to urban planning. Processes in the real world go beyond mere coexistence of different cultures in a certain environment and bring to our attention the relationship between traditional cultures and new cultural forms emerging through interaction. Cultural diversity concept reflects a new condition of hybrid cultures that cancel the boundaries of traditional culture and produce new cultural forms (Skot-Hansen, 2002). Many urban design critics believe that it is focused exclusively on shaping urban space and has no social dimension, ie. that it is just about return of the aesthetics in urban planning. It seems however that urban design as a direct factor in production of distinct urban space could be considered as a process of striking a balance between spatial and design aspects, on one side, and social and economic issues on the other. Consideration of complexity and diversity of life styles points to new approaches and methods of professional work. Understanding identities of different actors, their relationship to urban space, meanings and the sense of belonging is the basis of any successful urban intervention (Wood, Landry & Bloomfield, 2006). Culture viewed in the wider context, as a resource in urban design is primarily recognized at the local level, with strong roots in the local community. Professional proposals are associated with management and decision-making models at the local level, and above all, communication with stakeholders. Certainly many problems that occur in translation of concepts into development policies and concrete construction should be pointed out. It is therefore of great importance to re-examine the basis of cultural policy, advantages of cultural diversity and intertwining of cultures in design proposals and regulations.
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kulture koji se stvaraju u procesu interakcije. Koncept kulturne raznolikosti odraava novu situaciju hibridnih kultura koje ponitavaju granice tradicionalnih kultura i stvaraju nove kulturne forme. (SkotHansen, 2002) Mnogi kritiari urbanog dizajna smatraju da je on usmeren iskljuivo na oblikovanje prostora i da nema socijalnu dimenziju, tj. da se tu radi o povratku estetike u urbano planiranje. ini se, meutim, da bi urbani dizajn, kao direktan inilac proizvodnje konkretnog urbanog prostora, mogao biti razmatran i kao proces uspostavljanja ravnotee izmeu prostornih i oblikovnih sa jedne i socijalnih i ekonomskih tema sa druge strane. Uvaavanje kompleksnosti i raznolikosti ivotnih stilova upuuju na nove pristupe i metode profesionalnog rada. Razumevanje identiteta razliitih aktera, njihovog odnosa prema urbanom prostoru, znaenja i pripadanja predstavljaju osnov svake uspene urbane intervencije. (Wood, Landry & Bloomfield, 2006) Kultura posmatrana u irem kontekstu, kao resurs u urbanom dizajnu se pre svega prepoznaje na lokalnom nivou, sa jakim korenima u lokalnoj zajednici. Struni predlozi se povezuju sa modelima upravljanja i odluivanja na lokalnom nivou i pre svega, komunikacijom sa zainteresovanim akterima. Svakako da treba uoiti i brojne probleme koji nastaju u prevoenju koncepata u razvojne politike i konkretnu izgradnju. Zato je od velike vanosti preispitati osnove kulturne politike, prednosti kulturne raznolikosti i proimanja kultura u prostornim predlozima i regulativi. Fokusiranje na kulturu kao oslonac u oblikovanju gradova utie na promenu pristupa urbanom dizajnu. Prvo, naglaava se potreba za kulturnom osetljivou, prepoznavanjem kulturnih posebnosti, uoavanjem i razumevanjem karaktera, prostornih i fizikih obrazaca, manifestacija lokalnih kultura i njihovim pretvaranjem u potencijale za razvoj. Drugo, to takoe znai povezivanje razliitih nivoa i sektora u kojima se donose odluke, otvorenost za nove ideje i

Considering culture as pivotal in shaping of cities transforms the approach to urban design. First of all, the need for cultural sensibility, recognizing the cultural particularities, identification and understanding of nature, spatial and physical patterns, manifestations of local cultures and their transformation in the potential for development is stressed. Secondly, it also means linking different decisionmaking levels and sectors, openness to new ideas and projects emerging at the local level, combining the top down and bottom up approach, from the local to the city as a whole. And thirdly, more flexible approach to defining the relationship between urban planning and design. Strict separation between methods of strategic planning, land use planning and design can be substituted by integration of some aspects of these approaches with the aim of formation of urban places, public space with a special cultural character. In contemporary urban design intercultural approach means understanding the phenomenon and developing methods and techniques to support the decisive factors in building new environments. This requires a democratic orientation of a society which is acknowledging interculturalism as an ideology, that is, modification of traditional approaches according to the new concept that can enrich a society.

projekte koji se javljaju na lokalnom nivou, kombinovanje pristupa odozgo na dole i odozdo na gore, od lokalnog ka gradu kao celini. I tree, fleksibilniji pristup definisanju odnosa izmeu urbanog planiranja i oblikovanja. Stroga podela na metode stratekog planiranja, planiranja namene povrina i oblikovanja se moe zameniti integracijom odreenih aspekata ovih pristupa sa ciljem formiranja urbanih mesta, javnog prostora sa posebnim kulturnim karakterom. Interkulturni pristup u urbanom dizajnu podrazumeva razumevanje fenomena i razvijanje metoda i tehnika koje podravaju znaajne aspekte u stvaranju novih prostora. To zahteva demokratsku orjentaciju drutva i priznavanje interkulturalizma kao ideologije, odnosno prilagoavanje tradicionalnih pristupa novom konceptu koji moe obogatiti drutvo.

Edukacija
Novi pristup urbanom dizajnu zahteva proirenje, uske, arhitektonski orijentisane tradicije prostorne intervencije. ini se da taj specifini zahtev za unapreenjem vetina moe zapoeti promenama u oblasti edukacije kojima e se na novi nain povezati oblasti arhitekture, urbanog planiranja i dizajna u cilju formiranja strunjaka koji e biti u stanju da razumeju ta ini identitet gradskih prostora i kako ga podrati svojim akcijama. (Royal Town Planning Institute, 2001) Proirenje baze profesionalne edukacije, uenje na marginama razliitih naunih oblasti moe pruiti uvid u sloene procese koji utiu na proizvodnju prostora i omoguiti reavanje problema iz interdisciplinarne perspektive. Znaaj pribliavanja urbanog planiranja i dizajna u cilju inovativnog i matovitog pristupa specifinim urbanim problemima se konstatuje u okviru obe danas razdvojene discipline. U dokumentu Naela osnovnog obrazovanja urbanih planera, Britanskog kraljevskog udruenja urbanih planera (RTPI) naglaava se znaaj oblikovnog procesa u stvaranju
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Education
New approach to urban design requires broadening of narrow architecture-oriented tradition in spatial intervention. It seems that this specific demand for expanding skills can start by changes in professional education that would reconnect architecture, urban planning and design in a new way in order to shape a professional profile able to understand what makes the identity of urban spaces and how to support it by professionals actions (Royal Town Planning Institute, 2001). Broadening the base of professional education by learning across the borders of different

1.4

scientific disciplines can provide the insights into the complex processes that influence the production of space and enable solving problems from an interdisciplinary perspective. In urban planning and design, two currently separate disciplines, there is a growing awareness of the importance of convergence, in an effort to achieve innovative and imaginative approach to specific urban problems. The RTPI (Royal Town Planning Institute) Policy Statement on Initial Planning Education also stresses the importance and process of design in creating high quality places and enhancing the public realm for the benefit of all in society, and evaluate the effectiveness of alternative design approaches in achieving this (RTPI, 2004, 6.8.). In creating an adequate educational model for a new design, the focus shifts to the question on how to understand different socioeconomic, political and above all cultural aspects of urban intervention. Strategic local visions are connected with the insight into broad public policies and translated into design options and regulations. These options enable the review of adopted values that can be transformed to criteria relevant for decision-making. Therefore, traditional education for space-related disciplines which is, as Salama finds, predominantly artistic paradigm that emphasizes subjective judgments, personal feelings, intuition and imagination at the expense of social and cultural responsibilities (Salama, 1999, 136) has to be transformed and a comprehensive concept of urban space introduced. As the decision-making process becomes more collaborative and conversational, design alternatives and visual representations are again becoming important as key tools. According to Kaliski, the public demands more information about alternative futures and accessible means to understand the data, and professionals are increasingly using digital software and visualization to allow real-time explorations of the relationships between social, environmental,
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urbanih mesta visokog kvaliteta i poboljanja javnih prostora na dobrobit svih lanova drutva, kao i procena efektivnosti alternativnih pristupa dizajnu koji te ciljeve ostvaruju. (RTPI, 2004, 6.8.) Formiranje adekvatnog modela edukacije za novi dizajn stavlja u fokus pitanje naina ukljuivanja razumevanja razliitih socioekonomskih, politikih i iznad svega kulturnih aspekata urbane intervencije. Razmatranje lokalnih stratekih vizija koje se povezuje sa uvidom u raznovrsne javne politike se prevodi u varijante projekata i regulative. One omoguavaju proveru usvojenih vrednosti koje se, zatim, mogu transformisati u kriterijume relevantne za donoenje odluka. Zato tradicionalno obrazovanje za discipline koje se bave prostorom, koje je kao to Salama primeuje, uglavnom u okviru umetnike paradigme koja naglaava subjektivne procene, lina oseanja, intuiciju i matu na tetu socijalne i kulturne odgovornosti (Salama, 1999, 136), mora biti transformisano uz uvoenje sloenog koncepta urbanog prostora. Sa razvojem procesa odluivanja ka sve veoj saradnji i komunikaciji, projekti alternativnih reenja i vizuelni prikazi ponovo postaju vani, kljuni alati. Kako Kaliski primeuje, javnost zahteva vie informacija o alternativnim budunostima i pristupaan nain razumevanja podataka, i profesionalci sve vie koriste digitalne softvere i vizuelizacije kako bi omoguili istraivanje o relacijama izmeu drutvenih, ekonomskih, ekolokih, podataka o korienju zemljita i predloga izgraenih formi u realnim situacijama. Oblikovni sadraj planova, projekata i regulative zahteva struku vie okrenutu ka formi koja je sposobna da integrie potrebe i vrednosti zajednice u inovativno urbano okruenje. (Kaliski, 2006) Dok je u razvijenim drutvima taj proces veoma institucionalizovan, u zemljama u razvoju ima mnogo prostora za eksperimentisanje u uvoenju nove prakse. Jedan od izazova u oblasti urbanog dizajna je uiniti profesionalce svesnim posrednike uloge profesije u

economic, and land-use data with built form proposals in real life situations. Formal content of plans, designs and regulation demands more form-based profession capable to integrate community based needs and values into innovative urban environments (Kaliski, 2006). While in developed societies this process is highly institutionalized, in developing world, there is much more space for experimentation to be done on the introduction of new practices. One of the challenges in the field of urban design is to make professionals sensitive to the mediating function of their profession in establishing the framework for effective intercultural communication. Recognition of diversity of the populations and cultures, and dynamic processes of acculturation should be the basis of the new ideology that will enable effective engagement in the creation of a better physical environment. It is expected that it will lead to the recognition of the necessity of knowledge needed for understanding interculturally shaped human behaviour, cultural differences and the way people interact with the built environment (Salama, 1999). It will also lead to understanding broad social and economic issues, as well as the specific local situations helpful in creation of public policies and visual representations for local projects that can serve as a starting point for communication and decision-making.

uspostavljanju okvira za efikasnu interkultunu komunikaciju. Prepoznavanje raznolikosti stanovnitva i kultura, kao i dinaminih procesa akulturacije, bi trebalo da bude osnova za nove ideologije koje e omoguiti efikasnije ukljuivanje u proces stvaranja boljeg fizikog okruenja. Oekuje se da e to voditi prepoznavanju potrebe za znanjem koje omoguava razumevanje interkulturno indukovanog ponaanja, kulturnih razlika i naina na koji ljudi komuniciraju sa izgraenim okruenjem. (Salama, 1999) To e takoe dovesti do razumevanja irih drutvenih i ekonomskih pitanja, kao i specifinih lokalnih situacija, koje pomau u kreiranju javnih politika i vizuelnih prezentacija za lokalne projekte koji ine startnu poziciju za komunikaciju i odluivanje.

Integralni pristup urbanom dizajnu

Koncept stratekog urbanog dizajna moe ponuditi mogunosti za prevazilaenje jaza koji postoji izmeu razliitih disciplina vezanih za prostorne intervencije. Kreativnost mora nai svoje mesto u dizajnu i planiranju koje e nas osloboditi od sadanjih prepreka i omoguiti profesiji da iskorai ka novim reenjima koja e se nositi sa izazovima budunosti. Ovaj eklektiki pristup koji integrie urbani dizajn i planiranje se prvenstveno fokusira na proizvodnju urbanih javnih prostora povezanu sa specifinim skupom vrednosti. Prouavajui mogunosti novog pristupa doli smo do zakljuka da nema jedinstvenog modela koji moe biti univerzalno upotrebljiv, ve da svaka nova situacija zahteva kreativni doprinos jer su razliiti gradovi i njihovi delovi, po prirodi, stvoreni i oblikovani istorijski i kulturno specifinim faktorima. Predloeni pristup se zasniva na pretpostavci da najvei doprinosi razvoju urbane strukture ne dolaze sa nivoa makro politika ve sa nivoa na kojem se kreira prostor. Teite je na pragmatinom nivou gde se sredstva za dalji razvoj mogu nai u ve izgraenom lokalnim podrujima sa kvalitetima koji su utemelje20

Integral approach to urban design

The concept of strategic urban design offers opportunities to fill the gap between different spatial intervention-related disciplines. Creativity must find its place in design and planning that will free us from current constraints and stretch the boundaries of the profession towards new solutions able to cope with future challenges. This eclectic approach that integrates urban planning and design is primarily concerned with the production of urban public places connected with a specific set of values. By analyzing

the possibilities of the new approach we came to the conclusion that there is no single universally applicable model and each new situation calls for creative input because different cities and their parts are, by their very nature, characterized and shaped by historically and culturally specific factors. The proposed approach is based on the assumption that greatest contribution to the development of urban structure comes not from a macro-policy level but from the level of place making. The focus is on a pragmatic level where the means for further development can be found in already built local areas with the qualities based on the recognition and mirroring of a new intercultural community and its new possibilities. The emphasis is not only on the problem-solving character of urban design but also on its exploratory capacity, investigating urban area development possibilities. The underlying assumption is that to the degree that designers understand how different actors read and evaluate cities, they will be able to offer creative solutions contributing to socially responsible changes. The aim is to define an integral approach that will lead to spatial propositions beyond traditional classification to general planning of land uses and concrete design that regulates physical and visual spaces. The strategic design process in intercultural environment requires professionals to work effectively across a wide range of scales. They are expected to develop understanding of urban places and independent components, buildings, landscapes, and public places, as well as the social and economic forces that shape them. On the one side, the urban project is directed to identification and understanding how detailed space arrangements and regulations influence space-related behaviours of different cultural groups. On the other side, the exploration process, as an integral part of design, includes recognition, creative translation of relevant agendas and
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ni na prepoznavanju i preslikavanju nove interkulturne zajednice i njenih novih mogunosti. Naglasak nije samo na orijentaciji urbanog dizajna ka reavanju problema, ve u njegovim istraivakim kapacitetima koji preispituju razvojne mogunosti urbanog podruja. Pristup se zasniva na pretpostavci da ukoliko dizajneri mogu da razumeju nain na koji razliiti akteri itaju i vrednuju gradove, onda mogu i da ponude kreativna reenja koja doprinose socijalno odgovornim promenama. Cilj je definisati integralni pristup koji e dovesti do prostornih predloga van tradicionalnih klasifikacija generalnog planiranja namena povrina i konkretnog dizajna koji regulie fizike i vizuelne prostore. Proces stratekog dizajna u interkulturnom okruenju zahteva od profesionalaca da rade efektivno na vie razliitih nivoa. Od njih se oekuje da razviju razumevanje urbanih prostora i nezavisnih komponenata, graevina, urbanog pejzaa i javnih prostora, kao i drutvenih i ekonomskih sila koje ih oblikuju. Sa jedne strane, urbani projekat je usmeren na identifikaciju i razumevanje uticaja detaljnih prostornih aranmana i regulative na prostorno uslovljena ponaanja razliitih kulturnih grupa. Sa druge strane, istraivaki proces kao sastavni deo dizajna, podrazumeva prepoznavanje, kreativno prevoenje relevantnih agendi i javnih politika koje mogu uticati na prostorne obrasce procesa kulturne interakcije i kako se pretpostavlja, doprineti interkultunoj saradnji. U okviru urbanog dizajna kao delatnosti usmerene na konkretne akcije u urbanom prostoru cilj je: 1. Otvoriti debatu o mestu kulture i kulturnih razlika u urbanim intervencijama; 2. Promeniti percepciju gradova: od monokulturnog ka multikulturnom, odnosno interkulturnom identitetu; 3. Ukljuiti istraivanje podruja interkulturne komunikacije u rutinu profesionalnog rada i politikog odluivanja u gradu.

public policies that can influence spatial patterns of cultural interaction processes and supposedly contribute to intercultural cooperation. In the framework of urban design as an activity focusing on concrete actions in urban space the goal is to: 1. Open a debate about the place of culture and cultural differences in urban interventions; 2. Change the perception of cities from monocultural to multicultural i.e. intercultural identity; 3. Include the research of intercultural communication in the routine of professional work and political decision-making in the city. These goals are based on the following views: 1. Globalization does not necessarily entail the loss of individuality and distinctiveness. Culture gains relevance, because issues of place identity are becoming increasingly more important against the background of intensifying globalization processes. There is an increased desire, especially in European societies, to preserve local cultures and defend them from globalization. 2. Culture is not static but a dynamic concept. Unlike the theorists who view culture as stable and determining, it is necessary to consider different approaches emphasizing intertwining and mixture of cultures (transculturation, aculturation) and understand that belonging to a cultural group is neither fixed, nor invariable. 3. In order for the issue of cultural diversity to be adequately accounted for in professional work, urban design methods need to be adjusted. The presented proposals are based on practical experiences and theoretical speculations supported by fragmentary research findings in the various scientific fields. 4. Starting from the position that it is necessary to support a variety of cultural patterns in urban design we must bear in mind that not all cultural
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Ovi ciljevi su zasnovani na sledeim stavovima: 1. Globalizacija ne mora nuno da eliminie posebnosti. Kultura postaje vana, zato to pitanja prostornog identiteta postaju znaajnija kako se globalizacija zahuktava. Postoji poveana elja, posebno u evropskim drutvima, da se lokalne kulture ouvaju i odbrane od globalizacije. 2. Kultura nije statian ve dinamian koncept. Za razliku od teoretiara koji posmatraju kulturu kao stabilnu i odreujuu, potrebno je razmotriti i drugaije pristupe koji naglaavaju pojavu meusobnog proimanja i meavine kultura (transkulturalizacija, akulturizaciju), odnosno da pripadanje odreenoj kulturnoj grupi nije ni fiksno ni nepromenljivo. 3. Da bi u struni radu na adekvatan nain ukljuili temu kulturne raznolikosti potrebno je prilagoditi metode urbanog dizajna. Predlozi koji su izneti zasnovani su na praktinim iskustvima i teorijskim spekulacijama podranim fragmentarnim rezultatima istraivanja u okviru razliitih naunih oblasti. 4. Polazei od stava da je potrebna podrka razliitim kulturnim obrascima u urbanom dizajnu, mora se imati u vidu da se ne mogu svi kulturni obrasci i grupe tretirati ravnopravno. Svakako da se ne mogu prihvatiti kulturni obrasci koji podravaju kulturni konzervativizam, osporavaju pravo na izbor naina ivota, ukratko ugroavaju ljudska prava. Potrebna je selekcija, odluivanje, ta se moe podrati kao kulturno adekvatan obrazac a ta ne. Kako to proceniti i na osnovu kojih kriterijuma? Na strunjacima je da ih prepoznaju i definiu, na urbanim dizajnerima da ih razumeju i prevedu u prostorne obrasce i istrae njihove potencijale i ogranienja u daljem razvoju grada. Odluke se donose u politikom procesu. Poli smo od dve osnovne pretpostavke. Prva pretpostavka je da postoji potreba za uspostavljanjem nove profesionalne ideologije koja moe da uini nae okruenje raznovrsnijim, da podstakne jaanje

patterns and groups should be treated equally. Obviously, cultural patterns supporting cultural conservatism, challenging the right to choose the way of life, and threatening human rights can not be accepted. Selection is required and decision on what is to be supported as culturally adequate form and what is not. How to make an evaluation and on the basis of which criteria? It is the experts task to identify and define such forms, and urban designers to understand and translate them in the spatial form and explore their potential and limitations in further development of the city. Decisions are made in the political process. We have started from two basic assumptions. The first assumption is that there is a need for establishment of new professional ideology that can make our environment more diverse, strengthen identity of cities and bring to the forefront intercultural processes that can play a significant role in the city promotion and economic benefit. The second assumption is that culture as a particular system of customs, beliefs, patterns, that are materially and space - specific, can serve as a basis for understanding differences among individuals and groups, and as a starting point for developing visions, responsive ideas, as well as creative and innovative design proposals.

identiteta u gradovima, da naglasi interkulturne procese koji mogu imati znaajnu ulogu za promociju i ekonomsku dobrobit grada. Druga pretpostavka je da kultura kao specifian sistem obiaja, verovanja, obrazaca koji su materijalno i prostorno odreeni, moe sluiti kao osnova za razumevanje razlika meu pojedincima i grupama, te moe biti polazna taka za razvoj vizija, prihvatljivih ideja, kao i kreativnih i inovativnih dizajnerskih predloga.

Rezime
U profesionalnom radu moemo izabrati izmeu dve opcije: negirati znaaj kulturnih razlika ili upotrebiti razlike kao potencijal koji e se koristiti ukoliko norme i predloge usmeravanja urbanog razvoja stavimo u kontekst kulture. Primetno je da se u savremenom svetu osea duboka potreba za promenom pristupa u urbanoj intervenciji, za novim interkulturnim pristupom koji zahteva posmatranje problema savremenih gradova kroz odnos razliitih kultura. Promena pristupa moe uticati i na promenu prioriteta u prostornim politikama na gradskom ili viem nivou (evropskom, svetskom) u pravcu sagledavanja problema i reenja sa stanovita razliitih, esto zapostavljenih grupa sa posebnim vrednostima i identitetom. U ovoj knjizi predlaemo nov konceptualni, analitiki i kreativni okvir, strateki urbani dizajn, u kojem lokalne kulturne dinamike predstavljaju osnovni okvir, u kojem se razmatraju nove vrednosti, ciljevi i kriterijumi, kao i metode i tehnike. Nakon definisanja vanosti uspostavljanja nove ideologije za profesionalno delovanje, analiziraemo vanost kulturnog identiteta urbanog mesta kao jednog od glavnih odgovora na pritisak globalizacije. Smatramo da je vredno istraivati dinamiku kulturnih obrazaca, uoavati njihove manifestacije u urbanom prostoru iz najmanje dva razloga. Prvo, postoji moralni razlog. Urbane intervencije predstavljaju odgovor na legitimna oekivanja, zahteve, potrebe
23

Summary
In professional work we can choose between two options: negate the importance of cultural differences or use them as guidelines in shaping the norms and directions of urban development in the context of culture. In modern world there is a deep need to change the approach in urban intervention for a new intercultural approach that observes the problems of modern cities through relations of different cultures. The change of approach can lead to re-prioritised spatial policies on city or higher level (European, global) in the light of problems and solutions perceived from the standpoint of various, often neglected groups with distinctive values and identity.

1.5

In this book we propose a new conceptual, analytical and creative framework, strategic urban design, where local intercultural dynamics represents the basic context within which new values, goals and criteria are considered and new methods and techniques developed. Having established the importance of new ideology for professional action we analyze the importance of the cultural identity of place as one of the main responses to the pressure of globalization. We believe that it is worth to explore the dynamics of cultural patterns and observe their manifestations in the urban space from at least two reasons. First, there is a moral reason. Urban interventions represent a response to legitimate expectations, requirements, needs and interests of participants in urban life and respect for existing differences. Culture is certainly one of them. The second reason is economic. In the world of global unification a specific mixture of cultures may be an element of distinction, identity, and the way to orient oneself on the global map of cities. This may be an important factor in choice of location for different economic activities and thus contribute to the overall city economic development.

i interese uesnika u urbanom ivotu i uvaavanje razlika koje postoje. Kultura je svakako jedna od njih. Drugi razlog je ekonomski. U svetu globalnih ujednaavanja specifina meavina kultura moe predstavljati elemenat razlikovanja, identiteta, nain prepoznavanja na globalnoj mapi gradova. To moe biti vaan inilac izbora lokacije za razliite ekonomske aktivnosti i na taj nain doprinositi ukupnom ekonomskom razvoju grada.

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2.1

Cultural diversity as an urban resource

Globalization processes and urban identity
In numerous texts and researches, we find two completely different positions concerning culture and globalisation. While one group of authors express fear that process of globalisation will contribute to reducing of differences and uniforming of cultures, other group is of opinion that, in the long term, quite the opposite will happen. Owing to numerous reasons, including economic ones, globalisation will encourage definition of local identities and breed greater cultural diversity emerging as a reaction to unification forces. The process of globalization is about globalization of modernity, and modernity is harbinger of identity (Tomlinson, 2003). Gidens, one of the most influential thinkers of our time, notices that globalisation processes are connected to the increasing differentiation of cultural traditions and forms. Global society has overcome cultural homogeneity and moves toward a society which respects diversity of cultures coexisting in the world. Local traditions are promoted together with a large number of other cultural forms coming from abroad, enabling people to learn about a confusing conglomerate of lifestyles among which they make their own choices. Local cultural identities experience a revival, unlike national that are undergoing radical changes. Global perspective means that the sense of identity is no longer built only on the basis of national state where people live, but also on the grounds of other criteria. Quoting Baudrillard and Hall, Giddens states that instead of uniform global culture and established identities and ways of life rooted in local communities and cultures, processes lead to fragmentation of cultural patterns and emergence of new shapes of hybrid identities consist27

Kulturna raznolikost kao urbani resurs

Procesi globalizacije i urbani identitet
U brojnim tekstovima i istraivanjima nailazimo na dva potpuno razliita stava o vezi kulture i globalizacije. Dok jedna grupa autora izraava bojazan da e proces globalizacije doprineti smanjivanju raznolikosti i ujednaavanju kultura, druga smatra da e se dugorono desiti upravo suprotno. Globalizacija e, iz brojnih razloga meu kojima su i ekonomski, podsticati definisanje lokalnih identiteta i uticati na nastajanje vee kulturne raznolikosti koja e se stvarati upravo kao reakcija na sile ujednaavanja. U procesu globalizacije radi se zapravo o globalizaciji modernosti, a modernost je vesnik identiteta. (Tomlinson, 2003) Gidens, jedan od najuticajnijih savremenih mislilaca, primeuje da se procesi globalizacije povezuju sa sve veom diferencijacijom kulturnih tradicija i oblika. Globalno drutvo prevazilazi kulturnu homogenost i kree se ka drutvu koje uvaava raznolikost kultura koje uporedo postoje u svetu. Lokalne tradicije se promoviu zajedno sa mnotvom drugih kulturnih oblika koji dolaze iz inostranstva, omoguujui ljudima da se upoznaju sa zbunjujuim konglomeratom naina ivota u okviru koga prave sopstvene izbore. Lokalni kulturni identiteti doivljavaju ponovni procvat za razliku od nacionalnih koji prolaze kroz korenite promene. Globalna perspektiva znai da se oseaj identiteta vie ne gradi samo na osnovu nacionalne drave u kojoj ljudi ive, ve i na osnovu drugih kriterijuma. Pozivajui se na Bodrijara (Baudrillard) i Hola (Hall), Gidens navodi da umesto jednoobrazne globalne kulture i uspostavljenih identiteta i naina ivota ukorenjenih u lokalnim zajednicama i kulturama, procesi vode ka fragmentaciji kulturnih obrazaca, kao i pojavi novih

ing of elements from different cultural sources (Giddens, 2003). Castells also rejects cultural uniformization through globalization and supports the idea that globalization endows localization processes with a new meaning. It could be said that the global world system, informational network society, a society producing timeless and placeless structures, creates unfavourable environment for peoples identity that is tied to historic context, culture and memory. In his book The Power of Identity, the Information Age: Economy, Society and Culture, Vol. II Castells defines the term identity as the construction of meaning on the basis of cultural attribute, or related set of cultural attributes, that is/are given over other sources of meaning (Castells,1997, 6). Castells also stresses differences between identities of legitimization that are imposed by institutions in an effort to dominate social actors, identities of resistance developed by actors for protection of their cultural particularities, and project identities as new collective projects aimed at redefining the actors position in the society, as was, for example, the case with feminism, patriarchal family, reproduction and sexuality (Castells, 1997). In such circumstances, as Castells argues, the phenomenon of constructing cultural identity becomes the central challenge for social actors that build their true meanings according to cultural attributes (Castells, 1994). The notion of identity is a modern phenomenon. In contrast to traditional society where such problem did not exist, in modern society personal identity is not strictly fixed but stems from a series of choices. As a result, identity is fluid and unstable, there are dilemmas and doubts regarding the identification and affiliation (Golubovic, 1999, 7). Researchers indicate that there is also a danger that in response to the perception of abstract identity imposed by the unification in global society, the concept of identity is connected with the belonging to a specific community perceived as static, that can eventually lead to
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oblika hibridnog identiteta koga ine elementi iz razliitih kulturnih izvora. (Gidens, 2003) Kastels takoe negira kulturno ujednaavanje kroz globalizaciju i podrava ideju da globalizacija daje procesima lokalizacije novo znaenje. Moglo bi se rei da globalni svetski sistem, informatiko, umreeno drutvo, drutvo koje stvara strukture koje nisu vremenski i prostorno odreene, predstavlja nepovoljno okruenje za identitet ljudi koji je vezan za istorijski kontekst, kulturu i memoriju. U svojoj knjizi Mo identiteta, informacijsko doba: ekonomija, drutvo i kultura (II deo) Kastels definie pojam identiteta kao konstruisanje znaenja na osnovu kulturnih atributa, ili skupa kulturnih osobina koje su date preko drugih izvora znaenja. (Castells, 1997, 6) Kastels takoe naglaava razliku izmeu identiteta legitimizacije koje nameu institucije u cilju dominacije nad drutvenim akterima, identiteta otpora koje razvijaju akteri u cilju ouvanja kulturne posebnosti i identitete kao nove kolektivne projekte koji su usmereni na redefinisanje pozicije aktera u drutvu, kao to je to na pr. sluaj sa feminizmom, patrijarhalnom porodicom, raanjem i seksualnou. (Castells, 1997) Upravo u takvim okolnostima, kako Kastels naglaava, fenomen izgradnje kulturnog identiteta postaje sutinski izazov za drutvene aktere koji izgrauju svoj znaaj prema kulturnim osobinama. (Castells, 1994) Pojam identiteta je moderna pojava. Za razliku od tradicionalnog drutva gde problem identiteta ne postoji, u modernom drutvu identitet individue nije jasno odreen ve je posledica niza izbora. To utie na nestabilnost identiteta, javljaju se dileme i sumnje u pogledu identifikacije i pripadnosti. (Golubovi, 1999, 7) Istraivai ukazuju na opasnost da se kao odgovor na percepciju apstraktnog identiteta koji namee unifikacija u globalnom svetu, koncept identiteta povezuje sa pripadnou konkretnoj, statino koncipiranoj zajednici, to moe voditi provincijalizmu i izolaciji, odnosno, sukobima oko zatite etnikog, rasnog ili religijskog identiteta.

provincialism and isolation, that is, conflicts around the protection of ethnic, racial or religious identity. Psychological research literature underlines that people have multiple, interconnected identities. They belong to different collective identities, such as national, ethnic, racial, gender, socioeconomic, vocational, etc. Identities are co- created in relationship to others, they are evolving through self-definition in terms of belonging to social categories. It is important to point out the character of identity as a process, not as a state. An individual as well as social group live in a dynamic social and cultural environment and must constantly harmonize their relations. This harmonization involves individuals in the group, and individuals and groups in the society, so they could learn their place and their roles, as well as the principles that are acceptable and that will govern their lives (Golubovic, 1999, 9). Cultural identity involves self-understanding that is developed through the feeling of belonging to the group, formal or informal, with which we share values, beliefs, knowledge, behavior, attitudes and ways of life. There are numerous identity formation theories that look into the process of formation of individual identity. Although they focus on monocultural identity based on ethnicity or race, it seems that there is more sense to talk about multicultural identity. Individual identity is a product of belonging to different cultural groups, and is actually in its basis multicultural. Multicultural identity is dynamic and more open to change. According to Adler
It is an identity based not on a belongingness, which implies either owning or being owned by culture, but on a style of self-consciousness that is capable of negotiating ever new formations of reality. In this sense the multicultural person is a radical departure from the kinds of identities found in both traditional and mass societies (Adler, 1998, 228).

Psiholoka istraivanja naglaavaju da ljudi imaju viestruke, povezane identitete. Oni pripadaju razliitim kolektivnim identitetima kao to su nacionalni, etniki, rasni, rodni, drutveno ekonomski, profesionalni, itd. Identiteti se stvaraju kroz odnose sa drugima, razvijaju se kroz samodefiniciju u odnosu na pripadnost drutvenim kategorijama. Vano je istai da se naglaava karakter identiteta kao procesa, ne kao stanja. I pojedinac i drutvena grupa ive u dinaminoj drutvenoj i kulturnoj sredini, i stalno moraju da usaglaavaju svoje odnose, kako pojedinac u grupi, tako i jedni i drugi u drutvu, da bi znali svoje mesto i svoje uloge, kao i to koji su principi prihvatljivi, prema kojima e se odvijati i njihovi ivoti. (Golubovi, 1999, 9) Kulturni identitet podrazumeva predstavu o sebi koja se razvija kroz oseaj pripadnosti grupi, fomalnoj ili neformalnoj, sa kojom se dele vrednosti, verovanja, znanja, ponaanja, stavovi i nain ivota. Postoje brojne teorije formiranja identiteta koje posmatraju formiranje individualnog identiteta. Mada se one fokusiraju na monokulturni identitet zasnovan na etnicitetu ili rasi, ini se da je ima vie opravdanja govoriti o multikulturnom identitetu. Individualni identitet je proizvod pripadanja razliitim kulturnim grupama, te je zapravo u osnovi multikulturni. Multikulturni identitet je dinamian i otvoren za promene. Prema Adleru
To je identitet koji nije zasnovan na pripadanju, koji nagovetava bilo pripadanje ili uklapanje u kulturu, ve na obliku samosvesti koja je u stanju stvara uvek novu realnost. U tom smislu multikulturna osoba bitno odstupa od vrste identiteta koje nalazimo i u tradicionalnim i masovnim drutvima. (Adler, 1998, 228)

Za izuavanje interkulturne komunikacije na lokalnom nivou od posebne je vanosti grupni identitet kao elementarna forma kolektivnog identiteta. Svaki pojedinac pripada brojnim grupama i u veoj ili manjoj meri se povezuje svoj identitet sa njima. Pri tome
29

For the study of intercultural communication at the local level group identity, as a basic form of collective identity, is of special interest. Each individual belongs to a number of groups and to a different degree associates his/her own identity with them. In that way multicultural identity of an individual is not a simple sum of characteristics of different cultural groups, but a special fluid mixture that is established through intercultural communication.

multikulturni identitet pojedinca ne predstavlja jednostavan zbir karakteristika pojedinih kulturnih grupa, ve predstavlja posebnu fluidnu meavinu koja se uspostavlja kroz interkulturnu komunikaciju.

Globalizacija i proizvodnja novih kultura

Kulturna globalizacija se moe posmatrati kao dijalektiki proces u kome globalizacija i lokalizacija, homogenizacija i fragmentacija, centralizacija i decentralizacija, nisu suprotnosti koje se iskljuuju, ve neodvojivi delovi istog procesa. Savremeni svet i globalno drutvo u kome se ideje i ljudi kreu bre nego ikada ranije, obeleava kulturna kompleksnost koja predstavlja snanu pokretaku snagu u promeni urbane strukture. Prema Gidensu,
Ovi procesi iz temelja menjaju drutvo u kome ivimo. Mnoga drutva, po prvi put, postaju etniki raznolika; ostala uoavaju da se postojei obrasci multietninosti menjaju i intenziviraju. Meutim, u svim drutvima ljudi redovno dolaze u kontakt sa drugim ljudima, koji razmiljaju drugaije, izgledaju drugaije i ive drugaije. Te interakcije deavaju se kroz neposredne susrete, kao posledica globalnih migracija, ali i kroz slike koje se prenose putem medija i interneta. Neki prihvataju ovu etniku i kulturnu sloenost kao izuzetno vaan deo Kosmopolitskog drutva. Drugi to vide kao opasnost i pretnju. (Gidens, 2003, 283)

Globalization and production of new cultures

Cultural globalization can be seen as a highly dialectic process, in which globalization and localization, homogenization and fragmentation, centralization and decentralization, are not mutually exclusive opposites, but inseparable facets of the same process. The contemporary world and global society, in which ideas and people are moving faster than ever before, are characterized by profound cultural complexity, which is a powerful driving force in the changes of urban city structures. According to Gidens,
These processes profoundly change the society in which we live. Many societies become ethnically diversified for the first time; others are becoming aware of changing or intensifying of the existing multiethnic patterns. However, in every community people regularly find themselves communicating with those who think differently, look differently and lead different lives. These interactions occur through direct encounters, as consequence of global migrations, but also through images that are transmitted through the media and the Internet. Some people accept this complex ethnic and cultural diversity as an important part of the cosmopolitan society. Other regard it as danger and threat (Gidens, 2003, 283, translation from Serbian).

Globalization also breeds new cultures, new cultural forms and we are witness to cultural traditions mixing all around the world, giving rise to new practices and world views. Ulf Hannerz uses the term creolization to denote creativity and richness of cultural
30

Globalizacija takoe utie na proizvodnju novih kultura, nastanak novih kulturnih formi i i moe se rei da se irom sveta kulturne tradicije meaju i kreiraju nove prakse i poglede na svet. Alf Henerc (Ulf Hannerz) koristi pojam kreolizacija, u smislu kreativnosti i bogatstva kulturnog izraza koji nema istorijskih korena, ve su rezultat globalne meupovezanosti. Henerc pie:
Pre nekoliko godina, kada sam konceptu toka posvetio istaknut deo svoje knjige Kulturna kompleksnost (1992), bio sam zapravo, u prvom redu zainteresovan za dimenziju vremena u procesualnom razumevanju

expressions which do not have historical roots, but stem from global interconnections. Hannerz writes
Some years ago, as I myself gave the flow concept a conspicuous part in my book Cultural Complexity (1992), I was actually primarily concerned with the time dimension, with the processual understanding of culture. I wanted to emphasize that only by being constantly in motion, forever being recreated, can meanings and meaningful forms become durable. Taking process seriously can at the same time be seen as keeping people in the picture. To keep culture going, people as actors and networks of actors have to invent culture, reflect on it, experiment with it, remember it (or store it in some other way), debate it, and pass it on (Hannerz, 1997, 5).

kulture. eleo sam da naglasim da samo kroz stalno kretanje, kontinualnu re-kreaciju, znaenja i smisleni oblici postaju trajni. Ozbiljno bavljenje procesom se moe razumeti kao fokusiranje na ljude. Da bi se kultura razvijala, ljudi kao akteri i mree aktera treba da izmisle kulturu, ogledaju se u njoj, eksperimentiu sa njom, pamte je (ili na neki nain sauvaju), raspravljaju o njoj, i prenose je dalje. (Hannerz, 1997, 5)

Zato Henerc istie da ideju kulture treba prihvatiti kao tok, reku, koja posmatrana sa distance izgleda statina, ali blie posmatranje pokazuje da je u stalnoj promeni. (Hannerz, 1992) Kao rezultat poveanja meusobne povezanosti, stari oblici raznolikosti nestaju, ali u isto vreme se pojavljuju novi oblici kulturne raznolikosti. Iako se nacionalne zajednice sve vie pluralizuju i fragmentizuju, u isto vreme se pojavljuju nove lokalne kulturne meavine, ljudi u lokalnim zajednicama i susedstvima razvijaju razliita kulturna obeleja koja obuhvataju tradicionalna, ali takoe u izvesnoj meri predstavljaju integraciju i razmenu u proizvodnji novih kvaliteta. Posebne kulturne meavine, pogledi na svet, obrasci i stilovi ivota se mogu prihvatiti kao izuzetna ansa samo-realizacije i obogaenja drutva i voditi plodonosnom dijalogu o opcijama budueg urbanog razvoja.

Thats why Hannerz emphasizes that the idea of culture has to be approached as a flow, a river, which perceived from a distance seams static, but at a closer look is in the constant change (Hannerz, 1992). As a result of increasing interconnection, old forms of cultural diversity vanish, as new ones emerge. Although national communities are increasingly pluralized and fragmentized, at the same time new local cultural mixes appear, people in communities and neighbourhoods are developing distinct cultural features that embrace traditional ones, but also to some point represent an integration and interchange in producing new qualities. Specific cultural mixes, worldviews, patterns and lifestyles can be experienced as an unimagined chance for self-realization and enrichment of society and lead to a fruitful dialogue about future urban development options.

Viestruki kulturni identiteti

Masovne migracije i mobilnost, koji karakteriu gotovo sva drutva u modernom svetu, skreu panju na ideju multikulturalnog drutva i koncepte asimilacije i integracije ili interkulturalne dinamike i akulturacije koji postavljaju izazove za koncept identiteta. Migracijska kretanja putem demografskih, ekonomskih i drutvenih promena doprinose razvoju etnike i generalno kulturne raznolikosti. Novi stanovnici gradova, migranti i imigranti, pristigli sa sela, iz drugih zemalja ili ak i kontinenata imaju potrebu da ponovo zadobiju kontrolu nad prostorom, naprave sebi dom, veu se za nove susede. U tom procesu se neminovno odvija proces komunikacije sa okru31

Multiple cultural identities

Massive migrations and mobility, characteristic of almost all societies in the modern world, bring into focus the idea of multicultural society and concepts of assimilation and integration or intercultural dynamic and acculturation that challenge the concept of identity.

Migratory movements contribute to the development of ethnic and generally cultural diversity through demographic, economic and social changes. New city inhabitants, migrants and immigrants, from surrounding rural regions, other countries or even continents, have a need to reacquire control over space, create their home, bond with new neighbours. Communication with the surroundings is inevitable in the process, defining immigrants place in the new culture. Urban areas of local ethnic communities can play a symbolic role. Those areas are, for many members of displaced communities, the embodiment of their national memory, intimately linked to their everyday lives. In time, they become a part of their identity. Ethnic areas often fulfil the function of staging post for the newly arrived migrants, the first step towards gradual integration into the new social world. Theoretically, there are various models of ethnic integration. Giddens distinguishes three basic models of multiethnic societies:
Assimilation model means that immigrant groups accept the views and language of the society that they arrived to. Melting pot model means that different cultures and traditions of various nationalities blend and become assimilated in one society. Pluralism, on the other hand, means that ethnic groups exist and are treated as equal participants in economic and political affairs (Gidens, 2003, 284).

enjem i definie mesto imigranata u novoj kulturi. Lokalne etnike zajednice mogu imati simboliku ulogu. Ova podruja za mnoge pripadnike dijaspore, predstavljaju olienje njihove nacionalne memorije koja je blisko povezana sa njihovim svakodnevnim ivotom. Ova mesta postaju tokom vremena, deo njihovog identiteta. Tako etnika podruja esto dobijaju funkciju organizacionog prostora za novo pristigle migrante, prvi korak u postepenoj integraciji u novo drutvo. Teorijski posmatrano postoje razliiti modeli etnike integracije. Gidens razlikuje tri osnovna modela multietnikih drutava:
Model asimilacije podrazumeva da su nove imigrantske grupe prihvatile stavove i jezik zajednice u koju su doli. U modelu lonac za rastapanje (melting pot), razliite kulture i tradicije etnikih grupa stapaju se i sjedinjuju u jednom drutvu. Pluralizam, pak, znai da etnike grupe postoje odvojeno i tretirane su kao ravnopravni uesnici u privrednom i politikom ivotu. (Gidens, 2003, 284)

Discussing situation in European cities Castells points out to the emerging problem brought about by mixing of ethnic groups. Arrival of numerous immigrants and establishment of multicultural society produces non-homogenous culture and threatens national identity. As a reaction racism and xenophobia are growing, identity is protected by confinement to territorially defined entities, regional or local, even at neighbourhood level. He emphasizes
European cities will be increasingly oriented toward their local culture, while increasingly distrustful of

Razmatrajui situaciju u evropskim gradovima Kastels (Castells) uoava problem koji nastaje meanjem razliitih etnikih grupa. Dolazak brojnih imigranata i stvaranje multikulturnog drutva proizvodi ne homogenu kulturu i ugroava nacionalni identitet. Kao reakcija raste rasizam i ksenofobija, identitet se titi zatvaranjem u teritorijalno definisane celine, regionalne ili lokalne, ak na nivou susedstva. On naglaava
Evropski gradovi e se sve vie orjentisati na svoju lokalnu kulturu, uz sve manje poverenja u kulturne identitete definisane na viem nivou. Problem e biti da li se gradovi mogu otvarati prema celom svetu a da ne podlegnu lokalistikim, kvazi plemenskim reakcijama koje e usloviti podelu meu lokalnim kuturama, evropskim institucijama i globalnom ekonomijom. (Castells, 1994, 23)

Treba konstatovati da se kulturnoj raznolikosti u svetu pristupa na razliite naine. U savremenim urba32

higher order cultural identities. The issue then is to know if cities can reach out to the whole world without surrendering to a localistic, quasi-tribal reaction that will create a fundamental divide between local cultures, European institutions, and the global economy (Castells, 1994, 23).

One should be aware of differences in the approach to cultural diversity across the world. In modern urban communities that are growing in complexity, individuals are on one side reluctant to accept predetermined patterns of behaviour that may influence and modify their lifestyle. On the other side, especially in Europe, in contrast to USA and Canada where diversity is regarded as an advantage and incorporated into national identity, there is a reserve towards others who also build and develop their specific identities. In design of urban environment the research of urban life is especially focused on change processes, dynamic of different cultural patterns and their connection to space. In each culture there are conflicts of that what is active, creative, a break through into something new, and that what becomes passive inert field of petrified values. This conflict is the result of general conflict of goals and means work and creativity, an individual and the society, needs and interests (ivoti, qtd. in Boovi, 1993, 576). In order to understand the complexity of cultural dynamic and create adequate scenarios for involving ethnic and multicultural local resources in urban renewal, it is necessary to develop a method of professional work that will be open for new ways of integrating culture and, above all, economy in producing space.

nim zajednicama koje postaju sve kompleksnije, pojedinci, sa jedne strane, ne ele da za sebe prihvate utvrene obrasce ponaanja koji se tiu modifikacije identiteta njihovog naina ivota. Sa druge strane, posebno u Evropi, za razliku od SAD i Kanade gde se raznolikost smatra prednou i ugraena je u nacionalni identitet, postoji rezerva prema drugima koji isto tako grade i razvijaju svoje specifine identitete. Prilikom oblikovanja gradskih prostora istraivanje urbanog ivota je posebno usmereno na procese promena, dinamiku razliitih kulturnih obrazaca i njihovu vezu sa prostorom. U svakoj kulturi postoje sukobi onoga to je aktivno, stvaralako, to je prodor u novo i onoga to postaje pasivno inertno polje okamenjenih vrednosti. Ovaj sukob je rezultat opteg sukoba ciljeva i sredstava rada i stvaralatva, individue i drutva, potreba i interesa. (ivoti, cit. u Boovi, 1993, 576) Za razumevanje sloenosti kulturne dinamike i osmiljavanje adekvatnih scenarija za ukljuivanje etnikih i multikulturnih lokalnih resursa u urbanu obnovu potrebno je razviti metod strunog rada koji e biti otvoren za nove naine povezivanja kulture i pre svega, ekonomije, u proizvodnji prostora.

Multikulturne zajednice i interkulturno okruenje

U metropolama savremenog sveta nalazimo viestruke identitete, manjinske i veinske grupe koji ine multikulturni kola. Ukoliko polazimo od pretpostavke da meu razliitim grupama i pojedincima nuno postoji razmena i izgradnja viestrukog identiteta, onda govorimo o interkulturnom identitetu. (Kim, Y.Y. 1979, 1994) Definicija u Enciklopediji politike kulture opisuje prirodu procesa formiranja kulturnih obrazaca: Posredstvom kulturnih procesa sa neizbenim mehanizmom stimulus odgovori dolazi do novih ponaanja jer svaka kultura se transformie pod uticajem druge kulture i na nov nain modelira ono to prima od kultura sa kojima je ostvarila komunikaciju.
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Multicultural communities and intercultural environment

In metropolis of contemporary world, we find multiple identities, minority and majority groups that make up multicultural collage. If we start from the

assumption that among different groups and individuals an exchange and building of multiple identity inevitably takes place, then we are speaking of intercultural identity (Kim, Y.Y. 1979, 1994). The definition in Encyclopaedia of Political Culture describes the processual nature of the formation of cultural patterns: By means of cultural processes with inevitable mechanism stimulus answers new behaviours occur, since each culture is transformed under the influence of other culture and models, and receives inputs from cultures it communicates with. That is how, bit by bit, change of model of behaviour occurs (Boovi, 1993, 570). Theories on acculturation and intercultural identity emphasize the ability of an individual to accept new cultures and combine their characteristics through the process of communication. On the one hand, the acculturation can be observed as a one-way process, as nesting of minority groups into majors; even undesirable, as losing the old culture and replacing it with a new one. On the other hand, acculturation is considered an interactive process. The majority culture influences the minority culture, but also vice versa, which creates the third culture. Since in the process of adjusting the link to original culture is not lost, it can present enrichment and a contribution to greater social cohesion. Certain preconditions are, of course, necessary. Ghettoisation, spatial isolation, insistence on repeating historically outdated forms developed in traditional culture, ethnic, religious or other, most certainly does not facilitate these processes. In the integration process, it is essential to keep in mind the difference between identity and identification, which means that different cultural groups can adopt a general framework of cultural identity, assimilate, and still not lose their self-identity. The process assumes critical reinterpretation of the general cultural frame of reference and appreciating differences, which is a condition for survival of a multicultural community (Golubovic, 1999).
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Tako i dolazi malo po malo, do promena modela ponaanja. (Boovi, 1993, 570) Teorije akulturacije i interkulturnog identiteta naglaavaju sposobnost pojedinaca da prihvataju nove kulture i kombinuju njihove karakteristike kroz proces komunikacije. Sa jedne strane proces akulturacije se moe posmatrati kao jednosmeran, uklapanje manjih grupa u vee, i ak nepoeljan, kao gubljenje stare kulture i zamenjivanje novom. Sa druge, akulturacija se smatra interaktivnim procesom. Veinska kultura utie na manjinsku, ali i obrnuto ime se stvara trea kultura. Kako se u procesu adaptacije ne gubi veza sa originalnom kulturom, on moe predstavljati obogaivanje i doprinos veoj drutvenoj koheziji. Za to su, naravno potrebni odreeni preduslovi. Getoizacija, prostorna izolacija, insistiranje na ponavljanju istorijski prevazienih oblika koji su razvijeni u tradicionalnoj kulturi, etnikoj, religijskoj, i drugoj, svakako ne pogoduje ovim procesima. U procesu integracije vano je uoiti razliku izmeu identiteta i identifikacije te da razliite kulturne grupe mogu usvojiti generalni okvir kulturnog identiteta, asimilovati se, a da pri tom ne gube samoidentitet. U procesu se podrazumeva kritika reinterpretacija opteg referentnog kulturnog okvira i odravanje razlika to predstavlja uslov za opstanak multikulturne zajednice. (Golubovi, 1999 ) Multikulturne zajednice podrazumevaju koegzistenciju i toleranciju prema razliitim kulturama. Uoava se potreba za novim formama interkulturne komunikacije zasnovane na dijalogu, prilagoavanju i prihvatanju multikulturnih identiteta. Zahtevi za ouvanjem kulturne raznolikosti sa jedne strane i potraga za sintezom sa druge, svakako stvaraju paradokse i izazivaju brojne probleme. Shodno tome, potreban je novi oblik interkulturnog dijaloga, koji e biti usmeren na razlike i upravljanje konfliktima u cilju postizanja koordinacije meu razliitim kulturnim perspektivama.

Multicultural communities involve coexistence with and tolerance towards different cultures. There is a need for new forms of intercultural communication based on a dialogue, adjustment and acceptance of multicultural identities. Requirements for preservation of cultural diversity, on the one hand, and search for the synthesis of the other, certainly create paradoxes and cause numerous problems. Consequently, a new form of intercultural dialogue, dealing with differences and managing conflicts, is needed to achieve coordination among different cultural perspectives.

Meanje kultura
Interkulturni pristup ne znai samo pluralizam etnikih kultura i razvnopravnu participaciju u ekonomskom i politikom ivotu (Gidens, 2003), ve priznavanje viestrukih kulturnih identiteta, gde svako pripada ne samo jednoj etnikoj ili religijskoj kulturi, koliko god da je to vano, ve i mnogim drugim, rodnoj, regionalnoj, starosnoj (dobnoj) profesionalnoj, itd. U velikim gradovima, lokalna tradicija se promovie zajedno sa mnogim drugim kulturnim formama koje dolaze iz inostranstva, koje, kako Gidens naglaava, omoguavaju ljudima da se upoznaju sa zbunjujuim i kompleksnim razliitim oblicima ivota koje mogu izabrati. Tako je oigledno da definisani identiteti i naini ivota ukorenjeni u lokalnim zajednicama i kulturama poputaju pred novim formama hibridnih identiteta. (Gidens, 2003) Prilagoavanje i meanje kultura, stvaranje transkulturnih formi i podravanje interkulturne komunikacije otvara paradoks koji uoava Baraldi. Osetljivost za kulturnu raznolikost, sa jedne strane podrazumeva ouvanje kulturnih razlika, konzervaciju kulturnih tradicija, dok se sa druge traga za sintezom, inovacijama i proimanju kultura. I otvorenost prema kulturnim promenama, koju podrava globalizacija, kao i odbijanje kulturne kontaminacije koju podravaju njeni protivnici, u isto vreme ide u prilog kulturnoj raznolikosti i ugroava je. Polazei od konstatacije da je svaka komunikacija interkulturna, poto su individue kulturno razliite, interakcija meu njima podrazumeva naglaavanje individualnih razlika kao otelotvorenja kulturne raznolikosti. U tom smislu Baraldi istie
Kulturna raznolikost nije produkt razlika izmeu stabilnih grupa ili drutava: ona je posledica kontinualnog procesa hibridizacije kroz interkulturnu komunikaciju. Nepredvidljivost ove raznolikosti, meutim, utie na traganje za kulturnom stabilnou: osetljivost za sve kulturne forme po sebi moe voditi harmoninoj poli-

Mixing of cultures
Intercultural approach does not mean only pluralism of ethnic cultures, and fair participation in economic and political life (Gidens, 2003), but acknowledging multiple cultural identities where everybody belongs not just to one ethnic or religious culture, however important it might be, but also to many others, gender, regional, age, professional etc. In big cities, local traditions are being promoted together with many other cultural forms that come from abroad, which, as Gidens stresses, enables people to become familiar with bewildering and complex conglomerate of different ways of life, from which they can choose for themselves. However, it is obvious that defined identities and ways of life rooted in local communities and cultures yield before new forms of hybrid identities (Giddens, 2003). Adaptation and mixing of cultures, origination of transcultural forms and supporting intercultural communication creates a paradox identified by Baraldi. Sensitivity to cultural diversity on the one hand assumes the preservation of cultural differences, conservation of cultural traditions, while on the other there is a search for synthesis, innovation and cross cultural adaptation. Both openness to cultural change, which is promoted by the supporters of globalization, as well as closure to cultural contamina-

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2.2

tion that is supported by its opponents, at the same favour cultural diversity and undermine it. Starting from the observation that every communication is intercultural, because each individual is culturally different from any other, the interaction between them involves pronouncing individual differences as embodiment of cultural diversity. In that sense, Baraldi stresses
Cultural diversity is not the product of differences between stable groups or societies: it is the consequence of a continuous production of hybridization through intercultural communication. The high contingency of this variety also produces a search for cultural stability: sensitivity to all cultural forms in itself can lead to harmonious polyphony, as well as to fundamentalism. In order to promote the former and avoid the latter, some successful form of intercultural communication is necessary (Baraldi, 2006, 61).

foniji, ali i fundamentalizmu. U cilju ostvarivanja prvog, a izbegavanja drugog, potrebno je ustanoviti efikasne oblike interkulturne komunikacije. (Baraldi, 2006, 61)

Tragajui za novim oblicima interkulturne komunikacije Baraldi ukazuje na znaaj meovitog kodiranja (mixed coding), postupka prevoenja informacija u kategorije u neizvesnim, specifinim drutvenim situacijama gde se susreemo sa razliitim znaenjima. Zapravo, re je o postizanju kombinacije razliitih kulturnih formi, spajanje razliitih istorija i tradicija, ukljuivanje meavina i hibridizacija, pluralistiko i hijerarhijsko kodiranje, ime se objedinjuje funkcionalna diferencijacija i stratifikacija. Preduslov za uspenu interkulturnu komunikaciju je podravanje i potovanje kulturnih razlika, suoavanje sa kontradikcijama i konfliktima a ne njihovo zanemarivanje. (Baraldi, 2006) Interkulturna komunikacija podrazumeva dijalog i uenje. Dijalog omoguava usklaivanje i meukulturnu adaptaciju. Kao to Baraldi naglaava
Kroz interkulturno uenje uesnici mogu definisati znaenje informacija koristei nove kulturne forme. Interkulturno uenje je uenje od drugih kultura, ne o njima, poto doputa upotrebu drugaijih obrazaca, a ne samo saznanje o njima. Asimilaciju kulturnih obrazaca prati njihova primena i stvaranje novih znaenja: interkulturno uenje kroz upotrebu kulturnih formi postaje kreativno i inovativno ime se razlikuje od kulturne adaptacije. (Baraldi, 2006, 62)

Searching for new forms of intercultural communication, Baraldi points to the importance of mixed coding, a method that translates information into categories in uncertain, distinct social situations in which we are confronted with different meanings. Specifically, the point is to achieve a combination of different cultural forms, fusion of their history and tradition, inclusion of mixture and hybridization, pluralistic and hierarchical coding, that comprise functional differentiation and stratification. A prerequisite for successful intercultural communication is the support and respect for cultural differences; dealing with the contradictions and conflicts and not neglecting them (Baraldi, 2006, 60). Intercultural communication assumes dialogue and learning. Dialogue on its part enables harmonization and inter-cultural adaptation. As Baraldi points out
Through intercultural learning, participants can assign a meaning to information using new cultural forms. Intercultural learning is learning from other cultures, not about other cultures, as it permits the use of other forms, not simply the knowledge of them. Assimilation

Koncept interkulturne komunikacije podrazumeva uvaavanje pluraliteta kultura i podsticanje njihovog uea u aktivnostima zajednice. Istraivanja koja se bave imigrantima pokazuju da njihov uspeh u novim zajednicama ne zavisi toliko od mogunosti ouvanja izvornih kulturnih obiaja, ve od mogunosti njihove adaptacije u novo drutvo. Interkulturna komunikacija u okviru multikulturne zajednice prua mnogo ire mogunosti individuama i socijalnim grupama za uspostavljanje modernog (posttradicionalnog) identiteta, koji se oslobaa izolovanosti, zatvoreno37

of cultural forms is followed by their application and creation of new meanings: use of cultural forms differentiates intercultural learning from cultural adaptation as it is creative and innovative (Baraldi, 2006, 62).

Concept of intercultural communication fosters respect for plurality of cultures and encourages their participation in the life of the community. The research on immigrants show that their success in new communities depends not as much on possibility to preserve original cultural customs, as it does on the possibility of their adaptation into the new society. Intercultural communication in a multicultural community offers many opportunities to individuals and social groups to establish a modern (post-traditional) identity, free of isolation, restriction and uniformity (Golubovic, 1999). Many cities have developed special programs for stimulating employment of ethnic and other minorities created special spaces and facilities, such as cultural zones or incubation points, developed cultural tourism, etc. Creation of intercultural environment implies cultural policy which assumes reciprocity, fair and full exchange between all cultures in contact (Stojkovi, 2008, 141). In contrast to a static multiculturalism, intercultu-ralism brings dynamism through support to new life styles emerging from migrations and development. The intercultural approach not only supports different traditional cultures which inhabitants and business belong to, but tries to explore what new qualities are achieved in the interaction. In the context of increased mobility and global influences traditional cultures are being modified. Urban designers and spatial planners are faced with a major task of understanding new life styles arising from migrations and development and creative production of new patterns which could give people the sense of belonging to specific meaningful places. On the macro policy level it means finding such solutions in plan
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sti i uniformnosti. (Golubovi, 1999) Mnogi gradovi su razvili posebne programe za podsticanje zapoljavanja etnikih i drugih manjina, stvaranje posebnih prostora i objekata kao to su zone kulture ili inkubacione take, razvoj kulturnog turizma itd. Stvaranje interkulturnog okruenja podrazumeva kulturnu politiku koja pretpostavlja uzajamnost, ravnopravnu i punopravnu razmenu meu svim kulturama koje su u kontaktu. (Stojkovi, 2008, 141) Za razliku od multikulturalizma, koji je statian, interkulturalizam, kao dinamian ukljuuje podravanje novih ivotnih stilova koji su posledica migracija i razvoja. Interkulturni pristup ne podrazumeva samo podrku razliitim tradicionalnim kulturama kojima stanovnici i ekonomski akteri pripadaju, nego pokuaj da se istrai ta su novi kvaliteti koji se u interakciji ostvaruju. U kontekstu velike pokretljivosti i globalnih uticaja tradicionalne kulture su izloene procesu modifikacije. Glavni zadatak urbanih dizajnera i prostornih planera je razumevanje novih ivotnih stilova koji su proizvod migracija, i razvoj i kreativna proizvodnja novih obrazaca koji mogu pruiti ljudima oseaj pripadnosti mestima sa posebnim znaenjem. Sa nivoa makro politika to znai pronalaenje takvih reenja u proizvodnji planova i politika kao i dizajna, koja mogu otvoriti prostor za lokalne inicijative i kreativna reenja. Stav koji podrava razumevanje kulture i uvaavanju raznolikosti ne podrazumeva kompromise i manipulaciju, nametanje nove drutvene organizacije. Tu se radi pre svega o razvijanju interkulturnog senzibiliteta, spremnosti za izvlaenje novih znaenja u zajednikoj tradiciji kroz otvoreni dijalog i demokratsku razmenu koja ukljuuje i obogauje vrednosti i kulturu. (Bennet&Bennett, 2004)

and policy making and in design, that could create room for local initiatives and creative solutions. The attitude that supports understanding of culture and appreciation of diversity does not mean resorting to compromises and manipulation, enforcement of new social organization. Above all, it relies on cultivating intercultural sensitivity, the readiness to draw out new meanings from a common tradition through open dialogue and democratic interchange that includes and enriches values and culture (Bennet&Bennett, 2004).

Smernice za nove kulturne politike Nove agende i deklaracije

Problemi vezani za kulturu, kulturna prava, kulturnu odrivost, kulturne politike, itd., dobijaju centralno mesto u svetskim agendama i deklaracijama. Kao reakcija na snage globalizacije, liberalizacije trgovine i brze tehnoloke promene koje prete ouvanju i razvoju lokalne kulture, javne politike koje afirmiu kulturnu raznolikost se izdvajaju kao presudni faktor odrivog urbanog razvoja. Prema Optoj deklaraciji o kulturnoj raznolikosti koju je UNESCO usvojio 2001.godine promocija kulturnog pluralizma predstavlja jedan od sutinskih elemenata za transformaciju urbane i drutvene stvarnosti u cilju postizanja intelektualnije, emocionalnije, moralnije i duhovnije egzistencije. (UNESCO 2001, paragraf 3) UNESCO deklaracija izjednaava kulturu i ekoloku odrivost istiui kulturnu raznolikost kao izvor razmene, inovacija i kreativnosti za oveanstvo, slino znaaju koji ima biodiverzitet za prirodu. (UNESCO, 2001, paragraf 1) Mada se u konvenciji ne definiu precizno pojmovi, ona ipak predstavlja vrst oslonac za politike koje podravaju raznolikost kultura. U Agendi 21 za kulturu, kulturna raznolikost se smatra najvanijom tekovinom ljudske civilizacije. (UCLG, 2004, paragraf 1) Agenda zagovara utvrivanja osnova za preuzimanje obaveza u gradovima i lokalnim samoupravama u odnosu na kulturni razvoj i istie vanost kulturne raznolikosti koji se smatra najznaajnijim dostignuem ljudske civilizacije. (UCLG, 2004) Kao vodei dokument za kreiranje javne kulturne politike, Agenda 21 za kulturu nudi preporuke za kreiranje dugoronih vizija u kojima kultura predstavlja razvojni oslonac. Naglaava se uloga lokalne uprave kao nosioca kulturnog razvoja i daju preporuke za kreiranje politika koje podravaju raznolikost i kulturno izraavanje.
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Guidelines for new cultural policies New agendas and declarations

Issues connected with culture, cultural rights, cultural sustainability, cultural politics, etc. came to the forefront of global agendas and declarations. As a reaction to globalization forces, trade liberalization and rapid technological changes which threaten the preservation and development of local cultures, public policies that promote cultural diversity, are recognised as a crucial factor of sustainable urban development. According to the Universal Declaration on Cultural Diversity, adopted by UNESCO in 2001, promotion of cultural pluralism is one of the crucial elements for transformation of urban and social reality and a means to achieve a more satisfactory intellectual, emotional, moral and spiritual existence (UNESCO, 2001, para. 3). The UNESCO Declaration equalizes culture and environmental sustainability emphasizing cultural diversity as a source of exchange, innovation and creativity, as necessary for human kind as biodiversity is for nature (UNESCO, 2001, para. 1). Although its concepts could benefit from more clarity, the Declaration nevertheless provides a solid framework for policies that support cultural diversity. In Agenda 21 for Culture, cultural diversity is considered the most significant achievement of human

civilisation (UCLG, 2004, para. 1). The Agenda advocates establishing the groundwork of an undertaking by cities and local governments for cultural development and emphasizes the importance of cultural diversity that is considered the most significant achievement of human civilization (UCLG, 2004). As the leading document for creating public cultural policy, the Agenda offers recommendations for creating long-term development visions underpinned by culture. Local government is seen as agent of prime importance for cultural development and recommendations are laid for creation of policies that foster diversity and cultural expression. According to Agenda 21 recommendations, culture must take a central place in local policies. With a view to cherishing cultural diversity, local governments have to be strategically oriented to cultural development, primarily in the sense of: a) identification of cultural resources of the city, b) supporting cooperation within cultural sector, c) encouraging new partnerships and division of responsibilities between the cultural sector and other stakeholders. Agenda 21 identifies several clusters of local policies that support cultural diversity: - Cultural rights and intrinsic values of culture; - Cultural diversity and social inclusion; - Public spaces as areas of conviviality and interaction; - Culture, creative industries and economy; - Governance of culture at the local level (UCLG, 2004).

Prema preporukama Agende 21, kultura mora zauzeti centalno mesto u lokalnim politikama. U cilju razvoja kulturne raznolikosti lokalne uprave moraju biti strateki usmerene ka kulturnom razvoju pre svega u smislu: a) identifikacije kulturnih resursa grada, b) podrke saradnji unutar kulturnog sektora, c) podsticanje novih partnerstava i podele odgovornosti izmeu kulturnog sektora i drugih aktera. Agenda 21 prepoznaje nekoliko grupa lokalnih politika koje podravaju kulturnu raznolikost: - Kulturna prava i sutinske vrednosti kulture; - Kulturna raznolikost i ukljuivanje u drutvo; - Javni prostori kao podruja okupljanja i interakcije; - Kultura, kreativne industrije i privreda; - U pravljanje u oblasti kulture na lokalnom nivou. (UCLG, 2004)

Uloga lokalne uprave

U uslovima tekih urbanih problema i velike kompleksnosti drutva, velika odgovornost u upravljanju procesima lei na lokalnoj upravi. Iako naizgled ekonomija dominira, a uprave imaju ogranienu mo, dobri primeri prakse mnogobrojnih evropskih i svetskih gradova pokazuje suprotno. Kreativna ekonomija i veta uprava potpomognuta nekonvencionalnim i imaginativnim planiranjem i dizajnom nude brojne primere obnove gradova zasnovane na optimalnom odnosu izmeu globalnih ekonomskih procesa i specifinih lokalnih kultura. Globalizacija ne mora da znai homogenizaciju kulture i dominaciju jednog modela nad drugim. Moderni projekat drutvene zajednice podrava izgradnju optih, zajednikih vrednosti, ali i multikulturalizam, potovanje razliitosti. Izraena kulturna raznolikost je znaajan inilac savremenog drutva i predstavlja polazite za kreativnu strunu intervenciju koja e pronai naine da obezbedi lokalno specifine promene u urbanoj strukturi gradova.
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Role of local government

Amid grave urban problems and growing complexity of society, local government bears major responsibility in governing processes. Although economic constraints seem to dominate and confine the powers of local governments, best practices of numerous cities

in Europe and worldwide demonstrate quite the opposite. Creative economy and skilled administration, supported by unconventional and imaginative planning and design, offer numerous examples of city revival where the balance is struck between global economic processes and specific local cultures. Globalisation does not necessarily mean cultural homogenisation and domination of one model over another. The modern project of social community supports building of universal, common values, hand in hand with multiculturalism and respect for differences. A profound cultural diversity is an important part of contemporary society and a starting point for creative professional intervention exploring how local-specific changes can be reflected in urban structure of cities. Local governments have an important role in ensuring socio-cultural integration within multicultural population. Different policies at local level are concerned with interaction between people who speak different languages, have different religious beliefs, belong to different socio-economic groups and enjoy different life styles. As positive forces of social integration, local governments develop new forms of governance, improve development policies, render new policies and measures, adjust plans and design solutions. Their power relies on strong participation of local community in development processes - informed public expressing individual demands legitimates local government. Participation in decision making of individuals with different cultural background makes an important contribution to the advancement of civil society. It is believed that cultural diversity must be addressed at the same time at national and local levels, if one wants to lay out planning and design guidelines. Diversity implies organized efforts at the preservation of cultural differences, governmental efforts, perhaps government subsidies to various programs run by the advocates of diversity (Sowell, 1991, 37).
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Lokalne uprave imaju vanu ulogu u obezbeivanju sociokulturne integracije unutar multikulturne populacije. Razliite politike na lokalnom nivou se bave interakcijom ljudi koji govore razliitim jezicima, imaju drugaija religiozna ubeenja, pripadaju razliitim socioekonomskim grupama, i imaju razliite ivotne stilove. Kao pozitivne sile drutvene integracije, lokalne uprave razvijaju nove oblike upravljanja razvojem, unapreuju razvojne politike, donose nove oblike politka i mera, prilagoene planove i projektna reenja. Njihova mo poiva na jakom ueu lokalne zajednice u razvojnim procesima, koja kroz informisanost i mogunost iznoenja pojedinanih zahteva daje legitimitet lokalnoj upravi. Osim toga, participacija u odluivanju pojedinaca razliitog kulturnog porekla predstavlja vaan element razvoja graanskog drutva. Smatra se da kulturna raznolikost mora biti razmatrana paralelno na nacionalnom i lokalnom nivou, u cilju kreiranja uputstava za praksu planiranja i dizajna. Raznolikost podrazumeva organizovane napore na ouvanju kulturnih razlika, vladine napore, .vladine subvencije za razne programe pokrenuti od strane zagovornika razliitosti. (Sowell, 1991, 37) Nacionalnim politikama se preporuuje razvijanje itavog niza instrumenata i zakona kojima bi se kulturna raznolikost titila, promovisala i unapredila. Smatra se da kvalitet lokalnog razvoja zavisi od povezanosti kulturnih i drugih politika usmerenih na socijalno, ekonomsko, ekoloko i urbano planiranje kao i regulativu u oblasti oblikovanja. Posebno se istie vanost uoavanja urbanih sredina u kojima su uspostavljeni principi kulturne raznolikosti, naroito onih aspekata koji podstiu koegzistenciju, demokratiju i uee graana. Rastui znaaj kulturne raznolikosti u savremenom svetu ukazuje na potrebu za uspostavljanjem direktne veze izmeu kreiranja kulturnih i socijalnih politika. Naime, lokalne politike usmerene na kulturni razvoj se esto prepliu sa ljudskim pravima, odri-

Preferably, national policies should develop a whole series of instruments and laws protecting, promoting and upgrading cultural diversity. What is seen as crucial for quality local development is interconnection between cultural and other policies focused on social, economic, environmental and urban planning, as well as regulations in the field of design. Identifying urban environments with established principles of cultural diversity is especially important, particularly those aspects encouraging coexistence, democracy and participation of citizens. Growing significance of cultural diversity in contemporary world brings to the fore the need to establish direct link between cultural and social policy creation. Namely, local policies focused on cultural development are often intertwined with human rights, sustainable development, citizens participation in decision making according to democratic processes, and preservation of peace. Cultural rights issues are much broader than the subject of artistic expression and creativity. Cultural rights call for developed mechanisms that support social responsibility, participation of public, right to cultural expression, protection and education as basic underlying principles of local policy creation. Cultural relations, whether arising from integration or segregation, are manifested physically, i.e. spatially. Therefore, cultural relations are not just social but also a spatial phenomenon. In that sense, built environment reflective of intercultural dynamic requires a policy fostering intercultural dialog. It calls for development of institutions committed to monitoring of integration processes which strike a balance between integration and segregation, and set guidelines for building appropriate spatial structures. In order to support the goals of cultural diversity, local policies, translated into strategic plans and projects, should be created in a participatory process, involving interested stakeholders. Bottom-up initiatives based on civil, private and government
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vim razvojem, participativnim ueem graana u odluivanju shodno demokratskim procesima i ouvanjem mira. S druge strane, oblast kulturnih prava je mnogo ira od tema koje su usmerene na umetniko izraavanje i kreativnost. Kulturna prava zahtevaju razvijene mehanizme koji podravaju socijalnu odgovornost, uee javnosti, pravo na kulturno izraavanje, zatitu i edukaciju kao osnovne principe za kreiranje lokalnih politika. Kulturni odnosi, bilo da su rezultat procesa integracije ili segregacije, imaju svoj fiziki oblik, odnosno manifestuju se u prostoru. Dakle, kulturni odnosi ujedno predstavljaju i prostorni fenomen. U tom smislu, usmerenost na izgradnju prostora koji reflektuju interkulturnu dinamiku mora poivati na politici razvoja interkulturnog dijaloga. To podrazumeva razvoj institucija usmerenih na praenje integracionih procesa, stvaranje balansa izmeu integracije i segregacije i davanje smernica za izgradnju odgovarajuih prostornih struktura. Da bi podrale ciljeve kulturne raznolikosti, lokalne politike, iskazane kroz strateke planove i projekte, bi trebalo da budu kreirane u participativnom procesu uz uee zainteresovanih aktera. Smatra se da u izgradnji politika mnogo vei efekat proizvode inicijative koje kreu sa lokalnog nivoa, kroz saradnju civilnog, privatnog i vladinog sektora. Znaajno je da se ravnotea izmeu raznolikih javnih i privatnih interesa ostvaruje kroz otvaranje prostora za otvoreni dijalog izmeu razliitih kulturnih grupa, ekonomskog interesa i predstavnika vlasti. Na taj nain se stvara arena u kojoj se prekomernoj institucionalizaciji i dominaciji trita suprotstavljaju pojedinane i grupne lokalne inicijative kao nosioci kulturnih posebnosti. Osnovni principi upravljanja kulturnim razvojem ukljuuju transparentnost informacija, strateki pristup i uee javnosti u kreiranju koncepcija kulturnih politika, kao i uee u procesima odluivanja o programima i projektima.

sector partnership have proven much more effective in policy creation. Importantly, the balance between diverse public and private interest is achieved through creating space for open dialogue between different cultural groups, economic interests and representatives of authority. In this public arena excessive institutionalisation and market domination are countered by individual and group local initiatives as main proponents of cultural distinctiveness. Basic principles of cultural development management include information transparency, strategic approach and participation of public in design of cultural policies, as well as participation in decision-making on programs and projects.

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3.1

Ideological position of urban design

The changed context of urban design
Sustainable urban development Practical importance of cultural diversity for urban design and sustainable development is still insufficiently clear. So the question is where the debate on the culture could be placed in relation to the three pillars of sustainability: economic viability, social equity and environmental protection? Until recently, culture has been naturally associated with the social equity framework, but is gradually emerging from this realm and being recognized as having a special role in integrating all other aspects of life, i.e. as a special, important, fourth, pillar of sustainability (Hawkes, 2001). Regardless of whether the broad area of culture as a form of social order is recognized as a separate fourth pillar or integrated in all the others, it is important that, understood more broadly, as a way of life, values and interests, traditions and memories, it provides a new approach to the assessment of all other (economic, social, environmental) initiatives in cities and communities. Culture is past and future, something we inherit, change and pass on. The built environment has the important role, which confronts architects and planners with complex tasks of cultural competence (Academy for Sustainable Communities, 2006). Appreciating culture as the basis of sustainability implies identifying strategic requirements, laying out policies and action plans and verifying project proposals by means of special equality criteria: understanding of local needs, access to activities, improved cultural, recreational and educational facilities in the local area, more equal access to community public facilities, in short, creation of strong, diverse neighbourhoods.

Ideoloka pozicija urbanog dizajna

Promenjen kontekst urbanog dizajna
Odriv urbani razvoj Praktini znaaj kulturne raznolikosti za urbani dizajn i odriv razvoj je jo uvek nedovoljno jasno definisan. Postavlja se pitanje gde bi se mogla smestiti debata o kulturi u odnosu na tri osnovna stuba odrivosti: ekonomsku vitalnost, socijalnu jednakost i zatitu ivotne sredine? Do nedavno, oblast kulture je prirodno locirana u okvir socijalne jednakosti da bi se zatim razmiljanja kretala u pravcu definisanja njene posebne uloge u povezivanju svih ostalih aspekata ivota, odnosno izdvajanju kulture, kao posebnog, znaajnog, etvrtog stuba odrivosti. (Hawkes, 2001) Nezavisno od toga da li se iroka oblast kulture kao oblika drutvenog reda smeta u izdvojen etvrti stub ili je integrisana u sve ostale, znaajno je da, shvaena u irem smislu, kao nain ivota, vrednosti i interesi, tradicija i seanja, obezbeuje nov pristup proceni svih ostalih (ekonomskih, socijalnih, ekolokih) inicijativa u gradovima i zajednicama. Kultura predstavlja prolost i budunost, neto to nasleujemo, menjamo i prenosimo dalje. Veliku ulogu u tome ima izgraeno okruenje to pred arhitekte i urbaniste postavlja sloene zadatke kulturne kompetentnosti. (Academy for Sustainable Communities, 2006) Uvaavanje kulture kao osnove odrivosti podrazumeva definisanje stratekih zahteva, politika i akcionih planova i proveru predloga u projektima kroz posebne kriterijume jednakosti: razumevanje lokalnih potreba, pristup aktivnostima, poboljanje kulturnih, edukativnih i rekreativnih sadraja u lokalnom podruju, poboljanje ravnopravnosti u pristupu javnim sadrajima u lokalnoj zajednici, ukratko, kreiranje jakih, raznolikih susedstava.

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New forms of professional practice Processes in contemporary world include, among other, changes in culture, communication, human rights and life styles and create new challenges in managing urban development instruments. The starting assumption is that culture and economy are constantly changing, development of democracy and pluralism brings new problems and calls for new approaches. However, policies and professional inputs in the field of design do not seem to keep pace. Design of urban spaces and in particular public places has unique importance for the quality of life in cities. The complexity of problems and severity and durability of consequences of professional activities support the argument that urban designers have to step out from narrowly perceived discipline that lacks the defined view on the physical and social environment as well as interrelationship between them. On the one side, they need to be equipped with broader knowledge in the fields of political sciences, economics, culture, sociology, anthropology, psychology, etc. deepening our understanding of how the real world functions. On the other, it is important to determine the values structuring urban designers work based on the awareness of their professional role in creative realization of positive changes in a specific society. In his letter to W. Sounders, Unger calls for greater transformative ambition of professionals (the letter is based on conversations, prompted by the lecture, with Rem Koolhaas and Frank Gehry). He makes two important points that can serve as a sound starting point for a new approach to the process of designing urban space. The first is a request for more creativity in conceptualizing new ideas. As Unger stated:
We need a richer system of modular prototypes: ideas, designs, methods, materials, and building parts. Such prototypes enable us to explore spatial analogies and recombination, to re-imagine more, as benefits a practical artist and reformer, by seeing more. They also help

Novi oblici strunog rada Procesi u savremenom svetu ukljuuju izmeu ostalog promene u kulturi, komunikacijama, ljudskim pravima i stilovima ivota i stvaraju nove izazove u upravljanju instrumentima urbanog razvoja. Polazna pretpostavka je da se kultura i ekonomija konstantno menjaju, da razvoj demokratije i pluralizma donosi nove probleme i zahteva nove pristupe, a da politike i profesonalni doprinosi u oblasti dizajna ne napreduju istim tempom. Oblikovanje gradskih prostora, posebno javnih prostora ima veliki znaaj za nain ivota u gradovima. Kompleksnost problema i ozbiljnost i trajnost posledica profesionalnog rada upuuje na stav da urbani dizajneri nuno moraju izai iz okvira usko uspostavljene discipline u kojoj nedostaje definisani stav u odnosu na fiziko i drutveno okruenje kao i na njihovu povezanost. Sa jedne strane, potrebna su im znanja iz oblasti politike, ekonomije, kulture, sociologije, psihologije, antropologije itd. koja omoguavaju razumevanje funkcionisanja realnog sveta. Sa druge, neophodno je odreivanje vrednosti koje strukturiraju profesionalni rad zasnovane na svesti o ulozi koju imaju u kreativnom ostvarivanju pozitivnih promena u konkretnom drutvu. U svom pismu V.Saunders-u (W. Sounders) Anger apeluje na veu transformativnu ambiciju profesionalaca (pismo je zasnovano na razgovorima podstaknutim predavanjem sa Rem Kolhasom i Frenkom Gerijem). On istie dva znaajna stava koji mogu predstavljati polaznu osnovu u novom pristupu procesu oblikovanja gradskog prostora. Prvi izraava zahtev za veom kreativnou u konceptualizaciji novih ideja. Kao to Anger navodi:
Potreban nam je bogatiji sistem modularnih prototipova: ideja, projekata, metoda, materijala i segmenata izgradnje. Takvi prototipovi nam omoguavaju da istraimo prostorne analogije i njihove nove kombinacije, da vie matamo i vidimo vie, kao to to ine umetnici i reformatori. Oni bi nam takoe pomogli da

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draw the client group, into the work of co-creating, with the architect and urban planner, its own space (Unger, 1995, 6).

privuemo grupu klijenata da, u saradnji sa arhitektama i planerima, oblikuju sopstveni prostor. (Unger, 1995, 6)

The other statement points out the importance of adapting the professional tools and approaches to each new situation:
We also need ways of practicing business of architecture and city planning that give the architect and planner an intimate, sympathetic connection with the problems of particular groups: professional practice with an insiders rather than an arms-length connection to their actual or potential clients. No formula can govern the development of such connections; the strategies must be as diverse as the circumstances. We must nevertheless struggle to achieve these ties if we are to democratize, in the interests of truly social architecture, the traditional models of professional success: the famous artist-businessman selling an aura to the rich and powerful or the uncommitted team of specialists parachuting into an alien social world on which they will never again lay eyes (Unger, 1995, 3).

Drugi stav ukazuje na vanost prilagoavanja profesionalnih alata i pristupa svakoj novoj situaciji:
Takoe su nam potrebni naini vebanja u delatnosti arhitekture i urbanog planiranja koji omoguavaju arhitektama i planerima ostvarenje bliske veze i razumevanja problema odreenih grupa: struna praksa insajdera a ne distance u odnosu na stvarne ili potencijalne klijente. Nema formule koja moe upravljati razvojem takve veze; strategije moraju biti raznolike kao to su i okolnosti. Mi se ipak moramo boriti za uspostavljanje ovih veza, ukoliko elimo da se demokratizujemo, u interesu prave socijalne arhitekture, boriti se protiv tradicionalnih modela profesionalnog uspeha: uveni umetnikbiznismen prodaje svoju veliinu bogatima i monima, ili nezainteresovani tim specijalista pada s neba u nepoznato socijalno okruenje koje nee nikada vie videti. (Unger, 1995, 3)

Creativity is inherent to design and a prerequisite for innovations. However, creativity does not mean marvellous ideas with no connection to concrete problems. Creativity means relating concepts to a particular body of knowledge. The complex knowledge and insight into specific urban situations are as essential as new ideas for shaping new forms of professional practice. Culturally responsive urban design In search for new adapted urban design ideology four important issues come to the fore. Firstly, how globalization affects new forms of cultural diversity and intercultural cooperation, and how cities in global competition can benefit from it. New awareness and competence are required to understand different cultures in making that bring about innovations in life styles and influence different place-related urban identities. The second issue is the need for a dif47

Kreativnost je inherentna dizajnu i preduslov za inovacije. Meutim, kreativnost ne znai sjajne ideje ne povezane sa konkretnim problemima. Kreativnost znai povezivanje koncepata sa odreenim korpusom znanja. Kompleksno znanje i uvid u konkretne urbane situacije su isto tako znaajni kao i ideje za definisanje novih oblika profesionalnog rada. Kulturno odgovorni urbani dizajn U potrazi za novom, prilagoenom ideologijom urbanog dizajna nameu se etiri vane teme. Prva je kako globalizacija utie na nove oblike kulturne raznolikosti i interkulturne saradnje, i kako gradovi u globalnoj konkurenciji mogu imati koristi od toga. Potrebna je nova svest i strunost za razumevanje razliitih kultura u nastajanju koje uvode inovacije u ivotne stilove i utiu na razliite urbane identitete. Druga tema je potreba za drugaijom definicijom kulture. Pojam kultura moe se definisati u uskom elitistikom smislu kao umetnost i kulturna batina.

ferent definition of culture. The term culture can be defined in a narrow elitist sense as art and cultural heritage. The challenge is to understand culture in the broad meaning, encompassing aspects of different social groups cultural traditions as well as the emergence of new intercultural dynamics. Thirdly, it is important to find out how this cultural diversity can be explored as an asset to city development and shape a new meaning of urban design. Urban designers face the challenge on how to incorporate understanding of distinct cultural environments into an ideology which could lay the foundation for new professional techniques and methods. Finally, the fourth issue is linked to education. The change of ideological position is guided by professional education that should involve learning about the new socio-economic and cultural world and unleash creativity that could give best professional input to urban interventions. This argument is backed both by professional organizations and research findings in various space related disciplines. According to the Royal Town Planning Institute (RTPI) Policy Statement on Initial Planning Education spatial planners (and strategic designers) should
appreciate and respect diversity of cultures, views and ideologies, and understand how that respect can be applied in planning systems through the pursuit of equal opportunity, social inclusion and non-discrimination (on the grounds of wealth, gender, age, race, disability, religion and culture) (RTPI, 2004).

Izazov je razumeti kulturu u irem smislu, ukljuiti aspekte kulturnih tradicija razliitih drutvenih grupa kao i pojavu nove interkulturne dinamike. Tree, vrlo je vano saznati kako se ova kulturna raznolikost moe istraiti kao resurs u razvoju grada i uticati na novo znaenje urbanog dizajna. Urbani dizajneri se suoavaju sa izazovom kako da ukljue razumevanje razliitih kulturnih sredina u ideologiju koja bi mogla biti osnova za nove profesionalne tehnike i metode. Konano, etvrta tema je vezana za obrazovanje. Promena ideoloke pozicije je odreena profesionalnom edukacijom koja bi trebalo da ukljui saznanja o novom drutveno-ekonomskom i kulturnom svetu i oslobodi kreativnost sposobnu za davanje najboljeg strunog doprinosa urbanim intervencijama. Podrka za ova razmatranja dolazi od profesionalnih organizacija kao i od istraivanja u okviru razliitih disciplina koje se bave prostorom. Prema Naelima osnovnog obrazovanja urbanih planera Kraljevskog Instituta Urbanih Planera (Royal Town Planning Institute, RTPI), prostorni planeri (i strateki dizajneri) treba da
cene i potuju raznolikost kultura, pristupa i ideologija i razumeju kako se takvi stavovi mogu primeniti na na sistem planiranja kroz implementaciju jednakih mogunosti, socijalne ukljuenosti i nediskriminacije (na osnovu bogatstva, pola, dobi, rase, nesposobnosti, religije i kulture). (RTPI, 2004)

In an inspiring article in Town Planning Review Klaus Kunzmann also emphasizes the role of culture in the shaping of new ideology. He states that, In the beginning of the twenty-first century culture and creativity have become key concepts on the agenda of city managers, development agents and planners, who are desperately searching for new foundations in city development with dwindling city budgets (Kunzmann, 2004, 384). Although our understand48

U inspirativnom lanku u Town Planning Review (Pregled urbanog planiranja) Klaus Kanzman takoe istie ulogu kulture u oblikovanju nove ideologije. On navodi da: Na poetku dvadeset prvog veka kultura i kreativnost postaju kljuni koncepti koji su na dnevnom redu gradskih menadera, konsultanata za razvoj i planera, koji oajniki tragaju za novim osnovama razvoja grada u okviru smanjenog gradskog budeta. (Kunzmann, 2004, 384) Iako se nae razumevanje kulture razlikuje od Kanzmanovog pozicionirana oko umetnosti, filma i muzike, arhitekture i dizajna kultura koja je ukorenjena i oblikovana

3.2

ing of culture is different than Kunzmanns centred around arts, film and music, architecture and design a culture which is rooted in and shaped by the history and identity of places (Kunzmann, 385), we agree that urban design approach to development proposals for local communities should start with understanding of specific culture, deciphering its unique qualities and exploring creative options. The effort to propose creative and culturally responsive spatial arrangements is the never ending research of the relationship between culture, urban design and creativity. New professional paradigm does not start from reducing complex reality to simple parameters. It rather includes into analysis different values, meanings and symbols of an urban space conditioned by culture, as seen by different actors in the process, residents and users, not only professionals. Local specific stratification and interconnection of cultures present the starting point for development of bottom-up approach, based on reinforcing development processes and potentials. Main goal of urban designers is to offer the frame for adequate spatial arrangements and physical form for a specific community, to identify distinct features of the place, based on research and assessment of life styles and values developed in intercultural exchange. It implies combining of planning approach, analytic and abstract, and design approach, imaginative and form oriented. This new professional paradigm supports contemporary approach to cultural identity that sociologist Zukin recognized as change in understanding of its character: from local to global pictures, from public to private institutions, from ethnically and racially homogenous to diverse communities (Zukin, 1995, 24). Faced with the acknowledgment of diversity, difference, and cultural fragmentation, urban designers need to modify the assumptions, methods, and procedures that have sustained modernist planning in order to better understand and plan for communi50

kroz istoriju i identitet mesta (Kunzmann, 385), slaemo se da urbani dizajn koji daje predloge za razvoj lokalne zajednice mora poeti od razumevanja specifine kulture, spoznaje njenih jedinstvenih kvaliteta i istraivanja kreativnih mogunosti. Napor u predlaganju kreativnih i kulturno odgovornih prostornih aranmana predstavlja neprekidno istraivanje odnosa izmeu kulture, urbanog dizajna i kreativnosti. Nova profesionalna ideologija ne polazi od redukovanja sloene stvarnosti na jednostavne parametre. Ona podrazumeva da se u analizu ukljuuju razliite vrednosti, znaenja i simboli prostora uslovljeni kulturom, ali definisani onako kako ih vide stanovnici i korisnici, ne samo profesionalci. Lokalna karakteristina slojevitost i povezanost kultura predstavljaju polaznu taku za izgradnju pristupa odozdo-na-gore baziranog na osnaivanju razvojnih procesa i potencijala. Glavni cilj urbanih dizajnera je da ponude okvir za adekvatne prostorne aranmane i fiziku formu za konkretnu zajednicu, da definiu posebne karakteristike mesta, zasnivajui ih na istraivanju i proceni ivotnih stilova i vrednosti razvijenih u interkulturnoj razmeni. To podrazumeva kombinovanje planerskog, analitinog i apstraktnog i projektantskog, imaginativnog i na formu orjentisanog pristupa. Ovom novom strunom paradigmom podrava se savremeni pristup kulturnom identitetu koji sociolog Zukin prepoznaje kroz izmenu u shvatanju njegovog karaktera: od lokalnih ka globalnim predstavama, od javnih ka privatnim institucijama, od etniki i rasno homogenih ka raznovrsnim zajednicama.(Zukin, 1995, 24) Suoeni sa prihvatanjem raznolikosti, razliitosti i kulturne raslojenosti, urbani dizajneri, pri intervenciji u urbanoj strukturi modifikuju pretpostavke, metode i procedure koje su u prolosti bile glavno uporite modernog planiranja, sa ciljem da bolje razumeju i planiraju za konkretne zajednice dvadeset prvog veka. (Burayidi, 2000) Transformacija znanja i vetina takoe ukljuuje razvoj vrednosti, ideoloke i filozofske pozicije. (Salama, 1999)

ties of the twenty-first century (Burayidi, 2000). The transformation of knowledge and skills involves also development of values, ideologies and philosophical position (Salama, 1999).

Strateki urbani dizajn

Profesionalno bavljenje proizvodnjom prostora je suoeno sa kontinualnim traganjem, uenjem novih naina razumevanja rastuih izazova i kreiranjem metoda i tehnika koje su u stanju da generiu odriva reenja za prostore angaovanjem unutar specifinih drutvenih, ekonomskih i institucionalnih okolnosti. Potrebna je nova perspektiva, zasnovana na analizi i dubokom razumevanju specifinog identiteta mesta, koja promovie komunikaciju i dijalog meu identitetima i kulturama. Strateki urbani dizajn naglaava kreativnu ulogu dizajna, kombinujui ga sa drutveno svesnijim i politiki odgovornijim pristupom u cilju razvoja efikasnijih tehnika za suoavanje sa tekim urbanim problemima. Na mnogo razliitih naina on deluje u samom centru esto sukobljenih snaga koje deluju unutar urbane zajednice to zahteva promenu stava prema profesiji planera i dizajnera u susret izazovima urbanih i regionalnih transformacija koje su u toku. U razvoju novih integracija izmeu planiranja i dizajna postoji potreba, kako Harvi (Harvey) istie, za razmatranjem razliitih pozicija koje poinju od lokalno specifinih projekata i njihove integracije u ire strategije. Harvi poziva u potragu za novom ideologijom koja bi mogla biti osnova za razvoj profesionalnih tehnika i metoda koje bi trebalo da budu izvan stroge podele izmeu planiranja i dizajna i koje bi stavile naglasak na dugoroni idealizam pristupa zasnovanog na vrednostima. (Harvey, 1990) Novo profesionalno podruje, razvijeno iz ovakvog pristupa, bi moglo biti definisano kao strateki urbani dizajn. Ovaj sveobuhvatni, vrednosno utemeljen, procesno i proizvodno orijentisan dizajn bi mogao da bude bolje opremljen za kreativno prevoenje javnih politika koje se odnose na kulturne karakteristike i utiu na kvalitet izgraene forme i karakteristian identitet mesta. Strateki urbani dizajn kao integralni pristup ima zadatak da istrai veze izmeu pristupa racional51

Strategic urban design

Professional involvement in place making is confronted with continual searching, learning new ways of understanding the emerging challenges and creating methods and techniques capable of generating sustainable solutions to the place making endeavours within specific social, economic and institutional circumstances. A new perspective is needed, based on analysis and deeper understanding of place-specific identity, promoting communication and dialogue among identities and cultures. Strategic urban design enhances creative role of design, combining it with more socially conscious and politically responsive approach with a view to developing effective techniques for addressing difficult urban issues. In many different ways, it operates at the very centre of the often-conflicting forces within urban society. This calls for a changed attitude toward planning and design professions to cope with challenges of ongoing urban and regional transformations. In developing new integration between planning and design there is a need, as Harvey points out, to consider different positions, starting with local specific projects and integrating them into broader strategies. Harvey urges for the search for a new ideology which could be the basis for development of professional techniques and methods bypassing strict separation between planning and design and stressing long term idealism of value based approach (Harvey, 1990). A new professional area emerging from this approach could be defined as strategic urban design. This comprehensive, valuebased, process and product oriented design would be better equipped for creative translation of public

policy inputs relating to cultural characteristics and affecting the quality of built form and the distinctive place identity. The strategic urban design as integrated approach aims to find coherence between rational comprehensive planning view of different subject areas necessary to uncover relationships that are insufficiently recognized (Alonso, 1971) and project oriented urban design that emphasizes the importance of microscale features in an individuals and group use and experience of neighbourhood environment. In order to better explore the possibilities of local development and to communicate results to local population and different economic interests the ways are sought to integrate tenets of urban design with strategic goal-oriented urban planning. Urban planning has had a strong design base since its beginning, but it drifted away from this base when social sciences entered the profession in l960s. Design inheritance can strengthen the independent thinking of planners and enable them to find out new solutions. Design approach to urban interventions can bring into the process a well-developed understanding of urban places and the interdependent fabric of buildings, landscapes, and public spaces, as well as the social interactions that shape them. Change of view about spatial interventions emerged from the awareness of limitations of the linear hierarchical process which starts with master planning as a long term, top-down managerial intervention, and design as implementation of plans positioned at the end of the process, focused on visual aspects of built environment. Considering a new form of urban design, we are investigating its broad meaning as Kevin Lynch addresses it: I think of what I call city design as skills in creating proposals for the form and management of the extended spatial and temporal environment, judging it particularly for its effects in the everyday lives of its inhabitants, and seeking to enhance their daily experience and their development as persons (Lynch, 1979, 61).
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nog sveobuhvatnog planiranja razliitim oblastima neophodnim za otkrivanje nedovoljno prepoznatih meuodnosa (Alonso, 1971) i projektno orijentisanog urbanog dizajna koji naglaava vanost karakteristika na mikro nivou i iskustava u odnosu na neposredno okruenje, individualnih i grupnih. Kako bi bolje istraili mogunosti lokalnog razvoja i razmenili rezultate sa lokalnim stanovnitvom i razliitim ekonomskim interesima trae se naini za integraciju naela urbanog dizajna i strateki ciljno orijentisanog urbanog planiranja. Urbano planiranje je od samog poetka imalo jaku osnovu u dizajnu, ali ju je napustilo kada su 60-tih godina dvadesetog veka drutvene nauke ule u profesiju. Dizajnersko naslee moe ojaati nezavisno razmiljanje planera i omoguiti im otkrivanje novih reenja. Dizajnerski pristup urbanim intervencijama moe uneti u proces dobro razvijeno razumevanje konkretnih urbanih mesta i sa njima povezanih struktura objekata, krajolika, javnih prostora, kao i socijalnih interakcija koje ih oblikuju. Promena gledita u odnosu na prostorne intervencije se zasniva na prihvatanju ogranienja linearnog hijerarhijskog procesa koji poinje sa generalnim planiranjem, kao dugoronim intervencijama kojima se upravlja odozgo na dole, i dizajnom kao implementacijom planova, pozicioniranog na kraju procesa i usmerenog na vizuelne aspekte izgraenog okruenja. S obzirom na novi oblik urbanog dizajna, istraujemo njegovo ire znaenje koje mu daje Kevin Lin (Kevin Lynch): Mislim da je ono to ja nazivam dizajn grada vetina izrade predloga za formu i upravljanje proirenim prostornim i vremenskim okruenjem, koje se posebno procenjuje na osnovu efekata koje ima na svakodnevni ivot graana, nastojei pri tome na unapreenju njihovog svakodnevnog iskustva i razvoja kao linosti.(Lynch, 1979, 61) Znanje koje urbani dizajneri upotrebljavaju nije neutralno. Ono se ne moe svesti na primenu odreenih prostornih obrazaca koji su prihvatljivi samo zato

The knowledge that urban designers use is not value free. It cannot be reduced to application of certain spatial patterns just because they are tailored to consumer tastes, just like any other goods, or because they are highly priced within profession. Lang emphasized the importance of clarifying the role of values in shaping urban design quoting R. Mongomery: Urban designers must turn their attention to ways in which values are constructed and the specific role of the designers themselves in this social process (Lang, 1994, 427). Urban design that starts from respect for cultural diversity as a social value includes learning, from complex understanding of problem (manner in which culture shapes peoples lives and people shape culture) to developing a multicultural outlook and incorporating it into the process and product of professional activity. Design generally means problem solving that includes representing different interests, projecting, inventing new solutions, deciding, prescribing, and communicating courses of action in order to achieve intended outcomes. Speaking of culturally responsive design there are few important questions that demand an answer. How to include different cultures into consideration and what are the effective ways of resolving conflicts that follow from it? How to tailor both the process and product of urban design? How to divide focus between the problem and solution? How to build the strategy of knowledge and structure it in a way that facilitates search for solutions? What needs to be understood, learned and clarified? How to communicate and present the acquired knowledge about problems in order to achieve effective dialogue with stakeholders in the process? What form of process outcomes would support optimal project implementation? In order to find acceptable answers, it is evident that critical assessment of all phases in the design
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to su oblikovani prema ukusu potroaa, kao svaka druga roba, ili zato to su visoko cenjeni u okviru profesije. Leng (Lang) naglaava vanost razjanjenja uloge vrednosti u odreivanju urbanog dizajna citirajui R. Mongomerija (R. Mongomery): Urbani dizajneri moraju obratiti panju na nain kreiranja vrednosti i na posebnu ulogu koju oni sami imaju u drutvenom procesu. (Lang 1994, 427) Urbani dizajn, ije je polazite uvaavanje kulturne raznolikosti kao drutvene vrednosti, ukljuuje uenje, od razumevanja problema (naina na koji kultura oblikuje ljudske ivote i kako ljudi oblikuju kulturu) do razvijanja multikulturnog stava i njegovog ugraivanja u proces i proizvod profesionalne aktivnosti. Dizajn generalno podrazumeva reavanje problema to ukljuuje zastupanje razliitih interesa, predvianje, pronalaenje novih reenja, odluivanje, propisivanje i komuniciranje predloga akcija u cilju ostvarenja eljenih rezultata. Ukoliko govorimo o kulturno odgovornom dizajnu otvara se nekoliko vanih pitanja koja trae odgovor. Kako ukljuiti razliite kulture u razmatranje i kakvi su mogui oblici razreavanja konflikta koji iz toga proizilaze? Kako prilagoavati i proces i proizvod urbanog dizajna? U kojoj meri se fokusirati na problem a u kojoj na reenje? Kako izgraditi strategiju saznanja i strukturirati ga i uiniti upotrebljivim za osmiljavanje reenja? ta je sve potrebno razumeti, saznati, razjasniti? Kako komunicirati, saoptavati steena saznanja o problemu u cilju ostvarenja efektivnog dijaloga sa akterima ukljuenim u proces? Koja je forma rezultata procesa koja e podrati ostvarenje projekta na najprikladniji nain? Da bi se dolo do prihvatljivih odgovora evidentno je da je potrebno kritiki preispitivati sve faze u procesu dizajna, od analize problema, do predloga i procene reenja. Takoe, ini se da je vano i promeniti naglasak od iskljuivog usmerenja na reenje ka ravnopravnom bavljenju problemom. Na taj nain

process is needed, from problem analysis, to solution proposals and evaluation. Shift in focus from solution oriented to problem oriented approach is of great importance. In that manner urban design becomes a tool for analysis as well as an instrument for action, spatial intervention strategy. That is especially important in the approaches that are based on cultural equality, where it is essential to explore not just alternative solutions, but the problem itself which needs to be constantly restructured in order to be understood.

urbani dizajn postaje u isto vreme i sredstvo analize i instrument akcije, strategije prostorne intervencije. To je od posebnog znaaja u projektima koji su zasnovani na principima ravnopravnosti kultura, gde je neophodno istraivati ne samo u pravcu alternativnih reenja ve i fokusiranjem na sam problem, koji je potrebno stalno restrukturirati da bi se razumeo.

Strategija i oblikovanje
Kompleksni zahvati u kulturno osetljivoj urbanoj intervenciji zahtevaju razvijanje isto tako kompleksne metodologije. Potrebno je u isto vreme graditi viziju budunosti koja usmerava akcije kao i neophodne procedure i upravljake instrumente da bi se ona ostvarila. U okviru stratekog urbanog dizajna mogue je preispitati normativne politike i ciljeve, koji se odnose na pr. kulturnu raznolikost, i povezati ih sa mnogim drugim, odrivim razvojem, identitetom, smanjenjem siromatva itd., na razliitim nivoima odluivanja i u razliitim sektorima, razmotriti uticaje na ira podruja i meusobno povezati generalne politike u razliitim oblastima sa interesima razliitih aktera u konkretnom prostoru. Uvid u projekte zasnovane na principima Agende 21 (usvojenoj na konferenciji UN o ivotnoj sredini i razvoju 1992, Rio de eneiro) pokazuje kontinualno traganje za inovativnim sredstvima kojima bi se na odriv nain usmeravao razvoj gradova. U prilogu Projekat za projekte objavljenom u publikaciji Urbani trijalozi, de Melder, Leks, i enon (Meulder de, Loeckx & Shannon) iznose predlog inovativnog oblika koji povezuje izazovne vizije i strateke urbane projekte. Inspirisani iskustvom u radu na stratekom urbanom planiranju i urbanim projektima oni predlau metod koji povezuje dve vrste pristupa. Sa jedne strane on ukljuuje formulaciju vizije kao atraktivnog, fleksibilnog, dugoronog okvira koji definie ciljeve i vrednosti (u ovom sluaju na nivou grada kao celine). Sa druge, apstraktna vizija se razrauje kroz strateke akcije i projekte koji proveravaju i konkretizuju njene delove. (Meulder de, Loeckx and Shannon, 2004)
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Strategy and design

Complex urban interventions in culturally sensitive projects call for development of equally complex methodologies. It is necessary to build at the same time a guiding vision of the future, as well as essential procedures and operational tools for achieving that vision. Within strategic urban design normative policy objectives and goals, such as cultural diversity, can be examined and integrated with many others, such as sustainable development, identity of place, poverty reduction, etc. on different decisionmaking levels and across a variety of sectors. It also enables the assessment of impacts across wider areas and matching of general policies from a range of sectors with different stakeholder interests in the specific area. The insight into projects inspired by Agenda 21 principles (endorsed at the United Nations Conference on Environment and Development 1992 in Rio de Janeiro) testifies about an ongoing search for innovative tools guiding sustainable development of cities. In the contribution A Project of Projects, published in the book Urban Trialogues, de Meulder, Loeckx and Shannon reveal their innovative proposal matching appealing visions and strategic urban projects. Inspired by the experience in strategic urban planning and urban projects, they propose a method combining these two approaches. On the one side it includes vision formulation as an appealing, flexible,

long-term framework that defines goals and values (in this case on the level of a city as a whole). On the other, abstract vision is elaborated through strategic actions and projects that test and realize parts of the vision (Meulder de, Loeckx &Shannon, 2004). If strategic urban design concerned only the key, large projects in the city, and relied on a previously defined overall vision, its place would remain tightly defined in a linear, hierarchical order. It seems, however, that it should be given a much more active role in exploring the possibilities for more adequate change management in the city. In a model where principle of diversity is embraced and applied to urban situations, as well as visions, a comprehensive city-wide vision serves only as a rough framework (consisting of nonnegotiable, consensually agreed-upon principles) for creation of a host of local specific visions capable of integrating various local actors and groups on the level of each specific urban project. The idea of concrete and ongoing review of development options is thus supported, effective participation of local stakeholders achieved and, also, the idea of city composed of multitude of different parts materialized. Finally, if we accept the assumption that the vision could crystalize through design research and development of alternative solutions, than it is worth experimenting with harmonization of vision and design process within strategic urban projects. For its 43rd congress held in Antwerp in 2007 the International Society of City and Regional Planners (ISOCARP) has chosen the theme strategic urban projects in a complex, multicultural and diverse context both in developed and developing countries. The congress focus was on exploring cases and theories about trialogue between visioning as a way to frame concrete actions, urban projects as a way of sustainable and qualitative actions in achieving urban change and co-production that involves all actors in policy making and implementation. Integration of private sector methods of strategic
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Ukoliko bi se strateki urbani dizajn odnosio samo na kljune, velike projekte u gradu i oslanjao na prethodno definisanu sveukupnu viziju, njegovo mesto bi ostalo vrsto definisano u linearnom, hijerahiskom poretku. ini se ipak da je potrebno omoguiti mu aktivniju ulogu u istraivanju mogunosti adekvatnijeg sistema upravljanja promenama u gradu. Ukoliko se prihvati princip raznolikosti, u smislu urbanih situacija, ali i vizija, onda bi se mogao razmatrati model u kome generalna, sveukobuhvatna vizija na nivou grada ima samo znaaj okvira (koje sadri zajedniki dogovorene principe o kojima se ne pregovara) za kreaciju mnogih drugih vizija, lokalno specifinih, koje bi mogle integrisati razliite lokalne aktere i grupe na nivou svakog pojedinog urbanog projekta. Time bi se podrala ideja konkretnog i kontinualnog preispitivanja mogunosti razvoja, obezbedilo efektivno uee lokalnih aktera, i ostvarila ideja grada sastavljenog od mnotva raznolikih delova. Na kraju, ukoliko prihvatimo pretpostavku da jasnoa vizije moe biti ostvarena putem istraivanja kroz dizajn i razvijanja alternativnih reenja, onda vredi eksperimentisati sa usklaivanjem i vizije i procesa dizajna u okviru stratekih urbanih projekata. Za svoj 43 kongres odranom u Antverpenu 2007 godine Internacionalno udruenje urbanih i regionalnih planera (ISOCARP) je za temu izabralo strateke urbane projekte u kompleksnom, multikulturnom i raznolikom kontekstu u razvijenim zemljama i zemljama u razvoju. Fokus kongresa je bio na istraivanju sluajeva i teorija koji se odnose na trijalog izmeu vizija kao sredstva usmeravanja konkretnih akcija, urbanih projekata kao naina odrivog i kvalitetnog delovanja na promenu stanja i saradnje koja obuhvata sve uesnike u formulisanju politika i njihovoj realizaciji. Integrisanje metoda stratekog upravljanja u privatnom sektoru u sferu javnog odluivanja uvodi formulisanje vizije kao okvir za razvijanje konkretnih intervencija u gradu. Proces formulisanja vizije razvoja postaje sredstvo za odreivanje pravaca ur-

management in public decision making introduces visioning as a framework for development of specific urban interventions. The process of vision formulation becomes the tools for setting the directions of urban development, the framework in which the quality of concrete projects can be evaluated as well as the forum for stakeholder communication. Visioning has become a common planning technique for community goal setting. Visions speak of alternative futures of a community. Development of visions involves collaboration among citizens in different local areas, government and business leaders. Grant emphasizes multiple functions of the visioning process
Communities articulate visions that reflect their aspirations for better future. These visions then offer directions for plans, policies, and projects... Process of creating and disputing visions of the future in one community may start discussion about how future visions may affect the nature and outcomes of democratic practices in planning. While the participatory process offers a way to change conceptions of community futures in decisions on specific projects, community visioning exercises may provide a route by which professional values set the planning agenda. Moreover, some visions of the future may influence the rhetoric of local democratic decision making and affect the distribution of powers (Grant, 2007, 39).

banog razvoja, okvir u kome se preispituje kvalitet konkretnih projekata kao i prostor za komunikaciju meu akterima. Vizije su postale uobiajena tehnika planiranja za postavljanje drutvenih ciljeva. One govore o moguim budunostima zajednice. Razvijanje vizija podrazumeva saradnju izmeu graana u razliitim lokalnim podrujima, uprave i poslovnih lidera. Grent (Grant) naglaava viestruku funkciju procesa formulisanja vizije:
Zajednice stvaraju vizije koje odraavaju njihove tenje ka boljoj budunosti. Ove vizije zatim nude smernice za planove, politike i projekte... Proces stvaranja i osporavanja vizija budunosti u jednoj zajednici moe da podstakne diskusiju o njihovom uticaju na prirodu i rezultate demokratske prakse u planiranju. Dok participativni proces nudi nain za promenu zamisli budunosti kroz odluke o pojedinim projektima, proces izgradnje vizija moe da odredi put kojim e profesionalne vrednosti odrediti sadraj planiranja. Osim toga, pojedine vizije budunosti mogu da utiu na retoriku lokalnog demokratskog odluivanja i na preraspodelu moi. (Grant, 2007,39)

Visions of local development are often associated with important issues, such as improvement of living standards, better environmental conditions, safety in a city, etc. However, citizens in the local community are also interested in traditional values, such as preserving the distinct features of their environment, legibility and meanings, retaining of spatial order, as well as enabling social contacts, and diverse street life. Participation of different cultural groups in contextual visioning, vision of local development, sets a framework for professional design of specific inter56

Vizije lokalnog razvoja su esto povezane sa velikim temama, kao to su unapreenje standarda ivota, bolji ekoloki uslovi, bezbednost u gradu itd. Meutim, graani u lokalnoj zajednici su takoe zainteresovani i za tradicionalne vrednosti kao to su ouvanje karakteristika svog okruenja, itljivosti i znaenja, zadravanje prostornog reda kao i omoguavanje drutvenih kontakata i raznolikog ivota na ulicama. Ueem razliitih kulturnih grupa u definisanju kontekstualne vizije, vizije lokalnog razvoja, stvara se okvir za struno oblikovanje konkretnih zahvata, projekata i regulative, mera za podrku projektima koji e omoguiti razvoj specifinog identiteta. Strateki urbani dizajn pokuava da integrie planiranje, upravljanje i dizajn i prevazie bolno odva-

ventions, projects and regulations, measures that support projects building distinctive identity. Strategic urban design is about integrating planning, management and design that could overcome painful divorce (Kunzmann, 2004) between architecture and planning. It means focusing on relationships between people, behaviour, buildings, place and city. Transformation of design oriented approach and interconnection with more abstract planning methods enables translation of public policies and goals that can only be possible through changed and better informed design.

janje (Kanzman, 2004) izmeu arhitekture i planiranja. To podrazumeva fokusiranje na veze izmeu ljudi, ponaanja, objekata, mesta i grada. Transformacija pristupa orijentisanog na oblikovanje i povezivanje sa apstraktnijim metodama planiranja omoguava prevoenje javnih politika i ciljeva, koje se jedino mogu ostvariti kroz izmenjen pristup dizajnu zasnovan na boljem informisanju.

Dizajn kroz istraivanje

Nova ideologija je ukorenjena u kulturnoj dimenziji urbanog okruenja i zahteva za razvijanjem adekvatnih sredstava za razjanjavanje, definiciju, konkretizaciju i simboliko predstavljanje razliitih oblika naina ivota. Pravei razliku izmeu percepcije prostora strunjaka i prostornih iskustava i predstava prostora sa simbolikim znaenjima kod obinih ljudi (Lefevr, 1991) ova ideologija usmerava na nove oblike uenja koji polaze od izgradnje sposobnosti razumevanja onoga to ini urbana mesta posebnim i znaajnim za ljude koji ih koriste. Dok se istraivanja u okviru drutvenih nauka, sociologije, psihologije i posebno antropologije itd. bave kompleksnim temama ivota kulturnih grupa u gradu, aktuelna praksa urbanog dizajna je i dalje esto uproena i standardizovana. Usmerena na eliminisanje sloenih, viestrukih, kompleksnih situacija i naracija ona ih u praksi rutinski svodi na uobiajene probleme koje profesionalci umeju da ree. Cilj je, pre svega, ovladavanje urbanim prostorom i stvaranje mogunosti za akciju, odnosno, novu izgradnju. Profesionalni rad kontrolie (ukljuuje) mali broj aspekata koji ulaze u analitiko razmatranje. Izdvajaju se samo neki parametri koji se kontroliu i za koje se smatra da odraavaju karakter mesta. (Beauregard, 2005) U najboljem sluaju urbana intervencija poiva samo na redukovanoj tipologiji kulturnih manifestacija u funkciji ekonomskog razvoja (najee fizikih elemenata - na primer, banalno prenoenje elemenata fasada u uslove za izgradnju novih objekata). Pri
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Design by research
The new ideology is rooted in the cultural dimension of urban environment and calls for development of proper tools for clarification, definition, concretization and symbolic interpretation of different life styles. Drawing a distinction between the experts perception of space, and ordinary peoples spatial experience and representation of space with symbolic meanings (Lefevbre, 1991), this ideology aims towards new ways of learning, starting with building understanding of what makes urban places specific and meaningful for the people that use them. While social science research in sociology, psychology, and especially anthropology, etc. deal with complex issues of cultural groups life in the city, current urban design practice is still often simplified and standardised. Focused on elimination of layered, multiple, complex situations and narrations, it reduces them to common, recognizable problems that professionals are able to handle. Above all, the goal is to manage urban space and to create possibilities for action, i.e. new construction. Professional work controls (includes) a small number of aspects that are examined in analysis. Only few parameters are singled out and controlled and it is assumed that they reflect the character of the place (Beauregard, 2005). At best, urban intervention relies only on reduced

typology of cultural manifestations in the function of economic development (mostly physical elements, for example, banal translation of elements of facades into conditions for constructing new buildings). In the process, quality of culture, cultural diversity and social dynamic are completely neglected. Professional urban design practice, especially in large cities with dynamic urban development, needs to continually reexamine its position and understanding of new phenomena and create adequate methodologies. On the one hand this means seeking new systemic solutions and modifying legal framework, and on the other, challenging the character and form of professional work. Strategic urban design approach combines process and product management and is more integrative, focused on comprehending both the distinct environment, stakeholder interaction and values embedded in the space and issues surrounding policy formulation and project programming. There are at least two problems in defining dynamic interculturalism as a new value framework for strategic urban design. Firstly, in the light of globalization as a way of cultural homogenization, urban design is expected to provide an adequate response contributing to preservation of unique cultural identities. However, the most common answer is protection of local cultures that are regarded as a static phenomenon, and placing their protection into domain of public interest, expecting support from ever decreasing public means (from the budget). For example, there are proposals seeking to preserve, above all, ethnic cultural diversity. They provide territories for particular ethnic-cultural groups, where certain historic urban forms are maintained. Many examples of this approach can be found in modern multicultural cities. If we observe culture as a dynamic process of constant changes and building of new forms and linkages in time and space, this ghettoisation and frozen development do
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tome se u potpunosti zanemaruje kvalitet kulture, kulturna raznolikost i socijalna dinamika. Praksa urbanog dizajna naroito u velikim gradovima sa dinaminim razvojem, suoena je sa neophodnou kontinualnog preispitivanja svoje pozicije, razumevanja novih pojava i kreiranja adekvatnih metodologija. To znai, sa jedne strane razmiljanje o novim sistemskim reenjima, modifikovanju zakonskog i normativnog okvira, a sa druge, preispitivanje karaktera i oblika strunog rada. Strateki urbani dizajn kombinuje upravljanje procesom i proizvodom, u veoj meri je integrativan, fokusiran na razumevanje kako posebnog okruenja i interakcije aktera i vrednosti povezanih sa prostorom, tako i problema u domenu definisanja politika i programa. Uoavamo najmanje dva problema u usvajanju dinaminog interkulturalizma kao novog vrednosnog okvira za strateki urbani dizajn. Prvo, u svetlu globalizacije kao kulturne homogenizacije, od urbanog dizajna se oekuje da da adekvatne odgovore koji e ii u prilog ouvanju posebnih kulturnih identiteta. Meutim, odgovor koji se najee dobija je zatita lokalnih kultura koje se posmatraju kao statian fenomen, i smetanje njihove zatite u domen javnog interesa za koji se oekuje da bude podrana sve manjim javnim sredstvima (iz budeta). Tako se, na primer, proizvode predlozi koji imaju za cilj ouvanje pre svega etnikih kulturnih raznolikosti. One obezbeuju teritorije za odreene etniko-kulturne grupe u kojima se zadravaju odgovarajue istorijske urbane forme. Mnogi primeri ovog pristupa se mogu nai u modernim multikulturnim gradovima. Ako posmatramo kulturu kao dinamian proces stalnih promena i izgradnje novih oblika i veza u vremenu i prostoru, ova getoizacija i zaustavljanje razvoja stvaraju istorijske eksponate, gradove muzeje koji, osim izuzetno, ne predstavljaju reenje kojim moemo biti zadovoljni. Razliite kulture ne mogu da ive i razvijaju se u uslovima izolacije i vetake zatite. Kulture su u stalnoj interakciji, uti-

nothing else but create historic exhibits, cities-museums that, other than exceptionally, do not present a satisfactory solution. Different cultures can not live and evolve in conditions of isolation and artificial protection. Cultures are constantly interacting, influencing each other, mixing and evolving. Secondly, as urban designers traditionally do not have background in cultural and behavioural studies, in search for theoretical basis they non-selectively turn to findings of traditional disciplines that are involved in research of different aspects of culture. In doing so they are confronted with two major challenges. Firstly, conservative cultural geography, ethno-geography, sociology and anthropology are focused on culture, multiculturality and intercultural relations as static, historic categories. Studied from anthropologist standpoint, the stability of cultural system is stressed, which is in contrast with cultural dynamics to be found in contemporary urban life. And secondly, even where theoretical approach embraces the complexity and reveals the character of cultural dynamics and interaction between innovation and tradition in the society and its surrounding (like in some sociological and psychological research, see: Kim, Y.Y., 1979, 1994) it still needs, as Foley captured it, translation from non-spatial approach containing values, symbols, meanings, to concrete spatial arrangements that are important for professional work (Foley, 1964).

u jedna na drugu, meaju se i razvijaju. Drugo, kako urbani dizajneri obino nemaju iskustva sa kulturolokim studijama i studijama ponaanja, oni se u traganju za teorijskom osnovom neselektivno okreu nalazima tradicionalnih disciplina ukljuenih u istraivanje razliitih aspekata kulture. Tu se suoavaju sa dva krupna problema. Kao prvo, tradicionalna kulturna geografija, etno-geografija, sociologija i antropologija su uglavnom usmereni na kulturu, fenomen multikulturalnosti i interkulturalne odnose kao statine, istorijske kategorije. Posmatrano sa antropolokog stanovita, naglaava se postojanost kulturnog sistema. To je u suprotnosti sa dinamikom kulture koja se prepoznaje u urbanom ivotu danas. Kao drugo, ukoliko se prepozna teoretski pristup koji obuhvata kompleksnost i otkriva karakter kulturne dinamike i interakciju izmeu inovacija i tradicije u odnosu drutva i njegovog okruenja (kao u nekim sociolokim i psiholokim istraivanjima, vidi: Kim, Y.Y. 1979, 1994) i dalje je potrebno, kako to Foli belei, prevodjenje sa neprostornog pristupa koji obuhvata vrednosti, simbole, znaenja, na konkretno ureenje prostora koje ini osnovu profesionalnog rada. (Foley, 1964)

Strategija razvoja lokalne raznolikosti

U transformaciji urbanog okruenja u pluralistikom demokratskom drutvu naglasak je na pristupu koji polazi od lokalnog. Ma koliko on bio jo uvek nesavren, razvijanje njegovih mogunosti je izazov za planere, arhitekte i dizajnere irom sveta. To je arena za eksperimentisanje sa razliitim pristupima koji imaju za cilj razjanjenje uloga aktera u ostvarivanju dogovora. Razliiti interesi zahtevaju razliite ishode i alternativne opcije. Zato je potrebna nova vrsta ponude, predlozi moguih struktura i konkretnih oblika regulacije izgradnje o kojima se dogovor postie kroz dijalog. Podravajui urbanu intervenciju koja odgovara na kulturnu raznolikost, Baraidi (Burayidi) definie pla59

Local diversity development strategy

In the transformation of urban environment within pluralistic democratic society the emphasis is on the approach that starts from the local. However imperfect, the possibilities of bottom up approach are the challenge for planners, architects and designers worldwide. It is an arena for experimenting with different approaches aimed at clarifying stakeholder roles and reaching an agreement. Different interests demand different outcomes and alternative options.

3.3

Therefore, a new type of offer is needed, proposals on possible structures and specific forms of construction regulations negotiated through dialogue. Arguing for urban intervention that is responsive to cultural diversity Burayidi defines planning (which can also apply to strategic design) as a multicultural canon sensitive toward class, race, sex and culture, and proposes appreciative model, based on flexibility, rather than rigid, rational and routine planning approach. The ambition is to create contexts where professionals and different stakeholder groups can continuously learn and experiment, think systematically, engage in meaningful dialogues, and create visions that encourage actions and inclusion into the process of transformation of urban environment (Burayidi, 2000). Reading manifestations of culture as a specific system of customs, beliefs, behavioural patterns, activities, and similar, is the best way for understanding distinctive identity of local groups and presents the starting point for developing new creative ideas, goals and models of organization of space. Integral approach to local communities strategy development starts with understanding specific cultural structures, through deciphering their unique qualities and exploring creative possibilities for influencing their development. Development of adequate patterns of spatial arrangements presents interaction between intercultural dynamic and professional approach. Urban designers learn about urban communities and their specific needs and goals, conjointly they examine cultural patterns and their spatial manifestations, and design new forms of plans and projects that are verified through communicative practice. Strategic urban design method represents a form of feasible, practical response, synthesis between new, detailed comprehensive planning analysis which embraces design insights, creative contextual visioning and design approach in concrete actions and projects. It includes critical assessment of dif61

niranje (a to se odnosi i na strateki dizajn) kao multikulturalni kanon koji prepoznaje klasu, rasu, pol i kulturu, i predlae model zasnovan na razumevanju, model koji ukljuuje fleksibilnost umesto krutog, racionalnog i rutinskog pristupa. Ambicija je da se stvori kontekst u kojem profesionalci i razliite grupe aktera mogu u kontinuitetu da ue i eksperimentiu, sistematski razmiljaju, ulaze u znaajne dijaloge i stvaraju vizije koje podstiu na akciju i ukljuivanje u proces transformacije urbanog okruenja. (Burayidi, 2000) itanje manifestacija kulture kao specifinog sistema obiaja, verovanja, obrazaca ponaanja, aktivnosti, itd, je najbolji nain za razumevanja posebnog identiteta lokalnih grupa i predstavlja polaznu taku za razvijanje kreativnih novih ideja, ciljeva i modela organizacije prostora. Integralni pristup razvijanju strategija lokalnih zajednica poinje razumevanjem specifinih kulturnih sklopova, tumaenjem njihovih jedinstvenih kvaliteta i istraivanjem kreativnih mogunosti uticaja na njihov razvoj. Razvijanje adekvatnih obrazaca ureenja prostora predstavlja interakciju izmeu interkulturne dinamike i profesionalnog pristupa. Urbani dizajneri upoznaju urbane zajednice koje imaju specifine potrebe i ciljeve, zajedno sa njima preispituju kulturne obrasce i njihove prostorne manifestacije i koncipiraju nove oblike planova i projekata koje proveravaju kroz komunikativnu praksu. Metod stratekog urbanog dizajna predstavlja varijantu realnog, praktinog odgovora, sintezu izmeu nove, detaljne i sloene planerske analize koja ukljuuje i oblikovne uvide, razvijanje kreativne kontekstualne vizije i dizajnerskog pristupa u formulisanju konkretnih akcija i projekata. On ukljuuje kritiku procenu razliitih politika, na primer, politika povezanih sa kulturnom raznolikou, razvijanje mera i indikatora kao i uspostavljanje veza sa lokalnim urbanim planiranjem i razvojem. Usmeravanje na lokalnu kulturnu raznolikost, ne podrazumeva samo pasivno posmatranje i prepoznavanje vrednosti, obiaja, ivotnih stilova odreenih kulturnih grupa ve i aktivan dijalog i pomo zajednicama u prepoznavanju potre-

ferent policies, for example policies which concern cultural diversity, development of measures and indicators, and liaising with local urban planning and development. In dealing with local cultural diversity, the method does not assume only passive observation and recognition of values, practices, lifestyles of diverse cultural groups, but also active dialogue and assisting local communities in identifying needs, problems, deficiencies, prejudices and suggesting changes and modifications. By linking culture and other aspects of economic and social life, strategic urban design, although focused on limited territories, can be instrumental in creating development opportunities for the whole of urban community.

ba, problema, nedostataka, predrasuda i predlaganje promena i modifikacija. Povezivanjem kulture sa drugim aspektima ekonomskog i drutvenog ivota, strateki urbani dizajn iako usmeren na ograniene teritorije, moe postati sredstvo unapreenja razvoja celokupne urbane zajednice.

Kreiranje prepoznatljivih urbanih prostora

Kako profesionalno delovanje urbanih dizajnera ima veoma vanu ulogu u oblikovanju naselja, potrebno je razmotriti sam proces rada koji e, kroz jaanje lokalnog identiteta, poveavati vrednost urbanog podruja i na taj nain doprineti njegovom ekonomskom razvoju. Ovaj pristup istrauje mogunosti uticaja profesije na formiranje prepoznatljivih javnih urbanih prostora kroz razradu razliitih mehanizama kontrole i podsticanja razvoja. Umesto rutinske birokratske procedure profesionalnog rada otvara se prostor za nove ideje i matovita, inovativna reenja, ne samo u prostornim obrascima i objektima, kao proizvodima, ve i u samoj organizaciji strunog delovanja. U procesu rada na konkretnim projektima traga se za nainima zamene hijerarhijske strukture zakonski definisanih dokumenata, strategija, planova i projekata, odozgo na dole u pravcu veih sloboda delovanja na lokalnom nivou. Izbegavanje unifikacije koju donosi globalizacija ne znai i pasivno posmatranje vrednosti, obiaja, ivotnih stilova odreenih kulturnih grupa ve i aktivni dijalog i pomo zajednicama u prepoznavanju potreba, problema, nedostataka, predrasuda. Ne vetako odravanje svih istorijskih kulturnih posebnosti koje pripadaju drugim vremenima i drugim odnosima, ve kritiko procenjivanje kvaliteta koji oni imaju za savremene procese razvoja gradova. Uloga urbanih dizajnera je njihovo definisanje i pronalaenje instrumenata za njihovu promociju. Razvijanjem adekvatnih naina analize i instrumenata urbane intervencije, stvaraju se uslovi za bolje
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Creation of recognizable urban spaces

Given that professional actions of urban designers play very important role in shaping of human settlements, it is necessary to take into consideration the process of work that will, through strengthening of local identity, enhance the value of urban area and in that way contribute to its economic development. This approach explores the possibilities of professions influence on creation of recognizable urban public places through elaboration of different control mechanisms and development incentives. Instead of routine bureaucratic procedure of professional work, room is created for new ideas and imaginative, innovative solutions, not only product-wise, in spatial patterns and buildings, but also in organization of professional work itself. In the process of working on concrete projects, one searches for ways to replace top-down hierarchic structure of legally mandated documents, strategies, plans and projects and to enhance freedom of action at the local level. Avoiding unification associated with globalization does not mean passive observation of values, customs, lifestyles of certain cultural groups, but an active dialogue and support to communities in recognizing needs, problems, shortcomings and

3.4

prejudices. Rather than artificial preservation of all historic cultural particularities that belong to previous periods and past relations, this entails critical assessment of qualities they bring to contemporary processes of city development. The role of urban designers is to identify them and find tools for their promotion. Through developing adequate forms of analysis and urban intervention tools, conditions are created for better interdisciplinary understanding of cultural dynamics and for developing appropriate urban structure proposals for the changing communities. Connecting urban design and strategic planning in an integral approach, means on the one hand, planning enriched with concrete images and projects through which planners suggestions on purpose of land are verified. On the other, social and economic dimension that is frequently missing is added to design. Urban areas are thus equipped to enter a global competition that demands good design solutions, and social, economic and environmental sustainability that is of crucial importance for urban life. Based on the integral approach, strategic design develops ideas in the field of functional organization of an area, incorporates its social and economic development within a wider community, and creates room for verifying solutions through different forms of measures and policies on the level of specific projects. It is associated with contemporary concept of participatory decision making, which means establishing dialogue between all relevant stakeholders, local government, investors, habitants, with a view to creating development policies aimed at preservation of cultural diversity (New Charter of Athens, 2003). However, while cultural policies are mainly sectororiented, strategic urban design has territorial approach. The point is to identify local manifestations of culture in the broadest sense as a way of life, such
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interdisciplinarno razumevanje kulturne dinamike kao i razvijanje odgovarajuih predloga urbane strukture za zajednice koje se menjaju. Povezivanje urbanog dizajna i stratekog planiranja u integralnom pristupu podrazumeva, sa jedne strane, obogaivanje planiranja konkretnim predstavama i projektima kroz koje se proveravaju planerski predlozi o nameni zemljita. Sa druge strane projektovanju se dodaje socijalna i ekonomska dimenzija koja mu esto nedostaje. To omoguava ukljuivanje urbanih podruja u globalnu utakmicu koja zahteva dobra projektantska reenja, i socijalnu, ekonomsku i ekoloku odrivost, koja je od sutinskog znaaja za urbani ivot. Integralnim pristupom strateki dizajn razvija ideje u oblasti funkcionalne organizacije podruja, inkorporira njegov socijalni i ekonomski razvoj u okvir ire zajednice i otvara prostor za proveru adekvatnosti reenja kroz razliite oblike mera i politika na nivou konkretnih projekata. On se povezuje sa savremenim konceptom participacije u odluivanju koji podrazumeva uspostavljanje dijaloga izmeu svih relevantnih aktera, lokalne uprave, investitora, stanovnika sa ciljem kreiranja razvojnih politika usmerenih na ouvanje kulturne raznolikosti. (New Charter of Athens, 2003) Meutim, za razliku od kulturnih politika koje su uglavnom sektorski orjentisane, strateki urbani dizajn ima teritorijalno usmerenje. Sutina je u identifikovanju lokalnih manifestacija kulture u najirem smislu kao naina ivota, kao tradicija, dijalekata, festivala i rituala; razliitosti i kvaliteta dokolice: kulture jela i pia i prostora zabave: kulture mladih, etnikih manjina i interesnih grupa, i repertoar domaih proizvoda i zanatskih vetina, proizvodnih i uslunih delatnosti.(Ghilardi, 2000, 6) Povezujui na strateki nain razliite aspekte kulture sa ekonomskim i drutvenim razvojem, mogue je uspostaviti opti okvir koji moe voditi ka razliitim dizajnerskim predlozima i time usmeravati razvoj oblasti na kulturno osetljiv nain.

as traditions, dialects, festivals and rituals; the diversity and quality of leisure; cultural, drinking and eating and entertainment facilities; the cultures of youth, ethnic minorities and communities of interest; and the repertoire of local products and skills in the crafts, manufacturing and service sectors (Ghilardi, 2000, 6). By strategic linking of different aspects of culture with economic and social development, a general framework can be established that would inform different design proposals, thus steering area development in culturally responsive way. Strategic urban design which is based on appreciation of cultural diversity includes specific requirements: mastering concepts in the field of human environment interaction, understanding of varieties that specific cultures manifest in relation to environment, accepting the need to formulate vision which provides work guidance and progress assessment criteria, being able to communicate in different cultural situations, as well as being aware of the need for continual review of underlying values of professional proposals and anticipating their impact on different cultural groups.

Strateki urbani dizajn koji je zasnovan na uvaavanju kulturne raznolikosti podrazumeva odreene zahteve: ovladavanje konceptima u oblasti odnosa ljudi i okruenja, razumevanje brojnih, razlika, varijacija koji pojedine kulture imaju u odnosu na okruenje, prihvatanje neophodnosti formulisanja vizije koja usmerava rad i odreuje kriterijume za procenu napretka, sposobnost komuniciranja u razliitim kulturnim situacijama kao i potrebu stalnog preispitivanja vrednosti na kojima profesionalni predlozi poivaju i sagledavanja posledica koje e oni imati na razliite kulturne grupe.

Razvijanje jezika komunikacije

Interes za kulturu i posebno raznolikost kulturnih fenomena se razvija paralelno sa znaajnim mogunostima za nove interdisciplinarne uvide i pristupe razumevanju kulturne dinamike kao i promocije prilagoenijih fizikih reenja za zajednice koje se menjaju. U modernim demokratijama se oekuje snaan doprinos lokalnih zajednica i razliitih aktera to podrazumeva ostvarivanje efikasne komunikacije. Kako se ceo proces odluivanja deava u saradnji sa brojnim akterima, prilagoavanje jezika komunikacije utie i na promene u profesionalnom metodu rada u pravcu produkovanja konkretnih, svima razumljivih predstava i omoguavanja njihove kontinualne modifikacije i unapreenja. Mogunosti koje nude nove informacione tehnologije i interaktivni dijalog preko interneta, od sutinskog su znaaja za savremenu praksu. (Al-Kodmany, 2002, Kaliski, 2006) Razvijanje vizuelnih metoda i alata u profesionalnom delovanju je preduslov za uspenost komunikativnog procesa stratekog urbanog dizajna u koji profesionalci unoce svoju ekspertizu, ali zapravo zajednica odluuje kakvi e biti krajnji rezultati. Vizuelne predstave omoguavaju trenutni pristup informacijama i prevazilaze rasne, socijalne i jezike barijere. (Feldman et al. 1989, cit. u Al-Kodmany, 2002) Svi ljudi, profesionalci i laici vrlo lako
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Developing language of communication

Interest in culture and, specifically, diverse cultural phenomena runs in parallel with significant opportunities for new perspectives and approaches for better cross-disciplinary understanding of cultural dynamics, and promotion of more suitable physical solutions for changing communities. In modern democracies strong inputs from local communities and different stakeholders is expected, which means that effective communication has to be achieved. Given that the whole decision making process takes place in cooperation with numerous stakeholders, adjustments to the language of communication also lead to changes in professional work methods in terms of producing concrete, widely understandable representations and enabling their continual modi-

fication and upgrading. Possibilities offered by new information technologies and interactive dialogue over the Internet are of key importance for contemporary practice (Al-Kodmany, 2002, Kaliski, 2006). Development of visual methods and tools in professional work is a prerequisite for successful communication process in strategic urban design where professionals contribute by their expertise, but in fact, the community decides on the final results. Visual representations enable instant access to information and overcome race, social and language barriers (Feldman et al., 1989, qtd. in Al-Kodmany, 2002). All people, professionals and laymen easily understand the language of images. Computer simulations, 3D modelling, virtual reality, all show how abstract goals, policies, regulations are realized through spaces, facilities and details. Since these techniques recreate real life experiences, the community understands offered urban scenes and buildings without any technical background necessary for reading plans and projects. Good simulations are mostly interactive, and instead of passive observation they encourage active participation. New interactive multimedia that include video maps, text, graphic, statistical data, integrate spatial, economic and a host of other information in digital form. These techniques help the community to visualize a possible image of their area, to create alternative solutions and choose a desirable one, or discard unwanted qualities. Connecting individual and group evaluations of area characteristics into the synthesis of qualities accepted by the majority signals to investors what the community does or does not accept. Through consensus building participants choose changes that suit them best and create common priorities. Process of cooperation, supported by visualization that can verify translation of values (non spatial categories) into the project of physical structure (spatial category) serves as a tool for understanding and
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razumeju jezik slika. Kompjuterske simulacije, 3-D modelovanje, virtuelna realnost, pokazuju kako se apstraktni ciljevi, politike, regulativa realizuju kroz prostore, objekte, detalje. Kako ove tehnike podravaju iskustva iz realnog ivota, zajednica razume ponuene urbane scene i objekte, bez ikakvog tehnikog predznanja koje je potrebno za itanje planova i projekata. Dobre simulacije su u velikoj meri interaktivne te umesto pasivnog posmatranja podstiu na aktivno uee. Novi interaktivni multimediji koji ukljuuju video mape, tekstove, grafiku, statistike podatke povezuju prostorne, ekonomske i druge brojne informacije u digitalnoj formi. Ove tehnike pomau zajednici da vizuelizuje kako bi njihovo podruje moglo da izgleda, da kreiraju alternativna reenja i da odaberu poeljne, a odbace nepoeljne kvalitete. Povezivanje individualnih i grupnih ocena karakteristika podruja u sintezu kvaliteta koji su prihvaeni od veine pokazuje investitorima ta zajednica prihvata, a ta ne. Kroz izgradnju koncenzusa uesnici biraju promene koje im odgovaraju i formiraju zajednike prioritete. Proces saradnje, potpomognut vizuelizacijom kroz koju se moe proveriti prevoenje vrednosti (neprostorne kategorije) u projekat fizike strukture (prostorna kategorija), slui kao instrument za razumevanje i uenje o faktorima relevantnim za konkretnu zajednicu. Ove inovacije u dizajnu menjaju metod profesionalnog rada. Ne nudi se jedan predlog koji odgovara profesionalim vrednostima, ve brojna alternativna reenja, lepeza moguih ureenja prostora prikazanih kroz razumljive predstave koje se modifikuju kroz dijalog razliitih uesnika. U procesu rada i profesionalci i razliite grupe aktera se uzajamno informiu o znaajnim aspektima stratekog projekta, unapreuju svoje saznanje i donose odluke. Kompjutersko modelovanje, omoguava identifikovanje postojeih problema i brzu procenu moguih reenja uz ukljuivanje zajednice. Istraivanja pokazuju da se ne moe upotrebiti jedan metod za istraivanje problema, njegovo reavanje i definisanje

learning about factors relevant for a specific community. These innovations in the design process change the method of professional work. Instead of a single proposal matching professional values, numerous alternative solutions are offered, a wide range of possible spatial arrangements presented in the form of understandable representations modified through dialogue between different participants. During the work process, professionals and different stakeholder groups mutually inform each other on the relevant aspects of the strategic project, upgrade their knowledge and make decisions. Computer modelling enables identification of existing problems and quick assessment of possible solutions with community involvement. Researches show that one method is insufficient in problem research and solving and project development. Different methods are appropriate for different phases of strategic urban design process. Al Kodmany points out that a careful professional analysis and assessment of combination of new and traditional visualisation tools is a necessary support to complex decision making process (Al-Kodmany, 2002). New role identifies urban designer as an initiator of a dialogue and central person who, using understandable language, animates the arena where communication takes place. He/she is expected to be inventive and contribute by informal inputs to decision making process that will enable agreement between different stakeholders about the future they wish for themselves, as well as to identify tools that will steer development in the chosen direction.

projekata. Razliiti metodi su primereni razliitim fazama procesa stratekog urbanog dizajna. El Kodmani skree panju da je potrebna paljiva struna analiza i procena kombinacije novih i tradicionalnih alata vizuelizacije kao podrka kompleksnom procesu odluivanja. (Al-Kodmany, 2002) Nova uloga identifikuje urbanog dizajnera kao pokretaa dijaloga i centralnu linost koja razumljivim jezikom animira arenu u kojoj se dogaa komunikacija. Od njega se oekuje inventivnost i ubacivanje neformalnih inputa u proces odluivanja, koji e omoguiti dogovor sa razliitim akterima o poeljnoj budunosti a zatim pronalaenje instrumenata koji e upravljati razvojem u tom pravcu.

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4.1

Urban spatial and cultural processes

Understanding culture and cultural diversity in urban design
The concept of strategic urban design with its shift towards social accountability starts with understanding of spatial manifestations of different cultures, identifying the gap between the current and the desirable condition, and developing principles and physical patterns that will conform to cultural innovations and contribute to intercultural cooperation. The goal is to investigate possibilities for widening of narrow approaches in spatial analysis in urban design focusing on specific local activity bundles, a mixture of lifestyles of diverse cultural identities in the urban area. The emphasis is on detailed familiarization with a location, place where different groups, cultures communicate and create a specific identity of intercultural dynamics. The initial assumption in this approach is that experts, urban designers will be much more considerate in their decisions if they are directly confronted with real people and their environment, instead of confining themselves to observing urban phenomena through spatial and physical features and using standard procedures. Specific local relations between different groups of people are the starting point in the exploration of development potentials in a democratic society which acknowledges global processes but starts from local situations. This innovative approach in urban design involves research and understanding of the world of concrete, localized person-environment relations and intercultural transformations in order to create effective design solutions. The basic task includes review and defining of an integral approach, research and creative, that will lead to spatial propositions beyond simple determining of land use and design of specific physical objects. It assumes focusing on the problem of social space
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Urbani prostorni i kulturni procesi

Razumevanje kulture i kulturne raznolikosti u urbanom dizajnu
Koncept stratekog urbanog dizajna, pomeranjem ka drutvenoj odgovornosti, polazi od otkrivanja i razumevanja prostorne manifestacije razliitih kultura, utvrivanja jaza izmeu postojeeg i poeljnog i razvijanja principa i fizikih obrazaca koji e pratiti kulturne inovacije i doprinositi interkulturnoj saradnji. Cilj je istraivanje mogunosti proirivanja uskih pristupa u prostornoj analizi u urbanom dizajnu usmeravanjem panje na karakteristine spojeve lokalnih aktivnosti, meavine ivotnih stilova razliitih kulturnih identiteta u urbanom podruju. Naglasak je na detaljnom upoznavanju lokacije, mesta, u kome komuniciraju razliite grupe, kulture stvarajui karakteristian identitet interkulturne dinamike. Pretpostavka od koje se u ovom pristupu polazi je da e strunjaci, urbani dizajneri, biti daleko paljiviji u svojim odlukama ukoliko budu direktno suoeni sa realnim ljudima i njihovim okruenjem nego kada se ograniavaju na posmatranje urbanih fenomena kroz prostorne i fizike karakteristike i upotrebu standardnih procedura. Karakteristini lokalni odnosi izmeu razliitih grupa ljudi predstavljaju polaznu taku u istraivanju potencijala za razvoj u demokratskom drutvu koji uvaava globalne procese ali polazi od lokalnih situacija. Inovativni pristup u urbanom dizajnu podrazumeva prouavanje i razumevanje sveta konkretnih odnosa ljudi i okruenja, kao i lokalizovanih interkulturnih transformacija sa ciljem osmiljavanja efektivnih predloga oblikovanja. Osnovni cilj je preispitivanje i definisanje integralnog pristupa, istraivakog i kreativnog, koji e dovesti do prostornih predloga i ii iznad jednostavnog odreivanja upotrebe povrina i konkretnog projektovanja fizikih objekata. To podrazumeva fokusira-

definition and, translating the appreciation of different cultural and socio-economic features of an area into complex strategic projects. At the same time, it is important to learn how to recognize forces that shape development patterns, and their connection with capital flows, population growth and migration, information networking, multicultural character and internationalisation of cities in the globalizing world. Strategic urban project is, above all, an opportunity for exploring unresearched possibilities of culture as the key issue in urban design, as the foundation of new ideology based on pluralism and democracy. The basis for this approach is an adequate urban analysis that can provide insight into the social and historical context and varied personal experience and meaning, examining how urban spaces meet the needs and values of different, both majority and minority cultural groups. Another important project goal is to offer an attractive urban image, an image that includes people, not just empty physical frame, built on possibilities of enhancing the intercultural dimension of a local community. Through institutionalization, development of relevant regulations it can become an instrument for confronting global unification processes. Such an approach develops creativity in combining different ways of interpretation of use and meaning of urban spaces, and enables imagining new identity of the place in which all relevant actors participate, including those without means and power.

nje na problem definisanja socijalnog prostora i pitanje kako prevesti razumevanje razliitih kulturnih i socio-ekonomskih karakteristika podruja u kompleksne strateke projekte. Takoe je bitno upoznati naine kako prepoznati snage koje oblikuju obrasce razvoja, njihove veze sa kretanjem kapitala, rastom i migracijama stanovnitva, informacionom povezanou, multikulturnim karakterom i internacionalizacijom gradova u svetu koji se globalizuje. Strateki urbani projekat je, pre svega, prilika za istraivanje neistraenih mogunosti kulture kao kljune teme u urbanom dizajnu, kao osnove nove ideologije zasnovane na pluralizmu i demokratiji. Polazite za ovako definisani pristup je adekvatna urbana analiza koja moe obezbediti uvid u drutveni, istorijski kontekst i raznolika lina iskustva i znaenja, ispitati na koji nain urbani prostori odgovaraju potrebama i vrednostima razliitih kulturnih grupa, kako veinskih tako i manjinskih. Jedan od vanih ciljeva u projektu je da ponudi atraktivnu urbanu sliku, sliku koja ukljuuje ljude, a ne samo prazan fiziki okvir, zasnovanu na prepoznavanju interkulturne dimenzije lokalne zajednice. Kroz institucionalizaciju, razvijanje adekvatne regulative, ona moe postati instrument suprotstavljanja globalnim procesima ujednaavanja. Ovakav pristup razvija kreativnost u kombinovanju razliitih naina interpretacije upotrebe i znaenja urbanih prostora i omoguava imaginiranje novog identiteta mesta u koji su ukljueni svi relevantni akteri, pa i oni koji nemaju sredstva i mo.

Cultural diversity mapping

People in communities and different urban areas develop distinct cultural features, which embrace traditional features of cultural patterns, but also, to some point, reflect integration and interchange in producing new quality. These place specific mixtures of cultures, worldviews, patterns and lifestyles can be experienced as a challenge, chance for selfrealization and enrichment of society and lead to a
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Mapiranje kulturne raznolikosti

Ljudi u zajednicama i razliitim urbanim podrujima razvijaju specifine kulturne karakteristike koje obuhvataju tradicionalne karakteristike kulturnih obrazaca, ali u odredjenoj meri odraavaju integraciju i razmenu u stvaranju novog kvaliteta. Ove meavine kultura, pogleda na svet, obrazaca i ivotnih stilova karakteristinih za konkretno mesto se mogu

fruitful dialogue on future development options. Intercultural dynamics, seen as exchange, is based on creation of new dynamic syntheses and presents a key factor in construction of a new identity. Therefore, when shaping urban space in professional practice, urban designers are not concerned just with physical, geographic space, but also with social space. In post-modern paradigm, interaction between space and social processes is recognized it is accepted that city cannot be treated solely as a large-scale architecture. Urban processes, that we attempt to find an adequate urban form for, present dynamic, constantly changing image of a form in action (Webber, 1964). Each urban project, an intervention in a local community, is approached as a special case, and has to start with modification of research method as well as intervention method. The research comprises familiarizing with and creative interpretation of policies related to cultural diversity, but also discovering and mapping different cultural identities, including hybridized and multiple identities, images, values, unique local quality of life, memories and narratives as an important dimension of cultural interlacing of contemporary life. At the same time it means including methods such as reading the city as a complex text, with multiple, layered narratives, graphical analysis of cities and discovering the syntax and vocabulary of the urban text, morphological syntheses, classification of urban tissue and discovering new urban patterns. (Loeckx & Shannon, 2004,164) Inclusion of culture in the spatial analysis involves complex understanding of territorialisation. This means replacing the traditional spatial basis as the only matrix to locate the cultural differences, with a number of matrices, spatial and social levels, which will enable identification of changes that belonging to different cultural groups produces in space (Gupta & Ferguson, 1992).
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doiveti kao izazov, prilika za samorealizaciju i obogaenje drutva i mogu voditi ka korisnim dijalozima o mogunostima budueg razvoja. Interkulturalna dinamika, posmatrana kao razmena, se zasniva na kreiranju novih dinamikih sinteza, i predstavlja znaajan inilac u proizvodnji novog identiteta. Prema tome, oblikujui urbani prostor u profesionalnom delovanju, urbani dizajneri se ne bave samo fizikim, geografskim, ve i socijalnim prostorom. U postmodernoj paradigmi, interakcija izmedju prostora i drutvenih procesa je prepoznata - prihvaeno je da se grad ne moe tretirati samo kao arhitektura velikih razmera. Urbani procesi za koje pokuavamo da pronaemo adekvatnu prostornu formu predstavljaju dinaminu, stalno promenljivu sliku forme u akciji. (Webber, 1964) Svakom urbanom projektu, intervenciji u lokalnoj zajednici, prilazi se kao posebnom sluaju to podrazumeva prilagoavanje kako metoda istraivanja tako i metoda intervencije. Istraivanje obuhvata upoznavanje i kreativnu interpretaciju politika povezanih sa kulturnom raznolikou, otkrivanje i mapiranje razliitih kulturnih identiteta, ukljuujui i hibridne i viestruke identitete, predstava, simbola, vrednosti, posebnog lokalnog kvaliteta ivota, seanja i pria, kao znaajne dimenzije kulturnog preplitanja savremenog ivota. Takoe, to znai ukljuivanje metoda kao to su itanje grada kao kompleksnog teksta sa brojnim narativnim slojevima, grafika analiza gradova i otkrivanje sintakse i renika urbanog teksta, morfoloka sinteza, klasifikacija urbanog tkiva i otkrivanje novih obrazaca. (Loeckx & Shannon, 2004,164) Ukljuivanje kulture u prostornu analizu podrazumeva sloenije tumaenje teritorijalizacije. To znai zamenu prostorne osnove koja tradicionalno predstavlja jedinu matricu na kojoj se lociraju kulturne razlike, brojnim matricama, prostornim i socijalnim nivoima, koje e omoguiti uoavanje promena koje

4.2

Cultural identity mapping is a challenge because it includes definitions of terms, determines how various kinds of activities, relationships between people, organizations and institutions in the city are observed and evaluated. It should be stressed that in practice, many obstacles are encountered. Data are difficult to standardize, they are often limited to physical inventory, and are rarely collected in any systematized way. Data collection process is also driven by the development of new techniques and software tools. Spatial patterns of different life styles Built urban environment, to a greater or lesser extent, reflects human values (primarily economic, but also others), standards, goals and particular level of technology. Contemporary cities contain numerous layers developed as a result of interventions of individuals and groups in different periods of time. Built-in values and choices reflect characteristics of specific cultures that they originate from. At the same time, the built environment, in its turn, can influence the way in which people organize their private and social lives. Cultural spatial pattern is understood as a social groups way of functioning and relation to space, which is distinguished by a specific, unique set of values, customs and behaviours. And also specific experiences which, as anthropological research shows, are not just common but inevitable. Cultural patterns, therefore, reflect interconnections between space, experience and meanings within a specific culture. Research of cultural diversity (culture within a culture, subcultures) at the local level can be initiated by an observation, visual diagnosis of spatial manifestations of different cultural patterns within an urban area, and their connections that go beyond the area boundaries. Visual environment has a bearing on spatial experience, which has biological and
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pripadnost razliitim kulturnim grupama proizvodi u prostoru. (Gupta & Ferguson, 1992) Mapiranje kulturnog identiteta predstavlja poseban izazov poto ukljuuje definicije pojmova, odreuje kako e se razliite vrste aktivnosti, veze izmeu ljudi, organizacija i institucija u gradu posmatrati i procenjivati. Treba naglasiti da se u praksi susreemo sa brojnim preprekama. Podatke je teko standardizovati, oni se esto ograniavaju na fiziko inventarisanje, retko se prikupljaju na sistematian nain. Proces njihovog prikupljanja je povezan i sa razvijanjem novih tehnika i softverskih alata. Prostorni obrasci razliitih ivotnih stilova Izgraeno urbano okruenje u veoj ili manjoj meri odraava ljudske vrednosti (pre svega ekonomske ali i mnoge druge), norme, ciljeve i odreeni nivo tehnologije. Savremeni gradovi u sebi sadre mnogobrojne slojeve nastale kao rezultat intervencija brojnih pojedinaca i grupa u razliitim vremenima. Ugraene vrednosti i izbori odraavaju karakteristike specifinih kultura u kojima su nastali. U isto vreme izgraeno okruenje, sa svoje strane utie na nain na koji ljudi organizuju svoj privatni i drutveni ivot. Pod kulturnim prostornim obrascem se podrazumeva nain funkcionisanja i odnosa prema prostoru odreene drutvene grupe koju karakterie jedinstven skup vrednosti, obiaja i ponaanja. Ali isto tako i posebna iskustva koja, kako antropoloka istraivanja pokazuju, nisu samo uobiajena ve i neizbena. Kulturni obrasci, odraavaju meupovezanost prostora, iskustva i znaenja u okviru jedne kulture. Istraivanje kulturne raznolikosti (kulture u kulturi, potkulture, subkulture) na lokalnom nivou, moe zapoeti uoavanjem, vizuelnom dijagnozom prostornih manifestacija razliitih kulturnih obrazaca unutar urbanog podruja kao i njihovih veza koje idu van granica podruja. Vizuelno okruenje utie na prostorno iskustvo koje ima svoje bioloke i sociokulturne aspekte odreene linim karakteristikama

socio-cultural aspects determined by personal characteristics of an individual and belonging to certain cultural groups. Within the observed spatial environment particular ways of life can be recognized as distinct lifestyles, but it is also important to notice the meanings and interpretation assigned to them. Cultural differences are spatially manifested through patterns of use, consumption or non-consumption of space, perception, meanings, evaluation, as well as through distinct actions in space, construction, maintenance, etc. Research into relationship between human behaviour and environment in the framework of spatial disciplines begun early in the 20th century with the development of environmental psychology (Ittelson, W.H., 1973, Canter, D., 1977, Lazarevi Bajec, 1987). Although the research and consequently developed models had played an important role in explaining the influence of the environment on human behaviour, formation of spatial experience and cognition, mechanisms of spatial representation (images) and knowledge development, behavioural conditioning by previous experience and concepts, they were stressing functional relationship and neglecting socially constructed meanings of spatial arrangements and methods for revealing them. Cultural differences can be perceived in urban space through forms of built space, particular designed details that can have symbolic meaning, way of maintenance and use, technology used in the processes. Distinct features can be observed in the interaction of people in the space observed, customs that are cherished, networks of meanings through sources such as documents, plans, statistical data, fiction, daily press, etc. Through study which employs methods of spatial and economic analysis, behaviour observation, more detailed information and explanation of activity patterns can be obtained. Surveys and interviews reveal the ability of people to understand the complexity of
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pojedinca i pripadnou odreenim kulturnim grupama. U okviru posmatranog prostornog okruenja mogu se prepoznati specifini oblici naina ivota kao svojevrsni ivotni stilovi, ali je potrebno uoiti i znaenja i interpretacije koje im daju oni koji ih produkuju. Kulturne razlike se prostorno manifestuju kroz naine upotrebe, korienje ili ne korienje prostora, percepciju, znaenja, vrednovanje kao i kroz konkretne akcije u prostoru, u izgradnji, odravanju itd. Prouavanje odnosa ponaanja ljudi i okruenja je u okviru disciplina koje se bave prostorom zapoelo u dvadesetom veku razvojem psihologije okruenja. (Ittelson, W.H., 1973, Canter, D. 1977, Lazarevi Bajec, 1987) Iako su istraivanja i iz njih razvijeni modeli odigrali znaajnu ulogu u objanjenju uticaja ivotne sredine na ljudsko ponaanje, formiranje prostornog iskustva, mehanizama stvaranja prostornih predstava i saznanja, uslovljenosti ponaanja prethodnim iskustvima i predstavama, u njima je naglaavana funkcionalna veza uz nedovoljno prepoznavanje drutveno izgraenih znaenja prostornih aranmana i metoda za njihovo otkrivanje. Kulturne razlike se uoavaju u prostoru kroz nain izgradnje prostora, posebne oblikovne detalje koji mogu imati i simboliko znaenje, nain odravanja i korienja prostora, tehnologiju koja se pri tome upotrebljava. Specifine karakteristike se mogu itati i u interakciji ljudi u datom prostoru, obiajima koje u tom prostoru neguju, mreama znaenja, kroz izvore kao to su dokumenti, planovi, statistiki podaci, beletristika, dnevna tampa, itd. Istraivanjem koje ukljuuje metode prostorne i ekonomske analize, posmatranje ponaanja, mogu se dobiti detaljnije informacije i objanjenja obrazaca aktivnosti i njihovog znaenja. Intervjui i ankete otkrivaju sposobnost ljudi da razumeju kompleksnost okruenja i da izvuku znaenja koja im omoguavaju snalaenje u prostoru. To je posebno vano u uslovi-

the environment and to extract meanings enabling orientation in space. This is particularly important in environments influenced by globalization in which the number and diversity of visual information from the environment increases, which makes the identification with living space more difficult. The analysis of spatial characteristics of different cultural patterns involves recognition of basic peculiarities of an area, those that define it in cultural terms: location and differentiation relative to an immediate and wider surroundings, characteristic patterns of land use, physical form, characteristics of partition of space, relation between public and private, built and unbuilt space, type and quality of buildings and open spaces, etc. Each of these aspects should also be considered in the context of socio-historic processes that occasioned the occurrence of certain spatial structure and contemporary development trends that affect current transformations. Spatial characteristics of an urban area Spatial analysis is focussed on the recognition of an urban area as a distinct cultural entity, identifying features that make it unique and differentiate it from the neighbouring places. However, it also concerns networks of relationships and processes that tie the area to other similar or different parts of the city. The parameters used for defining an urban project area in conventional practice are its spatial components: size, type of boundaries, barriers that separate it, distances from important city points or entities, important roads, immediate surrounding. These main characteristics generate a spatial image that enables easy recognizing and describing, most often on a map or plan (Lynch, 1960). However, if we are concerned with culturally sensitive urban project, the area definition differs from common determination of boundaries in design
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ma globalizacije u kojima se broj i raznovrsnost vizuelnih informacija iz okruenja poveava to oteava identifikovanje sa ivotnim prostorom. Analiza prostornih karakteristika razliitih kulturnih obrazaca poinje prepoznavanjem osnovnih osobenosti podruja koje ga definiu u kulturnom smislu: lokacija i diferenciranje u odnosu na blie i ire okruenje, specifini naini upotrebe prostora, fizika forma, karakteristike prostornih podela, odnos izmeu javnog i privatnog, izgraenog i neizgraenog prostora, vrsta i kvalitet objekata i otvorenih prostora, itd. Svaki od ovih aspekata treba posmatrati i u kontekstu drutveno-istorijskih procesa koji su uslovili pojavu odreene prostorne strukture, odnosno savremenih razvojnih trendova koji utiu na aktuelne transformacije.

Prostorne karakteristike urbanog podruja Prostorna analiza se fokusira na prepoznavanje urbane celine, kao specifinog kulturnog sklopa, ono to ga ini jedinstvenim i odvaja od drugih podruja, ali isto tako i na mree odnosa i procese koji povezuju podruje sa drugim slinim ili razliitim podrujima, znaajnim gradskim delovima. Parametri koji definiu podruje urbanog projekta u uobiajenoj praksi su njegove prostorne komponente: veliina, vrsta granica, barijere koje ga izdvajaju, distance u odnosu na vane gradske repere ili celine, znaajne saobraajne tokove, neposredno okruenje. Ove osnovne karakteristike proizvode prostornu sliku koja omoguava lako prepoznavanje i opisivanje, najee na karti, planu. (Lynch, 1960) Meutim, ukoliko smo suoeni sa kulturno osetljivim urbanim projektom, definisanje podruja se razlikuje od uobiajenog odreivanja granica u praksi urbanog dizajna. Kao to Markuze naglaava,

practice. As Marcuse argues, it is necessary to distinguish a study area from an area of concern. The study area is defined in geographical sense as a neighbourhood, block or public space, street or square, while the area of concern is related to a set of problems that a project intends to address (Marcuse 2005). If the main focus of the project is to promote cultural diversity, than the definition of area of concern is not just technical issue but it also becomes a normative one: in what way is the project to approach the central issue? In that case, a priory determination of the study area cannot be accepted, it is desirable to consider the interests of the community to which the project applies. In that sense, according to Marcuse, The initial step for professional action is the definition of the relevant areas of concerns, which should then be translated into one or more study areas only for methodological convenience (Marcuse, 2005, 250). Spatial position of an area, location in the city, is more or less changeable, just like its economic value. Characteristics and values of a location, in the context of a city as a whole, can be simply read through the price of land. However, the price of land is an indicator not necessarily connected to cultural particularities of an area. Beside numerous other factors, price of land is influenced by possibility of use and possibility of upgrading defined through standards. If a special cultural composition of an area is recognized as a market value, it may push the price up, in expectation of special profits that could be achieved based on the specific character, identity of space. Price of land and the possibility of upgrading its quality affects defining of its future use, but also vice versa. Urban intervention, replacement of one land use by another more profitable can increase the price of land. Insecurity concerning the future land use is an obstacle for its use for less intense activities and leads to the decay of large city areas. The task of
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neophodno je razlikovati podruje rada od podruja interesa. Podruje rada je definisano u geografskom smislu, kao susedstvo, blok ili javni prostor, ulica ili trg, dok je podruje interesa povezano sa skupom problema kojima projekat namerava da se bavi. (Marcuse, 2005) Ukoliko je osnovni fokus projekta unapreenje kulturne raznolikosti, onda odreivanje podruja interesa ne moe biti samo tehniko pitanje, ve ono postaje normativno: na koji nain se projekat bavi centralnom temom? U tom sluaju a priori odreivanje podruja rada se ne moe prihvatiti, ve je poeljno razmotriti interese zajednice na koju se projekat odnosi. U tom smislu, prema Markuzeu, Prvi korak u profesionalnom pristupu je definisanje podruja interesa koje se zatim prevodi u jedno ili vie podruja rada samo iz metodolokih razloga. (Marcuse, 2005, 250) Prostorna pozicija podruja, lokacija u gradu, je manje ili vie promenljiva, kao to je promenljiva i njegova ekonomska vrednost. Karakteristike i vrednosti lokacije u kontekstu grada kao celine se mogu jednostavno itati kroz cenu zemljita. Meutim, cena zemljita je indikator koji nije nuno povezan sa kulturnim posebnostima podruja. Pored mnogobrojnih faktora, na cenu zemljita utie mogunost korienja zemljita i njegovog unapreenja definisana kroz normativne dokumente. Ukoliko se poseban kulturni sklop na podruju prepozna kao trina vrednost, mogue je da to doprinese podizanju cene uoavanjem posebnih profita koji se mogu dobiti upravo na temelju specifinosti, identiteta podruja. Cena zemljita, odnosno mogunost unapreenja utie na definisanje budue namene, ali i obrnuto. Urbana intervencija, zamena jedne namene drugom profitabilnijom moe poveati cenu zemljita. Nesigurnost u odnosu na buduu upotrebu zemljita predstavlja prepreku korienju zemljita za manje intenzivne aktivnosti i dovodi do propadanja velikih gradskih podruja. Zadatak urbanih dizajnera je up-

urban designers, architects and urban planners is in fact to recognize potentials of different city areas, not only as exotic preserved tourist and historic attractions, but also as spaces that, owing to their specific features, can be integrated into economic development in numerous innovative ways. Patterns of use of urban space The use of urban space offers information on the nature of activities in an area, its development dynamics, history, present state and future development trends. The analysis of time activity maps, based on observations made daily, weekly, at different times of day and night, at different weather conditions, sun, rain, snow, as well as exploring of documents and photographs, can complete the picture of specific features of urban life and different attitudes that people develop towards environment. Professional observation can be expanded by interviews that give insight into the interpretation of people and meanings, which can significantly differ from professional insights. Many activities do not take place in buildings designed specifically for that purpose, or space may be used for purposes different from those it was originally conceived for: streets are used for recreation, semi public open spaces are used for commercial activities, apartments are used for services, etc. Use of space often cannot be detected directly, but through indirect cues that enable us to make assumptions on peoples actions. Size and type of stores suggests the type of products and number of people buying there; supply and price of goods at the market indicates the economic position of buyers; landscaping of private gardens indicates the regional origin of the owner. Intensity of use of space can also be guessed based on numerous indicators (number and size of garbage containers, number or deficit of parking places, number and size of food stores, number of mailboxes, etc).
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ravo prepoznavanje potencijala razliitih gradskih podruja i to ne samo kao egzotinih konzerviranih turistikih ili istorijskih atrakcija, ve i kao prostora koji svojim karakteristikama mogu biti integrisani u ekonomski razvoj na brojne inovativne naine. Obrasci upotrebe urbanog prostora Upotreba prostora govori o prirodi aktivnosti na nekom podruju, dinamici razvoja, istoriji, sadanjem stanju i buduim trendovima razvoja urbanog podruja. Uoavanjem aktivnosti u prostoru, dnevnih, nedeljnih, u razliito vreme dana i noi, pri razliitim vremenskim prilikama, sunce, kia, sneg, analizom dokumenata i fotografija, moe se stvoriti slika o specifinim oblicima urbanog ivota i razlikama u odnosu ljudi i okruenja. Profesionalno opaanje moe biti proireno razgovorima i intervjuima koji pruaju uvid u interpretacije ljudi i znaenja, koja se mogu znatno razlikovati od profesionalnog uvida. Mnoge aktivnosti se ne deavaju u posebno prilagoenim objektima, ili se korienje prostora znatno razlikuje od namene koja je odreena, prostori se upotrebljavaju za namene koje se razlikuju od onih za koje su bili predvieni: rekreativne aktivnosti na ulicama, trgovina u polujavnim otvorenim prostorima, usluge u stambenim objektima, itd. Upotreba prostora se esto ne moe uoiti direktno, ve preko posrednih kljueva koji nam omoguavaju da pretpostavimo ta ljudi rade. Vrsta i veliina radnji sugerie ta i koliki broj ljudi u njima kupuje; ponuda i cena robe na pijacama pokazuje ekonomski poloaj kupaca; ureenje privatnih vrtova ukazuje na regionalno poreklo vlasnika; intenzitet upotrebe prostora se takoe moe videti preko brojnih indikatora (broj i veliina kontejnera za smee, broj parking mesta odnosno njihov nedostatak, broj i veliina prodavnica prehrambenih proizvoda, broj potanskih sanduia, itd.)

4.3

Changes in use of space are indicators of current processes and can be registered through new shops, renovated facades, arranged public spaces, signage, style of dcor, etc. The fashion of land use is closely related to the type of property. The relation toward the type of activity on the land may vary significantly, depending on whether the land is in private or public ownership. In different societies use of private and public land is regulated differently, by accepted rules. Development of activities on a privately-owned land is directed by bans (zoning, regulations) or incentives (e.g. tax exemptions). Interests of private and public sectors are differently manifested in space, in determining dominant purpose, concomitant purposes, spaces for communications, accesses and parking, defining lots, size of green areas, public spaces, etc. Information on changes in use of space can be acquired from daily newspapers or real estate agencies. Ads show the situation on the real estate market and trends in modifying use of space within existing physical buildings and permitted uses. Dominant culture in a society establishes general values and regulates urban life through formulation of goals and manners to achieve them. However, different special cultures have their different visible and invisible values, meanings and symbols that influence the creation of different subsystems of spatial patterns. Distinctive attitude toward space, the way it is used and organized, carries meanings connected with specific culture. Sets of values underlying behavioural patterns of individual cultures actually define the position of different values, including the relation to private and public property. Physical form Specific ways in which space is used, defined and built, types of physical form of buildings and plots, types of communication channels, present perma79

Promene u upotrebi prostora su indikatori aktuelnih procesa i mogu se registrovati opaanjem novih radnji, obnovljenih fasada, ureenih javnih povrina, znakova, stila dekoracije, itd. Nain korienja zemljita je usko vezan za oblik vlasnitva. Vlasnitvo zemljita u privatnoj ili javnoj svojini znaajno menja odnos prema vrsti aktivnosti na tom zemljitu. U razliitim drutvima upotreba privatnog i javnog zemljita se normativno razliito definie pravilima oko kojih je postignut konsenzus. Razvoj aktivnosti na zemljitu u privatnoj svojini se usmerava zabranama (zoniranjem, regulativom) ili stimulacijama (na pr. oslobaanjem od poreza). Interesi privatnog ili javnog sektora se razliito manifestuju u prostoru, prilikom odreivanja dominantne namene, prateih namena, prostora za komunikaciju, pristupe i parkiranje, naina parcelacije, veliine zelenih povrina, javnih prostora itd. O promenama u upotrebi prostora se moemo informisati iz dnevnih novina ili u agencijama za trgovinu nekretninama. Oglasi nam pokazuju ta se deava sa tritem nekretnina i kakvi su trendovi modifikacije upotrebe prostora u okviru postojeih fizikih objekata i dozvoljenih upotreba. Dominantna kultura u drutvu uspostavlja generalne vrednosti i normativno ureuje urbani ivot kroz formulisanje ciljeva i odreivanje naina kako da se oni postignu. Meutim, razliite posebne kulture imaju svoje razliite vidljive i nevidljive vrednosti, znaenja, simbole, to uslovljava stvaranje razliitih podsistema prostornih obrazaca. Specifian odnos prema prostoru, nain korienja i ureenja nose znaenja povezana sa odreenom kulturom. Skup vrednosti koji stoji iza obrazaca ponaanja pojedinih kultura, ustvari, definie poziciju razliitih vrednosti, pa i odnos prema privatnoj, odnosno, javnoj svojini. Fizika forma Odreeni naini angaovanja i odreivanja prostora, izgradnje prostora, tip fizike forme objekata i tip

nent or temporary structures where activities take place and reflect construction customs of certain cultures. As inherited patterns, they can carry traces of the ways in which space and buildings were produced, of the relation with natural settings, use of materials, ways of shaping forms and details, use of different technologies, possibilities and limitations of the time period of their origin. Besides, habitual matrices of different cultures dictate modalities of organization of buildings, their grouping or separation, orientation to public and private space, relation to neighbours, volume of buildings, size and number of housing units, balance of built and unbuilt space, change of use, etc. However, in contemporary cities various, often contradictory principles are applied that testify to the difficulties in reconciliation of different values. Complex contemporary sustainability requirements are often narrowed down only to a few selected principles that are implemented in construction on trial an error basis. Extensive regulation, which relies on objective, general values makes its difficult to single out cultural values and prevents easy understanding of layers of urban forms created during other times, under different regulatory regimes. Buildings and their quality are the most accessible indicators used to make the conclusions on the nature of an urban area. They help us to answer questions about the past and present condition of an area and intervening changes: whom it was originally meant for, who uses it today and what are the possibilities for transformation in the future. It is more important to focus observation on groups of buildings, rather than individual isolated examples. The size of buildings and units inside them are the clue for understanding history of construction in the area, values of the community and its way of life, economic structure, as well as normative framework, i.e. local construction regulations.

parcele, vrsta komunikacionih kanala, predstavljaju trajne ili privremene strukture u kojima se aktivnosti odvijaju i odraavaju graditeljske obiaje pojedinih kultura. Kao nasleeni obrasci oni mogu nositi u sebi tragove naina proizvodnje prostora i objekata, odnos prema prirodi, upotrebe materijala, naine oblikovanja formi i detalja, upotrebe razliitih tehnologija, mogunosti i ogranienja vremena u kojem su nastajale. Osim toga, obiajene matrice razliitih kultura diktiraju naine organizacije objekata, njihovo grupisanje ili razdvajanje, orijentaciju ka javnom odnosno privatnom prostoru, odnos ka susedima, veliinu objekata, veliinu i broj stambenih jedinica, odnos izgraenog i neizgraenog prostora, promenu namene, itd. Meutim, u savremenim gradovima susreemo se sa esto vrlo kontradiktornim principima koji svedoe o tekoama usaglaavanja razliitih vre-dnosti. Kompleksni savremeni zahtevi odrivosti se najee svode samo na neke, izabrane principe, koji se po sistemu probe i greke primenjuju u izgradnji. Obimna regulativa koja se oslanja na objektivizovane, generalne vrednosti oteava izdvajanje kulturnih vrednosti i onemoguava jednostavno razumevanje slojevitosti urbane forme nastale u drugim vremenima, sa drugaijim regulativnim pravilima. Fiziki objekti i njihov kvalitet spadaju u najpristupanije indikatore pomou kojih do-nosimo zakljuke o prirodi urbanog podruja. Oni nam pomau da odgovorimo na pitanja o prolosti, promenama i sadanjem stanju podruja: kome je podruje bilo originalno namenjeno, ko ga danas upotrebljava i kakve su mogunosti transformacije u budunosti. Pri tome je znaajnije usmeriti se na posmatranje grupa objekata, pre nego na pojedinane izolovane primere. Veliina objekata i jedinica koje se u njemu nalaze su klju za razumevanje istorije izgradnje podruja,

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4.4

4.5

Irrespective of (changeable) economic power of a community or individuals, quality of buildings and open spaces can reflect values of a certain culture in the long term. Attitude toward living space and its immediate surroundings is read through physical arrangements, maintenance of public and common spaces, equipment of privates spaces, individual investments in common spaces, aesthetic qualities, choice of details, street furniture, etc. Indicators, cues for reading quality of buildings are diverse: appearance of facades, condition of alleys, passages, yards, greenery, personalization, etc. Space generation takes place in a concrete urban space and is therefore largely conditioned with all that already exists there. Physical patterns of space and their quality are the limitation to future patterns of activities and functional organisation of a community (Foley, 1964).

vrednosti zajednice i njenog naina ivota, ekonomske strukture, kao i normativnog okvira, lokalnih pravila izgradnje. Nezavisno od (promenljive) ekonomske moi odreene zajednice ili pojedinaca, kvalitet objekata i otvorenih prostora moe dugorono odraavati vrednosti odreene kulture. Odnos prema ivotnom prostoru i njegovom neposrednom okruenju se ita kroz fiziko ureenje, odravanje privatnih i zajednikih prostora, opremljenost privatnih prostora, individualno ulaganje u zajednike prostore, estetske kvalitete, izbor detalja, ulini mobilijar, itd. Indikatori, kljuevi za itanje kvaliteta objekata su raznovrsni: kako izgledaju fasade, kakvo je stanje prolaza, pasaa, dvorita, odnos prema zelenilu, personalizacija, itd. Zahvati u proizvodnji prostora se deavaju u konkretnom urbanom prostoru, te su zato u velikoj meri uslovljeni onim to u njemu ve postoji. Fiziki obrasci prostora i njihov kvalitet predstavljaju ogranienje buduih obrazaca aktivnosti i funkcionalne organizacije zajednice. (Foley, 1964) Analiza lokalnih aktivnosti Profesionalno delovanje urbanih dizajnera je tradicionalno usmereno na fiziki grad kao proizvod, odnosno, smetanje aktivnosti u njemu po odgovarajuim, standardnim obrascima. Kako taj napor podrazumeva ambiciju da se unaprede odreeni aspekti ponaanja u zajednici, neophodno je modifikovati pristup i pre svega, razumeti kulturno uslovljeni sistem dinamikih veza izmeu individua i grupa i nain na koji se ove veze prilagoavaju lokalnim obrascima. (Webber, 1964) Urbana vizija i oblikovanje koji podravaju kulturnu raznolikost su utemeljeni u skupu specifinih lokalnih aktivnosti i njihovoj dinamici. One su manifestacija specifinosti ivotnih stilova lokalnih aktera,
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Analysis of local activities Professional efforts of urban designers have traditionally been focused on physical city as a product, i.e. situating activities in the city according to suitable, standard patterns. Since such efforts aspire to upgrade certain aspects of behaviour in the community, it is necessary to modify the approach and, above all, understand culturally conditioned system of dynamic connections between individuals and groups, and also the ways in which these connections adjust to local patterns (Webber, 1964). Urban vision and design that support cultural diversity have to be established on the set of particular local activities and their dynamics. They are the manifestation of specific lifestyles of local ac-

tors; they are carriers of local identity of space and present the potential for development of new cultural compositions. This approach implies perception, understanding, detailed analysis and accurate classification of diverse types of activities. It has to be kept in mind that by simple reading of activity patterns one can not directly make conclusions about the cultural frame and values that it contains. Researches warn of cultural gap, i.e. the fact that functional organization, activity patterns (especially under the influence of technology) change more quickly than cultural frame (Foley, 1964). In the routine regulatory practice we can often find definition of land use oriented to a single, dominant activity. However, in reality we notice that many activities coexist at the same space, parcel or building. Their intensity and meaning can be very high (especially in cultural sense) contrary to small spatial demands. In such situations interaction between users of different activities and creation of specific mixtures are inevitable. Also, one should understand that assigned purposes are not necessarily the most important ones in the experience of users: cafes and restaurants are not just for consumption of food and beverages, shopping malls for trading goods, green markets for selling fruit and vegetable. Those places are not just functional but also social phenomena. They are at the same time places for encounters and entertainment, places of communication in which identities are created and confirmed. Observing the way an area functions and zoning of uses makes possible the temporal analysis of activities that occur in the area at different times of day and on different days with diverse patterns and participants. Activity analysis is focused on identification of the following aspects: type of activity, intensity (volume) of activity and level (quality) of activity.
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one su nosioci lokalnog identiteta prostora i predstavljaju potencijal za razvoj novih kulturnih sklopova. Ovakav pristup zahteva uoavanje, razumevanje, temeljnu analizu i paljivu klasifikaciju raznovrsnih oblika aktivnosti. Pri tome treba imati u vidu da se samo itanjem obrazaca aktivnosti ne moe direktno zakljuivati o kulturnom okviru i vrednostima koje su u njemu sadrane. Istraivai upozoravaju na kulturni jaz, odnosno na injenicu da se funkcionalna organizacija, obrasci aktivnosti (posebno pod uticajem tehnologije) bre menjaju od kulturnog okvira. (Foley, 1964) U rutinskoj regulativnoj praksi esto susreemo odreivanje upotrebe zemljita u odnosu na samo jednu, dominantnu aktivnost. Meutim, u stvarnosti uoavamo da mnoge aktivnosti koegzistiraju u istom prostoru, odnosno, na parceli, u objektu. Njihov intenzitet i znaaj moe biti veoma velik (posebno u kulturnom smislu) nasuprot malim prostornim zahtevima. U ovakvim situacijama neminovno dolazi do interakcije izmeu korisnika razliitih aktivnosti i stvaranja specifinih meavina. Takoe, treba razumeti da definisane namene nisu nuno i najvanije u iskustvu korisnika: kafei i restorani ne slue samo za konzumiranje hrane i pia, trni centri za prodaju razliite robe, pijace za prodaju voa i povra. Ova mesta nisu samo funksionalni ve i socijalni fenomeni. To su u isto vreme mesta susreta i zabave, mesta komunikacije u kojima se stvaraju i potvruju identiteti. Uoavanje naina funkcionisanja podruja, zoniranja upotrebe, omoguava vemensku analizu aktivnosti koje se u prostoru deavaju u razliito doba dana, razliitim danima, sa raznolikim obrascima i uesnicima. Analiza aktivnosti je usmerena na prepoznavanje sledeih aspekata: vrsta aktivnosti, intenzitet (obim) aktivnosti i nivo (kvalitet) aktivnosti.

Types of activities Contrary to the routine practice of reading land use based on widely defined activity categories, such as housing, recreation, industry, commerce, traffic, etc, contemporary researches are focused on establishing clearer links among more precisely defined activities that better reflect the real life. The structure of activities thus recognized is more complex and an effort to define it presupposes understanding the way in which people in the city organize their spatial and temporal patterns. Alongside the elementary classification of activities that is common in formal planning, it is possible to make more detailed typologies. Instead of, for example, defining housing as luxurious, affordable and social, the classification can be broadened with different forms of housing that reflect the existing character of the area and cultural groups present in it: housing for young, old, new immigrants, or ethnic groups, Roma, Chinese, etc. Instead of food retail, shops with luxurious goods, wholesale, green market, etc, different types of culturally specific forms of commercial establishments can be recognized: family shops, ethnic shops, street stalls, trade organized in bazaars etc. There is no final classification of activities, it depends on actual situation in space and can be modified according to the observed features in real life. While observing activities in an urban space, we must take into account that use of land is threedimensional. Usually we concentrate on the activity that is on the surface, neglecting the ones on floors or under ground. Different activities in the same space are not independent; they can support or be in conflict with each other. Their distribution in the same site can be a result of different socio-economic processes. It is common that activities of special user groups that are not defined in binding plans or projects, position themselves above or beyond legally assigned ones (in lofts or cellars). Classification of activities should respect the dynamic of their formal and informal emergence and progress.
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Vrsta aktivnosti Nasuprot rutinskoj praksi itanja namene zemljita u odnosu na iroko definisane kategorije aktivnosti kao to je stanovanje, rekreacija, industrija, poslovanje, saobraaj itd., savremena istraivanja idu u pravcu uspostavljanja jasnijih veza meu preciznije definisanim aktivnostima koje bolje odgovaraju realnom ivotu. Struktura tako prepoznatih aktivnosti je kompleksnija i njeno definisanje podrazumeva razumevanje naina na koje ljudi u gradu organizuju svoje prostorne i vremenske obrasce. Pored osnovne klasifikacije aktivnosti koja je uobiajena u formalnom planiranju, mogue je izvriti mnogo detaljnije podele. Umesto definisanje stanovanja kao luksuznog, dostupnog, socijalnog, klasifikacija se moe proiriti razliitim oblicima stanovanja koja odraava karakter podruja i kulturnih grupa koje se u njemu nalaze: stanovanje mladih, starih, novih imigranata, ili etnikih grupa, Roma, Kineza, itd. Umesto trgovine svakodnevnim prehrambenim potrebama, trgovina luksuznom robom, trgovina velikog formata pijane trgovine, mogue je uvesti razliite oblike kulturno specifine trgovine: porodine radnje, etnike, ulina trgovina, trgovina organizovana u sklopovima tipa arija ili bazara, itd. Ne postoji definitivna podela aktivnosti ve ona zavisi od stvarne situacije u prostoru i moe se modifikovati prema uoenim karakteristikama u realnom ivotu. Kada posmatramo aktivnosti u nekom urbanom prostoru, moramo uzeti u obzir da korienje zemljita ima tri dimenzije. Obino se koncentriemo na aktivnost koja se nalazi na povrini zanemarujui druge slojeve, one koje se nalaze na spratovima ili ispod zemlje. Razliite aktivnosti na istom prostoru nisu nezavisne jedne od drugih, one se mogu podravati ili biti u konfliktu. Njihov razmetaj na istoj lokaciji moe biti posledica delovanja razliitih drutveno-ekonomskih procesa. Karakteristino je da se aktivnosti posebnih grupa korisnika koje nisu predviene regulativom odvijaju iznad, ili ispod legalno definisanih namena (u potkrovljima ili u po-

Intensity of activity Intensity, density of activity defines the level of use of space and can be presented differently: as the number of inhabitants per area unit (ha), by volume of turnover or achieved profit, by number of users during the day, week, etc. Intensity of activities, expressed only in total, as the number of people, users, the exchange of goods, or financial effects, does not give insight into the distinct character of activity, its important features, which may not concern the intensity, but the meaning it has for the people in the area. The number of chess players in the local park may not be big, nor is it recognized as the important recreational activity. However, this activity could be significant for identification of the group of people with the area. It could also be considered as a mode of cultural interaction and represent the basis when contemplating the future of the place. Level of activity The level, i.e. quality of an activity can be measured by different parameters, such as size of the space where the activity is taking place, price per m2 of space in the market, the number of users per area unit (m2 or ha), equipment of space, etc. Level of activity is often related to standards; however, it is clear that standards can range from minimal obligatory, through optimal recommended, to extremely comfortable. Through assessment of the level of activity, with the involvement of users, it is possible to come to the conclusion on their status, i.e. their habits and life styles. Unique level of activity in a space usually means segregation of users and generation of isolated communities. Therefore, the analysis of possibilities of connecting different level activities is of essential importance for creating socio-cultural diversity.
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drumima). Potrebno bi bilo da klasifikacija aktivnosti uvaava dinamiku njihovog formalnog i neformalnog pojavljivanja i odvijanja. Intenzitet aktivnosti Intenzitet, gustina aktivnosti oznaava stepen upotrebe prostora i moe se razliito iskazivati: brojem stanovnika po jedinici povrine (ha), obimom prometa ili ostvarenim prihodom, brojem korisnika tokom dana, nedeljno, itd. Intenzitet aktivnosti, iskazan samo ukupno, brojem ljudi, korisnika, prometom roba, finansijskim efektima, ne prua uvid u posebnosti aktivnosti, njene vane karakteristike koje moda nisu u intenzitetu ve u znaaju za ljude u odreenom podruju. Broj ljudi koji u lokalnom parku igraju ah moda nije velik, niti se prepoznaje kao znaajna aktivnost rekreacije. Meutim, ova aktivnost moe biti vrlo znaajna za identifikaciju odreenih grupa ljudi sa podrujem, moe predstavljati nain kulturne interakcije i predstavljati oslonac u razmiljanju o budunosti mesta. Nivo aktivnosti Nivo, odnosno kvalitet neke aktivnosti se moe meriti razliitim parametrima kao to je veliina prostora u kojem se aktivnost odvija, trina cena po m2 prostora, broj korisnika na jedinici povrine (m2, ili ha), opremljenost prostora itd. Nivo aktivnosti se esto vezuje za standarde, meutim jasno je da se standardi mogu kretati od minimalnih - obaveznih, preko optimalnih - preporuenih do krajnje komfornih. Putem procene nivoa aktivnosti uz ukljuenje korisnika mogue je doi do zakljuaka o njihovom statusu, odnosno njihovim navikama i ivotnim stilovima. Jedinstven nivo aktivnosti u nekom prostoru najee podrazumeva segregaciju korisnika i stvaranje izolovanih zajednica. Stoga je analiza mogunosti povezivanja aktivnosti razliitih nivoa od sutinske vanosti za kreiranje socio-kulturne raznolikosti.

Characteristics of cultural groups Respect for differences among inhabitants in a community, observed through relation to space, means valorisation of potentials, the role of individuals and groups in place definition. Their specific actions present a set of individual contributions and a frame for creating cultural identity. Their lifestyles, reflected in particular relations to space, are the starting point in professional intervention, shaping of regulations and in defining new physical structure. The starting point in culturally sensitive projects that support local mixture of cultures is to transform anonymous actors into stakeholders who have the responsibility for the project and take the risk to ensure its success. While the project can have a wide influence onto many, local participants in the project should have the moral claim to the project as their style of life depends on the project results. Local authorities are also stakeholders, as well as investors, that have demands and expectations, ownership and rights, and as such are participants in the creation of a new value. All potential stakeholders are investing some sort of capital, human or financial, and some sort of value into the project. Although it is vital to clearly determine the stakeholders which are to be involved in the project, the parameters defining the importance of stakeholders are connected with stakeholders attributes that are variable, socially constructed, not objective reality, and they present power relations so they are not easily recognized. However, the analysis of patterns of use of space by different groups of users includes at least two aspects. On the one hand, characteristics of groups affect adjustment of space to their needs and values, while on the other hand the space itself presents a strong and stable factor that influences modifications of behaviour a social group aims to achieve. Situation is even more complex if cultural patterns
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Karakteristike kulturnih grupa Uvaavanje razliitosti meu stanovnicima neke zajednice, koja se posmatra kroz odnos prema prostoru, podrazumeva valorizaciju potencijala, uloge pojedinaca ili grupa u definisanju mesta. Njihove specifine akcije predstavljaju skup pojedinanih doprinosa i okvir za izgradnju kulturnog identiteta. Njihovi ivotni stilovi, koji se oituju kroz specifine odnose prema prostoru, ine polazite za strunu intervenciju, odreivanje regulative i definisanje nove fizike strukture. Kulturno osetljivi projekti, koji podravaju lokalnu meavinu kultura, stanovnike i korisnike prostora od anonimnih aktera pretvaraju u deoniare u projektu (stejkeholderi) koji imaju odgovornost za projekat i snose rizik njegovog uspeha. Mada projekat moe imati iroki uticaj na mnoge, lokalni uesnici imaju moralno pravo na projekat poto njihov stil ivota zavisi od rezultata projekta. Stejkholderi su i lokalne vlasti kao i investitori, koji imaju zahteve i oekivanja, vlasnitvo, prava, i kao takvi su uesnici u stvaranju nove vrednosti. Svi potencijalni stejkholderi investiraju neki oblik kapitala, ljudskog ili finansijskog, neku vrstu vrednosti u projekat. Iako je vrlo vano jasno odrediti stejkholdere koji su ukljueni u projekat, parametri koji definiu znaaj stejkeholdera povezani su sa osobinama stejkholdera koje su promenljive, one su drutveno izgraene, nisu objektivna realnost i predstavljaju odnose moi te ih nije lako prepoznati. Meutim, analiza obrazaca upotrebe prostora od strane razliitih grupa korisnika ukljuuje najmanje dva aspekta. Sa jedne strane specifinosti grupa utiu na prilagoavanje prostora njihovim potrebama i vrednostima, dok sa druge sam prostor predstavlja dovoljno jak i stabilan inilac koji utie na modifikacije ponaanja koja odreena grupa tei da ostvari. Situacija je jo sloenija ako kulturne obrasce aktivnosti posmatramo kao dinaminu, promenljivu kate-

4.6

of activities are observed as a dynamic, changeable category susceptible to influences of wider socioeconomic context and local intercultural exchange. User profiles End users, inhabitants, employees, passers by, buyers, visitors, etc. are recognized as major identity carriers. Although numerous participants from private and public sector take place in building of the city, end users are the dominant holders of intercultural dynamic. But, in order to create the space that will support them and to coordinate various interests and goals, it is necessary to maintain a high level of cooperation between stakeholders, those who have public goals and responsibilities, and private stakeholders, whose goals are mainly commercial. Differences among users are determined based on their relation toward activities and physical surroundings, lifestyle, behavioural modes and values, reaction to environment. These differences arise from the set of values respected by certain individuals or groups, according to which they take actions in space. User profiles can be also defined based on traditional socio-cultural characteristics, such as: geographic origin, ethnic origin, language, belonging to certain socio-economic groups, type and level of education, religion, different ideological standpoints, gender, age, sexual orientation, etc. There is a special interest in indicators of exchange and alteration of cultural features, such as length of residence, generational status, proficiency in language or dialect of dominant cultural group, social interaction, the degree of acquisition of cultural values and norms. Who are the users of certain spaces, rich, poor, ethnic groups, professional groups, we can discern in different ways from noticing different languages and accents in the street, to observing fashion styles or collecting information from real estate agencies on apartment and office space buyers, or from newspaper articles on undesirable behavior of
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goriju, koja je podlona kako uticajima ireg drutveno ekonomskog konteksta, tako i lokalnoj interkulturnoj razmeni. Profili korisnika Krajnji korisnici, stanovnici, zaposleni, prolaznici, kupci, posetioci itd. se prepoznaju kao glavni nosioci identiteta podruja. Iako u procesu izradnje grada uestvuju mnogobrojni uesnici iz privatne i javne sfere, svakako da su krajnji korisnici prostora dominantni nosioci interkulturne dinamike. Meutim, da bi se prostor koji ih podrava stvorio, a razliiti interesi i ciljevi uskladili, potrebno je ostvariti visok stepen saradnje izmeu stejkeholdera, onih koji imaju javne ciljeve i nadlenosti, i privatnih, iji su ciljevi dominantno komercijalni. Razlike meu korisnicima se utvruju na osnovu njihovog odnosa prema aktivnostima i fizikoj sredini, stilu ivota, oblicima ponaanja i vrednostima, reakcijom na prostorno okruenje. Te razlike proistiu iz skupa vrednosti koje odreeni pojedinci ili grupe uvaavaju i na osnovu kojih preduzimaju akcije u prostoru. Profili korisnika se mogu odrediti i na osnovu tradicionalnih socio-kulturnih karakteristika u koje spadaju: geografsko poreklo, etniko poreklo, jezik, pripadnost odreenim socio-ekonomskim grupama, vrsta i nivo edukacije, vera, razliita ideoloka uverenja, rod, starosna grupa, seksualna orjentacija, itd. Od posebnog interesa su i pokazatelji akulturacije, razmene i pribliavanja kultura, duina boravka, generacijski status, ovladavanje jezikom ili dijalektom veinske kulturne grupe, drutvena interakcija, stepen usvajanje kulturnih vrednosti i normi. Ko su korisnici odreenih prostora, bogati, siromani, etnike grupe, profesionalne grupe, moemo uoavati na razliite naine, od registrovanja razliitih jezika, akcenata na ulici, do posmatranja stila oblaenja ili pribavljanja informacija iz agencija za nekretnine o kupcima stanova i poslovnih prostora ili novinskih lanaka o nepoeljnim ponaanjima odreenih

certain groups in an urban area. Although experts point to the fact that we cannot conclude on people only upon observation, this information can be valuable. Spatial networks Each individual in a city uses space in his/her unique way. His/hers routes of motion in space, contents used, spaces that he/she spends time in, create a particular spatial network. Each of these networks also has its time dimension that specifies the moment and duration of stay in a space. In total, network of spaces where an individual performs particular activities in certain time periods reflects a particular life style. In the process the individual develops a whole scale of relations towards his/hers own network. In that sense, in some of the points of spatial network he/ she is just a passive passer by or a consumer, while in some other points of the same network he/she is an active participant who by his own investment (physical or material) changes and shapes the surrounding. The level of engagement of an individual in a specific environment depends also on a normative framework defined by laws, statutes, rules and standards.

grupa u urbanom podruju. Strunjaci skreu panju da o ljudima ne moemo zakljuivati samo na osnovu posmatranja, meutim i ove informacije mogu biti dragocene. Prostorne mree Svaki pojedinac u gradu koristi prostor na poseban nain. Njegova/njena trasa kretanja u prostoru i sadraji koje koristi, prostori u kojima se zadrava, formiraju specifinu prostornu mreu. Svaka od tih mrea ima i svoju vremensku dimeziju koja precizira trenutak i duinu boravka u nekom prostoru. U ukupnom zbiru, mrea prostora u kojima neki pojedinac obavlja specifine aktivnosti u odreenim vremenskim periodima odraava specifian ivotni stil. Pri tome pojedinac razvija itavu skalu odnosa prema sopstvenoj mrei. Tako je u pojedinim takama prostorne mree samo pasivni prolaznik ili konzument, dok je u drugim takama iste mree aktivni uesnik koji sopstvenim ulaganjem (fizikim ili materijalnim) menja i oblikuje okruenje. Stepen angaovanja pojedinaca u odreenom prostornom okruenju zavisi i od mogunosti koje prua normativni okvir definisanih zakonima, statutima, pravilima, standardima.

Values research
Values are one of the most important characteristics of cultural identity. Through value preferences individuals and collectives define their place in the world, belonging to the community, as well as the way how they differ from the others. The way in which individuals adopt social values (forced or selective) greatly affects the way in which they integrate in the community (type of cultural identity), and at the same time, how they see themselves (personal identity) (Golubovic, 1999, 36). Through everyday experience in urban space use, with the inclusion of values and social and cultural
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Istraivanje vrednosti
Vrednosti su svakako jedno od najvanijih obeleja kulturnog identiteta. Kroz vrednosna opredeljenja individue ili kolektivi definiu svoje mesto u svetu, pripadnost zajednici, odnosno razliitost u odnosu na druge. Nain na koji individue usvajaju drutvene vrednosti (prisilno ili selektivno) umnogome utie na to kako e se one ukljuivati u svoju zajednicu (tip kulturnog identiteta), ali i kako e se odnositi prema sebi (personalni identitet).(Golubovi, 1999, 36) Kroz svakodnevno iskustvo u upotrebi urbanog prostora, ukljuivanjem vrednosti i socijalnih i kultur-

meanings, the geometric, physical space is transformed into cultural space. It is necessary to bear in mind that there is a difference between facts and values. Values arise outside the world of facts. A clear position on the value basis of professional action is essential for urban design. There are two types of values: values that are created by life, that exist even if there is no awareness of them, objective values, and values that are created by a human mind, on the basis of previous solutions, in an attempt to solve the problems that are possible to understand better or worse (Popper, 1991). Urban design as a professional activity is not a valueneutral process only looking for technical solutions within the given value framework. Regardless of the general set of values around which in there is a consensus in every society, every choice, a decision in the process of proposing ideas that favour one solution at the expense of another, one social group at the expense of other, is based on the priority that is in the given case, assigned to a certain value. What will be the value depends primarily of the balance of power in very specific circumstances, professional ideology and local knowledge and experience. When strategic urban design is concerned, the key issue is whether the values are built into the praxis of urban designers from the outside, through legislation, standards and policies, or are those issues open to debate? If legislation defines the orientation of society to the set of values, for example, justice, equality, sustainable development, whether in any particular task there is a place for ethical decisionmaking, in the sense of value choice? A large number of rules in the form of laws, regulations and policies, creates the impression that professional work is defined, framed, and that all these rules that are imposed from outside leave experts without the responsibility for promoting or choosing values. However, if the urban space is a social product based on values and social production of meaning (Lefebvre,
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nih znaenja, geometrijski, fiziki prostor se pretvara u kulturni prostor. Pri tome je potrebno imati na umu da postoji razlika izmeu injenica i vrednosti. Vrednosti nastaju spolja izvan sveta injenica. Jasan stav o vrednosnoj osnovi profesionalnog delovanja je od sutinske vanosti za urbani dizajn. Postoje dve vrste vrednosti: vrednosti koje je stvorio ivot, koje postoje i ako ne postoji svest o njima, objektivne vrednosti, i vrednosti koje je stvorio ovekov um, na osnovu ranijih reenja, u pokuaju da ree problemi koje je mogue bolje ili loije razumeti. (Popper,1991) Urbani dizajn, kao profesionalno delovanje nije vrednosno neutralan proces, kroz koji se samo trae tehnika reenja u okviru zadatih vrednosti. Bez obzira na generalni skup vrednosti oko koga u svakom drutvu postoji koncenzus, svaki izbor, odluka u okviru samog procesa predlaganja ideja koje favorizuju jedno reenje na raun drugog, jednu drutvenu grupu na raun druge, je zasnovan na prioritetu koji se u datom sluaju, daje nekoj vrednosti. Koja e to vrednost biti zavisi pre svega od odnosa moi u sasvim konkretnim uslovima, profesionalne ideologije i lokalnih znanja i iskustava. Kad je re o stratekom urbanom dizajnu kljuno pitanje je da li se vrednosti ugrauju u praksu urbanih dizajnera spolja kroz legislativu, norme i politike, ili su to pitanja koja su otvorena za debatu? Ako legislative definie orjentaciju drutva na odreeni skup vrednosti, na primer: pravinost, jednakost, odriv razvoj, da li tu na svakom konkretnom zadatku ima mesta odluivanju u etikom, vrednosnom smislu? Veliki broj pravila u formi zakona, regulative i politika, stvara utisak da je profesionalni rad definisan, uokviren i da sve ove norme koje su nametnute spolja ostavljaju strunjake bez odgovornosti za promovisanje ili izbor vrednosti. Meutim, ako je urbani prostor drutveni proizvod zasnovan na vrednostima i drutvenoj proizvodnji znaenja (Lefebvre, 1991), onda iz toga proizilazi da stalno promenljive dru-

1991), it follows that ever changing social structures require that we understand them and search for adequate approach to spatial interventions. Strategic urban design has the ambition to include a review and more detailed determination of values in each particular case of shaping the urban areas. The role of values that will be supported (selected) is primarily seen in the definition of problems on which professional work is focused. If the existence of urban slums is not considered a problem, or if it is treated as a necessity in the development of a city, then solving the housing problems of vulnerable social groups will not be a priority, and urban designers will focus on other topics. Or, if the disappearance of the local community landmarks, such as cafes, green markets, parks, is considered a normal market process, than the modalities of their preservation would not be searched for. The issue of rules and regulations value basis in the intercultural environment is particularly important. Sole reliance on general rules would imply acceptance of problem priorities to be addressed in design. As in this context the specific problem is a delicate balance between economic and social values, it is clear that it can not be established by rules. The determination of position in relation to the different value requirements should be achieved through the debate which precedes the design of urban space (Upton, 2002). Culturally specific values Besides their particularities, individual differences, members of certain cultural groups share common values that are created under the influence of environment and cultural heritage. This specific mixture of values, in fact, defines ways of interaction, i.e. forms of behaviour of each specific culture inside its environment. Culturally adjusted environment is created as a frame of life of specific people, members of group and culture; it suits them and distinguishes
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tvene strukture stvaraju potrebu za razumevanjem i traenjem adekvatnog pristupa prostornim intervencijama. Strateki urbani dizajn ima ambiciju da ukljui preispitivanje i detaljnije odreivanje vrednosti u svakom konkretnom sluaju oblikovanja urbanih podruja. Uloga vrednosti koje e biti podrane (izabrane) se pre svega vidi u definisanju problema na koje se struni rad usmerava. Ako se postojanje slamova ne smatra problemom, odnosno, ako se ono tretira kao nunost u razvoju grada, onda reavanje problema stanovanja ugroenih socijalnih grupa nee biti prioritet, te e se urbani dizajneri koncentrisati na druge teme. Ili, ako se nestajanje repera karakteristinih za lokalne zajednice, kao to su kafane, pijace, parkovi, smatra normalnim trinim procesima, onda se nee tragati za nainima njihovog ouvanja. Pitanje vrednosne osnove pravila i regulative je posebno vano u interkulturnom okruenju. Iskljuivo oslanjanje na generalna pravila bi znailo i usvajanje uspostavljenih prioriteta problema kojima se dizajn bavi. Kako se u tom kontekstu radi o specifinom, osetljivom balansu izmeu ekonomskih i socijalnih vrednosti, jasno je da on ne moe biti uspostavljen pravilima. Do odreivanja stava u odnosu na razliite vrednosne zahteve, treba doi kroz debatu koja prethodi oblikovanju urbanih prostora. (Upton, 2002) Kulturno specifine vrednosti Pored svojih posebnosti, individualnih razlika, pripadnici odreene kulturne grupe dele zajednike vrednosti koje se formiraju pod uticajem okruenja i kulturnog naslea. Ova posebna meavina vrednosti, ustvari, definie naine interakcije, odnosno oblike ponaanja svake pojedinane kulture unutar svog okruenja. Kulturno prilagoena sredina je nastala kao okvir ivota odreenih ljudi, pripadnika grupe i kulture, odgovara im i odvaja ih od drugih grupa. Ona ih definie i predstavlja nain saoptavanja te definicije drugima.

4.7

them from others groups. It is the form by which people define themselves and communicate this definition to others. It is considered that many behaviours in everyday life, that we can also call lifestyles, are based on cultural norms. Culture is a way of life that defines a group, system of symbols, meanings and cognitive patterns and a series of forms of accommodating to the environment. People see use of space in different ways, and they are more or less capable to articulate it. According to the subjective estimate, they can determine their priorities, as for example: healthy environment or a location near to the centre, safe residential area or mix of different contents, integration or segregation, easy access or isolation, privacy or publicity, monofunctional or polyfunctional urban areas, etc. It is possible to conduct research of values using several methods, such as market analysis, public opinion surveys, observation of existing behavioural patterns, anthropological research, stakeholder interviews, urban policy research etc. Beside identification, values can be presented in more detail by indicators which measure the quality of urban life. Characteristic of cultural values, which belong to the set of primary values, is that they change slowly. However, in the present time of global processes, values that are not deeply ingrained are subject to rapid changes. In that sense, individuals and groups without a consistent system of values, or those whose values are in collision with the demands of modern urban life, accept changes easier, unlike those with stable and organized system of values. Starting from general value attitudes and norms, it is possible to define deviations that are specific for particular cultural groups. They are manifested in the domain of basic values, such as health, security, stability, etc, functional, related to everyday activities, or for example aesthetic. However, values
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Smatra se da se mnoga ponaanja ljudi u svakodnevnom ivotu, koje moemo zvati ivotnim stilovima, temelje na kulturnim normama. Kultura je nain ivota koji odreuje neku grupu, sistem simbola, znaenja i saznajnih obrazaca i niza oblika prilagoavanja sredini. Ljudi na razliite naine vide upotrebu prostora, koje su u stanju u manjoj ili veoj meri da artikuliu. Prema subjektivnoj proceni, oni mogu odrediti ta im je vanije, kao na primer: zdravo ivotno okruenje ili blizina centra, bezbedno stambeno okruenje ili meavina razliitih sadraja, segregacija ili integracija, pristupanost ili izolovanost, privatnost ili javnost, monofunkcionalna ili polifunkcionalna urbana podruja, itd. Istraivanje vrednosti je mogue vriti pomou nekoliko metoda kao to su analiza trita, istraivanje javnog mnjenja, posmatranje postojeih obrazaca ponaanja, antropoloka istraivanja, intervjui sa kljunim akterima, istraivanje gradskih odluka itd. Pored identifikacije, vrednosti se mogu preciznije iskazati i putem indikatora za merenje kvaliteta urbanog ivota. Za kulturne vrednosti, koje spadaju u skup osnovnih vrednosti, karakteristino je da se sporo menjaju. Meutim, u dananjem vremenu globalnih procesa, vrednosti koje nisu duboko ukorenjene su podlone brzim promenama. U tom smislu, pojedinci i grupe koji nemaju konzistentan sistem vrednosti, odnosno, ije vrednosti su u koliziji sa zahtevima savremenog urbanog ivota, lake primaju nove, za razliku od onih koji imaju stabilan i ureen sistem vrednosti. Polazei od generalnih vrednosnih stavova i normi, mogue je definisati odstupanja karakteristina za pojedine kulturne grupe. Ona se manifestuju u domenu egzistencijalnih vrednosti, kao to su zdravlje, bezbednost, stabilnost, itd., funkcionalnih, vezanih za svakodnevne aktivnosti, ili na pr. estetskih. Medjutim, vrednosti u odnosu na prostor su esto konfliktne te se stalno modifikuju. Struno razmatranje

in relation to space are often conflicting and therefore are constantly modified. Professional review of the quality of spatial patterns is conditioned, on one side, by public values of the broader community, and on the other, by individual values of different interest or cultural groups. The final balance of conflicting values is basically resolved at the level of local politics.

kvaliteta prostornih obrazaca je uslovljeno sa jedne strane javnim, vrednostima ire zajednice, a sa druge strane individualnim vrednostima interesnih ili kulturnih grupa. Konani odnos sukobljenih vrednosti se, u sutini, razreava na nivou lokalne politike.

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5.1

Managing development potentials of urban areas

Development processes analysis
Strategic urban design takes into account the fact that city development is of piecemeal nature and that measures and regulations constantly need to adjust to changed conditions. Understanding the logic of actions within an urban space assumes a good understanding of its socio-economic, particularly, cultural environment. If main agents of change in an urban space, such as changes in number or type of activities, inhabitants, consumers, investments, employees, degree or form of involvement in broader cultural networks, as well as local modifications of cultural patterns, etc, are not interpreted in a right way, culturally sensitive interventions that would lead to accomplishing desired community goals can not be proposed. Strategic projects of urban intervention follow the perceived changes in the city and its parts. The goal is to anticipate further development, through careful analysis of trends, their intensity and dynamics in order to better control the resulting consequences either by supporting or diverting them. Strategic approach to development of urban areas involves understanding and coordination of specific interests and goals of different stakeholders, more often than not conflicting. In face of complex problems the increasingly active population groups organize themselves in order to protect their values and local interests. The likely conclusion is the need to re-examine the role of traditional management instruments, above all, technical comprehensive master plans (Kort de, Bult-Spiering, & Dewulf, 2005). The current research investigates the possibilities of more effective interconnection of policies and implementation, that is, determining the form of
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Upravljanje razvojnim potencijalima urbanih podruja

Analiza razvojnih procesa
Strateki urbani dizajn uvaava injenicu da se izgradnja u gradovima odvija postepeno, da je potrebno stalno prilagoavanje mera i regulative izmenjenim uslovima. Razumevanje logike akcija u prostoru podrazumeva razumevanje drutveno - ekonomskog, posebno kulturnog okruenja. Ukoliko se na pravi nain ne interpretiraju osnovni pokretai promena aktivnosti u prostoru, promene broja ili vrste delatnosti, stanovnika, korisnika, investicija, zaposlenih, stepen i oblik ukljuenosti u ire kulturne mree kao i lokalne modifikacije kulturnih obrazaca, ne mogu se predlagati kulturno osetljive intervencije koje e dovesti do ostvarenja eljenih ciljeva zajednice. Strateki projekti urbane intervencije prate uoene promene u gradu i njegovim delovima. Cilj je anticipiranje tokova daljeg razvoja, kroz paljivu analizu trendova, njihovog intenziteta i dinamke da bi se posledice po lokalno podruje kontrolisale podrale ili preusmerile. Strateki pristup razvoju urbanih podruja podrazumeva razumevanje i koordinaciju specifinih interesa i ciljeva, vrlo esto konfliktnih, razliitih aktera/ stejkholdera. U odnosu na kompleksne probleme, sve aktivnije grupe graana se organizuju i brane svoje vrednosti i lokalne interese. Zakljuak koji se namee je potreba preispitivanja uloge tradicionalnih instrumenata upravljanja, pre svega, tehnikih sveobuhvatnih generalnih planova. (Kort, de, BultSpiering, & Dewulf, 2005) Savremena istraivanja ispituju mogunosti efektivnijeg povezivanja politika sa implementacijom, odnosno, definisanja forme intervencije koja ukljuuje razliite aktere (stejkholdere) u proces, od razvijanja stratekih ideja do konkretnih akcija. (Healey et al., 1997)

intervention that involves different stakeholders in the process, from development of strategic ideas to determining concrete actions (Healey et al., 1997). Given the multifaceted nature of the issue of cultural diversity, it is obvious that it is not possible to formulate a single policy that will cover all its dimensions. Inevitably, policies will foster some aspects and neglect the others. Urban intervention needs to be linked with the empirical research focused on the assessment of diversity development. Firstly, in terms of anticipated influence of policies, measures, projects and then, monitoring their impact in the course of implementation so they can be improved or abandoned. Strategic urban design is based on the fact that the market alone is not able to ensure the achievement of various social and cultural goals of the community, and to establish priorities among the conflicting goals. However, it is clear that the construction is going on in the market, and that it is necessary to define adequate mechanisms that will not distort to any great extent the logic of the market. That is where we confront the sensitive area of relations with the long-term spatial planning of cities, which is based on the generally defined public interest and traditionally opposed to the market. Planning undoubtedly has primacy in defining major cities development in the area of infrastructure and servicing the land. However, the comprehensiveness of plans produces conflicts within local areas with specific narrow interests (public and private), and causes unreasonable and overly ambitious demands in relation to investors, preventing or slowing construction. A precondition for introduction of strategic urban design is a transformation, reduction of the scope of planning, limiting it to precisely defined interventions and leaving room for local adaptation to dynamic processes. Correlation and mutual dependence between the market and urban intervention is the starting point
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Kako tema kulturne raznolikosti ima vie dimenzija to je jasno da nije mogue formulisati jednu jedinstvenu politiku koja e pokriti sve njene dimenzije. Neminovno je da e politike podravati odreene aspekte a zanemarivati druge. Urbane intervencije je potrebno povezati sa empirijskim istraivanjima koja e biti usmerena na procenu razvoja raznolikosti. Prvo, u odnosu na anticipirani uticaj politika, mera, projekata, a zatim kroz praenje tokom implementacije u cilju njihovog poboljanja ili naputanja. Strateki urbani dizajn polazi od injenice da samo trite nije u stanju da obezbedi ostvarenje raznolikih socijalnih i kulturnih ciljeva zajednice, odnosno da uspostavi prioritete meu konfliktnim ciljevima. Meutim, jasno je da se izgradnja deava na tritu, te da je potrebno definisati adekvatne mehanizme koji nee u veoj meri naruavati logiku trita. Tu nailazimo na osetljivo podruje relacija sa dugoronim prostornim planiranjem gradova, koje je zasnovano na generalno definisanom javnom interesu i tradicionalno suprotstavljeno tritu. Planiranje nesumnjivo ima primat u definisanju razvoja velikih gradova u domenu infrastrukture i opremanja zemljita. Meutim, sveobuhvatnost planova u lokalnim podrujima proizvodi sukobe sa prisutnim uim interesima (javnim i privatnim) i uslovljava neopravdane i preterano ambiciozne zahteve u odnosu na investitore, onemoguavajui ili usporavajui izgradnju. Preduslov za uvoenje stratekog urbanog dizajna je svakako transformacija, smanjenje obuhvata planiranja, ograniavanje na precizno definisane intervencije i ostavljanje prostora za lokalna prilagoavanja dinamikim procesima. Povezanost i meusobna uslovljenost trita i urbane intervencije je polazite stratekog dizajna. Ukoliko profesionalni predlozi treba da utiu na razvoj, neophodno je prilagoavanje logici trita. To je radikalna promena i podrazumeva poznavanje sistema trita graevinskog zemljita, komunikaciju sa razliitim uesnicima na tritu, istraivanje va-

of strategic design. If professional proposals are to influence the development, their adaptation to the logic of the market is necessary. It is a radical change, and implies knowledge of the market system of building sites, communication with various market participants, the study of variations of locational opportunities for distinct activities, careful corrections of the market dynamics and focusing on the assessment of possibilities to achieve social goals through dialogue with the planners and creators of public policy (Moor, 1983).

rijanti lokacionih mogunosti za posebne aktivnosti, paljive korekcije dinamike trita i usmeravanje na ispitivanje mogunosti ostvarenja socijalnih ciljeva kroz dijalog sa planerima i kreatorima javnih politika. (Moor, 1983)

Urbani ivot i proizvodnja prostora

Za razliku od uobiajene usmerenosti iskljuivo na namenu povrina u podruju, urbane intervencije koje prate kulturne pojave i procese polaze od objektivne analize aktivnosti ljudi. Analiza se odnosi na aktivnosti pojedinaca, grupa, preduzea i institucija. Kroz intervjue reprezentativnih predstavnika aktera mogue je prepoznati i definisati raznolike podgrupe, razumeti njihove vrednosti i stavove. (Godschalk& Mills,1966) Aktivnosti u prostoru imaju svoj kvantitet i kvalitet, obim, intenzitet, ali i znaaj koji moe biti lokalni, regionalni, nacionalni, internacionalni ili globalni. Znaaj aktivnosti je povezan i sa nivoom na kome se o njima odluuje. Nije realno oekivati da se o svim karakteristikama raznovrsnih aktivnosti odluuje na lokalnom nivou. Nije isto ako posmatramo poslovanje, na pr. velikih meunarodnih korporacija i aktivnost kupovine u lokalnoj bakalnici. Razliiti nivoi normativnog usmeravanja razmetaja aktivnosti i njihovog prostornog okvira ne moraju biti u potpunosti meusobno usaglaeni, to razumevanje prirode i oblika profesionalnog delovanja urbanih dizajnera ini mnogo sloenijim. Logika prostorne distribucije obrazaca aktivnosti je promenljiva. Iako aktivnosti imaju svoje generalne lokacione zahteve i esto precizno definisan razmetaj u prostoru, postoje razlike uslovljene kulturnom orijentacijom razliitih korisnika. Izbor naina ivota, oblika kupovine, rekreacije, zabave, itd. Iako tei statinom i institucionalizovanom redu zasnovanom na statusu, posmatranom kroz prihode, mesto stanovanja, profesiju, edukaciju u lokalnom okruenju se diferenciraju kroz irenje na brojne so99

Urban life and space production

Rather than directing attention only to land use in urban areas, culturally appreciative urban interventions start with objective analysis of human activities. Analysis is concerned with activities of individuals, groups, firms and institutions. Through interviews of representative actors it is possible to recognize and define diverse subgroups, understand their values and attitudes (Godschalk& Mills1966). Activities in urban space have their quantity and quality, range, intensity, as well as significance that can be local, regional, national, international or global. The significance of activity is connected with the decision making level. It is unrealistic to believe that all features of different activities can be determined on the local level. It is not the same if weve been observing commercial activities of, for example, large international corporations or shopping activity in the local grocery store. Different levels of normative regulations directing distribution of activities and their spatial frame do not have to be completely synchronized, which makes understanding of nature and form of professional actions of urban designers much more complex. The logic of spatial distribution of activity patterns is changeable. Although activities have their general location demands and often precisely defined distribution in space, there are differences conditioned

by cultural orientation of different users. Choice of lifestyle, patterns of shopping, recreation, entertainment, etc., although inclined towards static and institutionalized order based on status, measured by such things as income, residence, occupation, education in local environment become differentiated through diffusion over numerous social groups with diverse objectives (Godschalk& Mills, 91). In general, particular form of activity is also shaped by interests of investors driven by profit. Market logic of land use causes emersion of certain types of activities at certain places that satisfy demands for optimal realization and adequate economic effects. It is inevitable that, in the process, certain types of activities that are not profitable are abolished, i.e. relocated to other, more appropriate places (more accessible locations, larger lots, neighbourhoods with similar activities, etc). Since particular economic interests of investors can not guarantee successful cities, professional engagement and respect for mutual dependence of designers and developers is of crucial significance. By identifying consequences of market developments and adapting draft regulations it is possible to arrive at solutions that are desirable both for investors and local communities and city as a whole.

cijalne grupe sa raznolikim ciljevima. (Godschalk& Mills, 91) Generalno, odreena forma aktivnosti je oblikovana interesima investitora koje pokree profit. Trina logika upotrebe zemljita utie na pojavu odreenih tipova aktivnosti na posebnim mestima koja zadovoljavaju zahteve za optimalnim odvijanjem i adekvatnim ekonomskim efektima. U tom procesu neminovno dolazi do gaenja odreenih tipova aktivnosti koje nisu trino isplative, odnosno njihovo izmetanje na druga, pogodnija mesta (pristupanije lokacije, vee parcele, susedstvo slinih aktivnosti, itd). Kako pojedinani ekonomski interes investitora nije garancija da emo dobiti uspene gradove, to je struno angaovanje i uvaavanje povezanosti dizajnera i investitora, od presudnog znaaja. Kroz sagledavanje konkretnih posledica promena koje se na tritu deavaju i prilagoavanje predloga regulative mogue je proizvesti poeljna reenja i za investitore i za lokalne zajednice i za gradove kao celine.

Ekonomski kriterijumi
Globalizacija simultano uslovljava ukljuivanje i iskljuivanje putem mrea kojima upravljaju ekonomski kriterijumi. Harvi naglaava da ekonomija podrava brze promene, lokalne i globalne veze, potencira novu izgradnju, bavi se novim problemima koji svakodnevno pojavljuju, traga za novim kreativnim odgovorima, otvara prostor za nove politike i oblikovna reenja. Ona podrava uniformnost, ali u isto vreme zahteva raznolikost i identitet, kako bi se povezala sa marketinkim predstavama. U tom pogledu od velikog je znaaja stvoriti uslove za nastanak raznolikih urbanih podruja. Sa druge strane, lokalne zajednice prepoznaju vezu izmeu prostora i drutvenog identiteta i zahtevaju reenja koja e biti u suprotnosti sa univerzalnim funkcionalizmom u prostoru koji je stvorio modernizam. (Harvey, 1990) Promena obima i vrste aktivnosti se u prostoru e100

Economic criteria
Globalization simultaneously causes inclusion and exclusion through networks that are governed by economic criteria. Harvey stresses that economy supports quick changes, local and global connections, puts pressure on new developments, addresses new issues that emerge every day, searches for new creative answers, and creates space for new policies and design solutions. It supports uniformity, but at the same time, calls for diversity and identity, in order to link itself with marketable image. In this respect it is of great importance to enable the production of distinguishable places. On the other side,

5.2

communities recognize the connection between place and social identity, and demand solutions that run against unification of universal functionalism in space brought by modernism (Harvey, 1990). Change of range and type of activities in space often happens independently from changes in physical structure. Activities are adjustable and can be organized in various spatial frames. In central parts of cities, owners of apartments become interested in renting their property as commercial, more profitable, instead of residential, manufacturing in industrial buildings is replaced with entertainment, cinemas, exhibitions; restaurants are developed in religious buildings. Once built buildings have their lasting period, and can be quickly replaced only exceptionally, in conditions of extreme land prices and supportive urban policies. Accordingly, new activities adjust, to a certain extent, to the existing physical frame or, when it is not possible, move to other locations. In the past, for example, shopping activities were mostly connected with the city centre or main street of the city, and today is carried out in mega shopping malls close to highways and by-passes that enable easy access and variety of goods. Interventions that follow adjustment of physical structures to new activities in built environment range from minor ones, such as modification of some elements of buildings or technical upgrade, to major interventions, such as extensions, enlargements, demolition and replacement of parts or entire buildings. Level of intervention is directly dictated by the level of new activity, i.e. its expected quality, and also by the harmonization with the local communitys goals and priorities. Scope of investment in individual interventions depends on the interest of investors and goals that they want to achieve in space. Investments in adjusting existing buildings to new activities are often bigger than the price of new construction. However, public interest of preserving identity of the city or place
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sto deava nezavisno od promena fizike strukture. Aktivnosti su prilagodljive i mogu se organizovati u raznim prostornim okvirima. U centralnim delovima gradova, vlasnici stanova su zainteresovani za promenu namene, stanovanje se zamenjuje komercijalnim, profitabilnijim aktivnostima, u industrijskim postrojenjima se proizvodnja zamenjuje zabavom, bioskopima, izlobama; u religijskim objektima se razvijaju ugostiteljske aktivnosti. Jednom izgraeni fiziki objekti imaju svoj vek trajanja te se brzo zamenjuju samo izuzetno u uslovima ekstremnih cena zemljita i urbanih politika koje te procese podravaju. Shodno tome, nove aktivnosti se do izvesne mere prilagoavaju postojeem fizikom okviru ili, kada to nije mogue, sele na druge lokacije. Nekada je, na primer, kupovina bila povezana sa gradskim centrom ili glavnom gradskom ulicom, a danas se obavlja u mega trnim centrima uz autoputeve i obilaznice koji omoguavaju laki pristup i obezbeuju raznovrsnost robe. Intervencije koje prate prilagoavanje fizikih struktura novim aktivnostima u izgraenom okruenju se kreu od mera koje reguliu male promene, kao to su promena pojedinih elemenata na objektu ili tehnikog unapreenja, sve do regulisanja veih zahvata kao to su dogradnja, nadgradnja ili zamena delova ili celih objekta. Nivo intervencije je direktno uslovljen nivom nove aktivnosti, odnosno njenim oekivanim kvalitetom, ali i usklaivanjem sa ciljevima i prioritetima lokalne zajednice. Obim ulaganja u pojedinane intervencije zavisi od interesa konkretnih investitora i ciljeva koje ele da ostvare u prostoru. Ulaganja u prilagoavanje postojeih objekata novim aktivnostima su esto vea od cene nove izgradnje. Meutim javni interes ouvanja identiteta grada ili mesta se obino zasniva na zadravanju fizike forme. To je razlog to nadlene uprave vie insistiraju na zatiti objekata i propisuju preciznu regulativu koja usmerava adaptacije, dok manje panje posveuju zatiti ljudi i njihovih specifinih mrea aktivnosti koje se u tim objektima odvi-

is usually based on retaining physical form. That is the reason why responsible administrations insist more on preserving buildings and legislate precise guidance governing adaptations, while they pay less attention to protection of people and their specific networks of activities that take place in those buildings. The result is a preserved image of historic places, but not the life in them. Public interventions (as well as investments, particularly on the part of local government) that start from quality and significance of the location, i.e. its market value, should also be linked to the role that the site has in the context of local or wider community culture. Public and private stakeholders in urban intervention are in complex and dynamic relationship. De Kort et al. stress that
Public stakeholders are increasingly dependent on private actors due to financial reasons, private land ownership and lack of technical, financial and market knowledge. On the other hand, private stakeholders are dependent on public stakeholders because of their authority and their knowledge of production schemes and procurement. In the context of spatial planning interdependence means a stakeholder does not have all the resources needed to develop an area, and therefore depends on other stakeholders who do have those resources. The stakeholder is not able to achieve his goals without interaction with other stakeholders (Kort, de, Bult-Spiering, & Dewulf, 2005).

jaju. Kao rezultat dobijamo ouvanu sliku istorijskih mesta, ali ne i ivota u njima. Javne intervencije u prostoru (kao i investicije, pre svega od strane lokalne uprave) koji polaze od kvaliteta i znaaja lokacije, odnosno njene trine vrednosti, bi trebalo povezati i sa ulogom koju ona ima za kulturu lokalne ili ire zajednice. Javni i privatni akteri u urbanoj intervenciji su u kompleksnoj i dinaminoj vezi. De Kort et al. naglaavaju da:
Javni akteri u velikoj meri zavise od privatnih aktera iz razloga finansija, privatnog vlasnitva i nedostataka tehnikog, finansijskog i trinog znanja. Sa druge strane, privatni stakeholderi zavise od javnih poto ovi imaju autoritet vlasti i znanje o procedurama i administriranju. U kontekstu prostornog planiranja meupovezanost znai da pojedini stakeholder nema sva sredstva neophodna za izgradnju podruja te zavisi od drugih stakeholdera koji ta sredstva imaju. Ni jedan stakeholder ne moe ostvariti svoje ciljeve bez saradnje sa drugima. (Kort, de, Bult-Spiering, & Dewulf, 2005)

The overall aim of the urban strategic design is social, to include the cultural diversity and area identity in the broader context of community development. However, it means that it is necessary to examine interdependency of interested actors (stakeholders), mainly in the field of basic resources: authority, finances, information, land ownership and political commitment. Their economic role is, by all means, of utmost importance, but it is essential to take into account wider social concerns. Proposed project or regulation feasibility assessment
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Centralni cilj urbanog stratekog dizajna je socijalni, ukljuivanje kulturne raznolikosti i identiteta podruja u iri kontekst razvoja zajednice. Meutim, to znai da je neophodno preispitivati meupovezanost zainteresovanih aktera (stejkholdera), pre svega u domenu osnovnih resursa: autoriteta, finansija, informacija, vlasnitva nad zemljitem i politike podrke. Svakako da je od najveeg znaaja njihova ekonomska uloga ali je nuno sagledavati je u kontekstu irih drutvenih posledica. Ispitivanje realnosti predloenog projekta ili regulative je od kljunog znaaja u smislu omoguavanja njihove implementacije. Ona pre svega ukljuuje ekonomske faktore, mada obuhvata i procenu tehnikih, socijalnih, kulturnih i politikih, uticaja, kao i faktora koji utiu na nain na koji zajednica prihvata projekat. Ekonomska procena prevodi razliite aspekte projek-

5.3

is of key importance in order to facilitate their implementation. It mainly involves the feasibility to generate economic benefits, but also an assessment of technical, social, cultural, and political impact, as well as some of the factors that will determine how a project is perceived by the public. Economic assessment translates different aspects of the project into economic categories and enables an insight into benefits and costs for each investor. Different methods and determining factors for urban renewal projects feasibility assessment have been developed. In order to make an overall evaluation in culturally sensible intervention, social acceptability is an important factor. It provides the support of direct users which is essential for successful implementation. Urban marketing Cultural diversity has attracted more and more interest in the last twenty years with the efforts aimed at city renewal and economic development. It is the backbone in the definition of urban identity and city marketing. Cities try to gain advantage in a global competition and to attract money and capital by promoting their specific features, primarily through cultural tourism, entertainment industry, etc. which entails a chain of design consequences, innovative products, special types of spatial arrangements, organization of different events, programs and projects. As a politically attractive idea, cultural diversity is connected with economic benefits. It is argued that the extent to which cities can offer an open, tolerant and diverse milieu influence the decision of mobile wealth creators to invest in them. That is the reason for the replacement of the monocultural approach to city development by a more profitable multicultural that offers more options and different possibilities for adapting to constantly changing demands of the global market.
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ta u ekonomske kategorije i omoguava sagledavanje dobiti i trokova za svakog uesnika u investiranju. Postoje razliiti metodi i faktori koji odreuju izvodljivost projekata u urbanoj intervenciji. Da bi se realnost intervencije celovito procenila u odnosu na kulturno osetljive projekte socijalna prihvatljivost je znaajan faktor. Ona obezbeuje podrku direktnih korisnika prostora neophodnu za uspenu implementaciju. Urbani marketing Kulturna raznolikost postaje zanimljiva tema poslednjih dvadesetak godina u okviru napora usmerenih na obnovu gradova i unapreenja ekonomije. Ona predstavlja oslonac u definisanju urbanog identiteta i marketingu. Gradovi pokuavaju da se nametnu u svetskoj utakmici kroz privlaenja novca i kapitala svojim posebnostima, pre svega kroz kulturni turizam, industriju zabave, i sl. to povlai za sobom lanac posledica na dizajn, inovativne proizvode, posebne oblike prostornih aranmana, organizaciju razliitih dogaaja, brojne programe i projekte. Kao politiki privlana ideja kulturna raznolikost se povezuje sa ekonomskim dobicima. Zastupa se stav da su odluke mobilnog kapitala da investira u neki grad povezane sa nivoom otvorenosti, raznolikosti i tolerancije. To je razlog za zamenu monokulturnog pristupa razvoju grada profitabilnijim multikulturnim koji nudi vie opcija, razliite mogunosti prilagoavanja stalno promenljivim zahtevima globalnog trita. Takoe, kulturna raznolikost se moe razmatrati kao znaajan stimulans za razvoj kulturnog preduzetnitva koje otvara nova trita i u ekonomskim tokovima se sve vie istie kao novi oblik produktivne razmene. Osnovu za razvoj inovativnosti i uspostavljanje odrivosti kreativnog drutva znanja ine razliiti ljudi, njihove vetine, proizvodi i ukusi. Iako su ovi argumenti razvijeni u teoriji manadementa u korporativnom svetu, oni se sve vie prenose i na

Also, cultural diversity can be viewed as an important incentive for development of cultural entrepreneurship that opens new markets and gains more and more weight in economic flows as a new form of productive exchange. The basis for development of innovation and sustainability of creative knowledge-based society is in different people, their skills, products and tastes. Although these arguments have been developed in the theory of management in a corporate world, they are being increasingly endorsed in wider social and economic thinking and recognized by public sector and local authorities. During the last decades, entertainment industry, creative industry and cultural tourism have been in great expansion. Accepting the idea of culture as a foundation of the city system of production, Sharon Zukin notices that: cultural institutions establish a competitive advantage over other cities for attracting new businesses and corporate elites. Culture suggests the coherence and consistency of a brand name product. Like any commodity, cultural landscape has the possibility of generating other commodities (Zukin, 1995,12). Interest in cultural diversity affects planning and building, approach to regeneration of cities. Municipal budgets are adjusted, strategies and policies change. Changes in priorities are noticed, culture becomes an integrative factor in urban politics, a new field of cultural planning, planning for culture is introduced. However, in emphasizing the need to address the culture of cities as a resource, culture is often understood as an elite culture, high art. It includes cultural events, performances, concerts, exhibitions or presentation of historical heritage, valuable architectural buildings and areas that are supposed to promote the value of cities and to attract visitors. It is about the culture in the cities, planning of cultural infrastructure, management of cultural programs. Specific forms of cultural urban planning are propa106

ira drutveno ekonomska razmiljanja i prepoznaju u okviru javnog sektora i lokalnih uprava. Poslednjih decenija su industrija razonode, kreativna industrija i kulturni turizam u velikoj ekspanziji. Prihvatajui ideju kulture kao osnove gradskog sistema produkcije sociolog aron Zukin primeuje da: institucije kulture uspostavljaju konkurentnu prednost u odnosu na druge gradove kako bi privukli nove poslove i korporativne elite. Kultura sugerie koherentnost i konzistentnost brendiranog proizvoda. Kao svaki proizvod, kulturni pejza ima sposobnost stvaranja novih proizvoda. (Zukin, 1995,12) Interes za kulturne raznolikosti utie na planiranje i graenje, pristup regeneraciji gradova. Gradski budeti se prilagoavaju, strategije i politike menjaju. Uoavaju se promene u prioritetima, kultura postaje integrativni faktor u gradskim politikama, uvodi se nova oblast kulturno planiranje, planiranje za kulturu. Meutim, kada se naglaava potreba da se gradovi pozabave kulturom kao resursom, kultura se esto tretira kao elitna kultura, visoka umetnost. Ona ukljuuje kulturne dogaaje, predstave, koncerte, izlobe ili prezentaciju istorijskog naslea, vrednih arhitektonskih objekata i celina koje treba da promoviu vrednost gradova i da privuku posetioce. Govori se o kulturi u gradovima, planiranju kulturne infrastrukture, upravljanju kulturnim programima. Propagiraju se posebni oblici kulturnog urbanog planiranja, koje povezuje iroku definiciju kulture kao naina ivota, sa potenciranjem uloge umetnosti i njenim ukljuivanjem u svakodnevni urbani ivot. U tom smislu kulturno planiranje ne podrazumeva jednostavno dodavanje kulture kao jo jednog u nizu aspekata u planiranju, ve formulisanje strategije koja upotrebljava potencijal umetnosti i kulturnih aktivnosti u smislu davanja znaaja ivotima ljudi i u tom smislu, kao doprinos drutvenom i ekonomskom razvoju. Podravanje kulturnog identiteta u kontekstu mar-

gated, forms that include a very broad definition of culture as a way of life with the emphasis on the role of arts and its inclusion into urban daily life. In that sense, cultural planning does not mean simple adding of culture to the list, as another aspect in planning, but formulation of a strategy that exploits the potential of arts and cultural activity in order to give meaning to peoples lives and in this sense, contribute to social and economic development. The support for cultural identity in the context of city marketing also hides certain dangers. It becomes more important in what way the city is special and interesting, different looking from the outside, than to what extent it really reflects and supports a variety of cultural groups and styles of life that are developed in it (e.g. promoting the identity of Berlin, Barcelona, Vienna through city marketing). Emphasizing cultural identity through city marketing usually has a clear purpose. It is not meant to really support the distinctive features of a city, but to find ways to promote and sell in the market something that is defined as distinct. Cities, through very generalized strategies, design images about themselves, their imaginary identities, and communicate them to others (Neill & Schwedler, 2001). In this framework, cultural diversity is primarily interpreted as the culture of the dominant group that is trying to promote its differences in relation to other nations, countries and cities. Typically, the stereotype about the characteristics of dominant group is emphasized and the ways sought to represent it. In the global economy, local governments are expected to be actively engaged in providing recognisability for the community and creating its image. In that sense, the concept of intercultural community presents a new economic value and potential for development of a recognizable urban image that can take an important place at the global scene. City governments have become coordinators in the process of managing local development in which a wide
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ketinga grada krije i odreenu opasnost. Postaje vanije koliko je grad poseban i zanimljiv, drugaiji na spolja, nego koliko on stvarno odraava i podrava raznovrsnost grupa, stilova ivota koji se u njemu razvijaju (npr. promovisanje identiteta Berlina, Barselone, Bea kroz marketing grada.) Naglaavanje kulturnog identiteta kroz marketing grada najee ima jasnu svrhu. Ona nije u tome da se zaista podri ono to je u gradu posebno, ve da se nau naini da se neto to je definisano kao posebnost proda, valorizuje na tritu. Gradovi kroz svoje vrlo generalizovane strategije projektuju slike o sebi, svoje imaginarne identitete i komuniciraju ih drugima. (Neill & Schwedler, 2001) U takvom okviru, kulturna raznolikost, pre svega, podrazumeva kulturu dominantne grupe koja pokuava da promovie svoju razliitost u odnosu na druge nacije, zemlje, gradove. Naglaava se najee stereotip o karakteristikama dominantne grupe i trae naini kako da se on reprezentuje. U globalnoj ekonomiji od lokalne uprave se oekuje da aktivno radi na osiguravanju prepoznatljivosti zajednice i stvaranju njenog imida. U tom smislu, pojam interkulturne zajednice predstavlja novu ekonomsku vrednost i potencijal za razvoj prepoznatljive urbane slike koja moe zauzeti znaajno mesto na globalnoj sceni. Gradske uprave postaju koordinatori u procesu upravljanja lokalnim razvojem u koji je ukljuen veliki broj relevantnih aktera, uspostavljajui partnerstvo izmeu javnog i privatnog sektora. Socijalno odriva reenja su povezana sa prepoznavanjem specifinih zahteva to podrazumeva i obezbeivanje aktivnog uea raznolikih kulturnih grupa u njihovom kreiranju. Akteri i interesi Izgraen prostor je proizvod mnogih individualnih ili grupnih akcija u zauzimanju i unapreenju zemljita koje su motivisane odreenim potrebama i interesima. Pored direktnih korisnika prostora, stanovnika,

range of relevant actors is included, through a public-private sector partnership. Socially sustainable solutions are associated with recognizing specific requirements which also implies active participation of various cultural groups in their creation. Actors and interests The built environment is the product of numerous individual or group actions in occupying and upgrading land that are motivated by specific needs and interests. Besides direct users of space, residents, passers by, employees, who are relatively easy to detect, other actors, such as investors, contractors, local or international, public sector, city or local government, international organizations, etc. are also interested in urban space development. It is common that their logic and interests develop certain types of activities that do not support plurality of cultures in a community, nor create a desirable mixture of activities, but produce segregations and stereotypical environment. The main goal of private sector investors, as key participants in production of space, is profit generation. Their assessment of sites boils down to the possibility of making money, while the quality of urban surroundings, history and identity of buildings and areas, distinctive character of the local community are recognized merely to the extent that they overlap with particular interests of the investments. Interest for realization of profit through investment into real estate demands locations with fewer limitations for building, possibility of flexible attitude to the land, possibility of partition and merging of plots, efficiency in obtaining building permits, but also certainty regarding development of space in the future, predominantly having in mind future preservation and increase of value of the investment. Dominant interests, expressed by groups with influence and power, such as developers and politicians, can be confronted by civil public, first indirectly,
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prolaznika, zaposlenih, koje je relativno lako otkriti, za izgradnju prostora su zainteresovani i drugi akteri, investitori, preduzimai, lokalni ili internacionalni, javni sektor, gradske ili lokalne uprave, meunarodne organizacije itd. est je sluaj da njihova logika i interesi razvijaju odreene vrste aktivnosti koje ne podravaju pluralitet kultura zajednice, ne stvaraju poeljnu meavinu aktivnosti, ve proizvode segregaciju i stereotipno okruenje. Privatnim investitorma, kao glavnim nosiocima proizvodnje prostora osnovni cilj je ostvarenje profita. Njihovo vrednovanje lokacija se svodi na mogunost zarade, sa uvaavanjem kvaliteta urbanog okruenja, istorije i identiteta objekata i podruja, karaktera lokalne zajednice, samo u meri u kojoj se to poklapa sa partikularnim interesima investicija. Interes za ostvarenjem profita putem ulaganja u nekretnine zahteva lokacije sa manjim ogranienjima za izgradnju, mogunost fleksibilnog odnosa prema zemljitu, ukrupnjavanja ili deljenja parcela, efikasnost prilikom dobijanja dozvola za izgradnju, ali i izvesnost u pogledu razvoja prostora u budunosti, pre svega zbog ouvanja i poveanja vrednosti investicije. Dominantnim interesima, koje iskazuju uticajne i mone grupe aktera kao to su investitori i politiari, moe se suprotstaviti graanska javnost pre svega posredno, kroz svoje predstavnike u gradskoj ili lokalnoj upravi, ili neposredno, konkretnim akcijama u okviru razliitih formalnih i neformalnih graanskih udruenja i grupa. Brojni su primeri graanske inicijative u zatiti lokalnog ivota i objekata koji predstavljaju oslonac identiteta zajednice: borba, protest protiv ruenja lokalnog trnog centra, tradicionalnih kafana, ili za ouvanje lokalnih parkova i otvorenih prostora. Nain organizacije drave i izabrane politike, odreuju nadlenosti vlasti na odreenom nivou i obim regulative u usmeravanju process izgradnje. U zavisnosti od politikog sistema i nivoa decentralizaci-

5.4

through representatives in city and local government, or directly, by concrete actions within diverse formal and informal civil organizations and groups. Examples of civil initiative in protecting local life and buildings that support the identity of local community are numerous: campaign, protest against demolition of a local trade centre, traditional restaurants, or for preservation of local parks and open spaces. Organization of the state and political system define jurisdictions of government at a certain level and scope of regulations in governing the development process. Depending on the political system and level of decentralisation, development is governed mostly by city or local governments. It is possible that municipality and city authorities carry out different policies, which is reflected in different relation to the space that is managed, so that cities present a set of distinct entities.

je razvojem upravljaju preteno gradske ili lokalne vlasti. Deava se da optinske i gradske vlasti vode razliite politike to se odraava kroz razliit odnos prema prostoru kojim se upravlja tako da gradovi predstavljaju skup celina posebnog karaktera.

Lokalne razvojne politike

Za razvoj mehanizama upravljanja koji e omoguavati ostvarenje ne samo ekonomskih ve i drugih ciljeva potrebno je mnogo kreativnog rada. Mogunosti korekcije spekulacija sa nekretninama u trinom drutvu su velike i u tome profesija arhitekture i urbanizma moe imati znaajnu ulogu. U rukama lokalne uprave su brojni mehanizmi upravljanja, u veoj ili manjoj meri razvijeni i efikasni u zatiti i promociji specifinih vrednosti: urbanistiki planovi i projekti, zoniranje i regulativa, subvencije, selektivna politika oporezivanja, itd. Lokalne vlasti razvijaju metode pregovaranja putem kojih pokuavaju da pronau reenja koja e generalno zadovoljiti i privatni i javni interes kao i posebne interese lokalnih grupa. Kao podrku u tom procesu potrebno je razviti oblike planiranja i projektovanja koji e obezbediti ravnoteu ciljeva, precizirati konkretne prostorne elemente od kojih se ne moe odustati, ukoliko se na primer ele podrati kulturne karakteristike podruja i druge o kojima svaki investitor ima slobodu da odluuje. Tako na pr. regulativom u oblasti urbanog dizajna se mogu definisati dozvoljena prekoraenja u visini i zapremini objekata, kao kompenzaciju investitorima, ukoliko oni svojom gradnjom obezbede neke kvalitete koji predstavljaju odgovor na javne vrednosti. Mogue je i dodeliti odreeni bonus investitorima ukoliko obezbede sredstva za namene koje ne mogu opstati na tritu (prostori za kulturne aktivnosti, edukaciju, rekreaciju, mesta okupljanja posebnih drutvenih grupa, itd.). Lokalna vlast usmerava prostorni razvoj putem razvojnih politika i odluka uz podrku sredstava u lo110

Local development policies

Development of mechanisms of governance that will enable accomplishing not only economic, but also other goals requires a lot of creative work. Possibilities for correction of speculations with real estates in market-oriented society are great, and architecture and urban planning professions can have a significant role in it. In the hands of local governments are numerous mechanisms of governance, more or less developed and efficient in preservation and promotion of specific values: urban plans and projects, zoning and regulations, subsidies, selective taxation policies, etc. Local governments develop methods of negotiation, in an attempt to find solutions that are generally satisfactory both for private and public interests, as well as the interests of local groups. As a support in the process, it is necessary to develop forms of planning and design that will balance the goals and

define concrete spatial elements that can not be easily abandoned if one wants, for example, to support cultural characteristics of an area, and others that a developer has the freedom to decide on. Through urban design regulations, for example, overrides in heights or volumes of buildings can be permitted, as a compensation to developers if they provide some amenities that are considered as public values. Certain bonuses for developers can be allowed if they provide resources for uses which cannot survive in the market (places for cultural activities, education, recreation, gathering places for special social groups, etc). Local authorities manage spatial development through development policies and decisions, with the support of funding from local, city or even national budget. Decisions are made based on the assessment of development possibilities of an area, i.e. its development potentials. Beside the primary obligation of preserving healthy and safe environment, local government makes decisions on development priorities of specific areas. For example, decisions on replacement and upgrading of infrastructure, widening and outfitting of streets, expansion of capacities of plumbing and sewage systems are motivated by the need to preserve the basic quality of living environment as a main goal. However, the change in the quality of infrastructure of an area indirectly stimulates the process of change of physical structure, i.e. the change of range and quality of activities in the entire area. As a result of investment, the price of land and real estates goes up, which leads to moving out of the poor and moving in of the reach population, closing of small trade shops and services, local cafs and restaurants, etc, and their replacement with more profitable activities. These processes directly influence cultural diversity of an area (Jacobs, 1965). However, it should be stressed that in the process of considering different urban interventions, projects of public places, parks, pedestrian streets, etc. it is
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kalnom, gradskom ili ak i nacionalnom budetu. Odluke se donose na osnovu procene mogunosti razvoja nekog podruja, odnosno njegovih razvojnih potencijala. Pored osnovne obaveze ouvanja zdravog i bezbednog okruenja, lokalna uprava odluuje o razvojnim prioritetima konkretnog podruja. Tako na primer, odluka o zameni i unapreenju infrastrukture, proirenju i opremanju ulica, poveanju kapaciteta vodovoda i kanalizacije, ima za primarni cilj ouvanje osnovnog kvaliteta ivotnog okruenja. Meutim, promena kvaliteta infrastrukture nekog podruja indirektno podstie proces promene fizike strukture, odnosno promenu obima i kvaliteta aktivnosti u itavom podruju. Posledica ulaganja je podizanje cene zemljita i nekretnina to dovodi do iseljavanja siromanijih stanovnika i doseljavanja imunijih, zatvaranja malih trgovakih i uslunih radnji, lokalnih kafanica i restorana itd. i njihovo zamenjivanje profitabilnijim delatnostima. Ovi procesi direktno utiu na kulturnu raznovrsnost podruja. (Jacobs, 1965) Meutim, treba naglasiti da u procesu razmatranja razliitih urbanih intervencija, projekata javnih prostora, parkova, peakih ulica, itd. vrlo je vano proceniti mogunosti (resurse) lokalnog javnog sektora u odnosu na izgradnju, ali i u odnosu na upravljanje i odravanje. U tom smislu, upravljanje se takoe moe smatrati delom integralnog procesa stratekog dizajna. Okvir za projekte razvoja urbanih podruja predstavljaju lokalne strategije razvoja. Ukoliko su zasnovane na ideologiji kulturne raznolikosti one odreuju indikatore, mere ostvarenja ciljeva zasnovanih na kulturnim vrednostima. Time se omoguava kompetentno ispitivanje brojnih moguih pravaca razvoja koji predstavljaju okvir za zadovoljavanje potreba, interesa, zahteva i aspiracija zajednice, kao i pouzdani izbor kvalitetnog plana. Ovaj okvir omoguava odluivanje o akcijama koje treba preduzeti da bi se ilo u eljenom pravcu a da se u isto vreme brojne opcije ostave otvorenim za budunost.

vital to assess the capacity (resources) of local public sector not only regarding construction, but also management and maintenance. It places management firmly in the integral process of strategic design. The frameworks for urban projects are local development strategies. If they are based on the ideology of cultural diversity, it involves determining indicators, measures for achievement of goals based on cultural values. This enables the competent exploring of a range of possible development directions as a framework for fulfilment of community needs, interests and aspirations, as well as the informed choice of a single plan. Such a framework helps to make decisions about the actions that lead in a desired direction, whilst still keeping a range of options open for the future. Flexibility in strategic framework is linked with the possibility to modify policies, including monitoring procedures. These procedures are important to assess if construction is proceeding as planned, and to enable the feedback to influence policy change. Local governments today recognize that cultural freedom of individuals and communities is one of the prerequisites for democracy. In that sense, attention of local governments is focused on creating conditions for creative diversity and respecting different forms of diversity and particularities such as origin, visions, age, gender, ethnic groups and social class. Local governments focus their actions on creating suitable instruments that guarantee democratic participation of citizens in formulation, application and valorisation of public cultural policies. Instruments of local policy aimed at supporting cultural diversity imply direct investing into public programs, supporting private initiatives through suitable assistance, development of new models of micro credits, funds, tax benefits for investments oriented to cultural sustainability, etc.
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Fleksibilnost u stratekom okviru je povezana sa obezbeenjem mogunosti modifikacije politika, ukljuujui i procedure praenja. To je vano da bi se moglo proceniti da li se izgradnja razvija onako kako je anticipirana, i da bi se omoguilo da povratne informacije utiu na promenu politika. Lokalne uprave danas prepoznaju da kulturna sloboda pojedinaca i zajednica predstavlja jedan od uslova za demokratiju. U tom smislu, panja lokalnih uprava je okrenuta ka stvaranju uslova za kreativnu raznolikost uz uvaavanje raznih oblika raznolikosti i posebnosti kao to je poreklo, vizije, starost, rod, etnike grupe i socijalne klase. Lokalne uprave svoje delovanje usmeravaju ka kreiranju odgovarajuih instrumenata koji garantuju demokratsko uee graana u formulaciji, primeni i vrednovanju javnih kulturnih politika. Instrumenti lokalne politike usmerene na podrku kulturne raznolikosti podrazumevaju direktno investiranje u javne programe, podrku privatnim inicijativama putem odgovarajue pomoi, razvoj novih modela mikro kredita, fondova, poreske olakice za investicije namenjene kulturnoj odrivosti, itd. Ciljevi i principi oblikovanja Ciljevi i konkretni zadaci u procesu stratekog dizajna se u ciklinom procesu oblikuju u varijantama projekta. Na strunjacima je da razvijaju i ponude iroki spektar moguih urbanih budunosti, saopte ih razumljivim jezikom i modifikuju kroz komunikaciju sa predstavnicima zajednice. Pri tom, ciljevi nisu vie definisani samo u optem obliku, kao unapreenje zdravlja, bezbednosti, ekonomskog razvoja, ve se prevode na mogue konkretizacije koje su za zajednicu vane. Na primer, ako se kao cilj predlae integracija stanovnika, na primer dve razliite etnike, socijalne grupe, potrebno je ponuditi naine kako e se to dogoditi. Da li e se to ostvariti projektima javnih prostora, na pr. parka u kojem e biti ponueni sadraji prilagoeni jednoj i drugoj grupi, tako da ih

5.5

Goals and principles of design Goals and specific assignments in strategic design process are iteratively shaped through project versions. It is up to the professionals to develop and offer a wide range of alternative urban futures, present them in an easy to understand language and modify them through communication with representatives of the community. Thereby, goals are no longer defined just in a general form, as improving health, security, economic development, but are translated into specific achievements significant for the community. For example, if integration of habitants (e.g. two different ethnic, social groups) is proposed as a goal, it is necessary to offer scenarios of how it will happen. Will it be accomplished through projects of public spaces, for example a park where contents adjusted to both groups will be offered, so that they can use it mutually, or will it be a special kind of trade, a bazaar, that is in the tradition of one group, but most certainly the other will also be interested in shopping there? Or will the integration be prompted by different mixed uses of facilities and space? That is why it is necessary for urban designers at the local level to have a certain freedom to apply to an identified problem or challenge the approach and solutions tailored to specific conditions. It is contrary to common hierarchic systems of decision-making: higher ranking goals and policies are transferred vertically through the system (bottom-up), while the reverse links from the lowest level (local) to the city, regional or the highest, national level, are very weak. The same holds true for the formally defined work procedure which is reduced and restrictive. Efficient urban intervention demands a multitude of concrete solutions that respond to the needs of different groups. As the agreement on primary, as well as secondary goals, should reflect citizens values, significance of the goal is closely related to stakeholders interests and possibilities for their participation in realization of the goal.
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mogu zajedno koristiti? Ili e to biti poseban oblik trgovine, bazar, koji je u tradiciji jedne grupe, ali e sigurno i druga imati interesa da u njemu kupuje? Ili razliite varijante meovitih upotreba objekata i prostora? Za to je potrebno da urbani dizajneri na lokalnom nivou imaju odreenu slobodu da za uoeni problem, izazov, upotrebe pristup i reenja koji e odgovarati specifinim uslovima. To je u suprotnosti sa uobiajenim hijerarhijski zasnovanim sistemima usmeravanja: ciljevi i politike vieg reda prenose se vertikalno kroz sistem (odozgo na dole) gde su povratne veze od najnieg nivoa (lokalnog) ka gradskom, regionalnom i ka najviem, nacionalnom, vrlo slabe. Isto je sluaj i sa formalno propisanom procedurom rada koja je redukovana i ograniavajua. Efikasna urbana intervencija zahteva mnotvo konkretnih reenja koja odgovaraju potrebama razliitih grupa. Kako dogovor oko primarnih, kao i sekundarnih ciljeva, treba da odraava vrednosti graana, vanost cilja je blisko povezana sa interesima aktera kao i njihovim mogunostima da uestvuju u realizaciji tog cilja. Vaan zadatak u okviru stratekog pristupa urbanom dizajnu je odreivanje predmeta, obima i vrste intervencije kao i ulaznih parametara iz ireg okruenja. Da bi se to definisalo vano je razumeti: - kako ekonomija lokalna i globalna usmerava, odreuje investicije u prostoru, - kako su interesi razliitih drutvenih grupa povezani sa zemljitem, vlasnitvom, odnosno, kakva je priroda njihovih odnosa sa ekonomskim procesima, - kako se vlast, uprava ponaa u odnosu na razliite interese, pre svega ekonomske, koji vre pritisak? (Lazarevi Bajec, 1996) S obzirom na specifinost svakog zadatka urbana analiza stalno procenjuje kakvi su uslovi potrebni da bi se ostvarili ciljevi zajednice:

An important task within the strategic approach to urban design is determining the object, scope and type of intervention, as incoming parameters from wider surroundings. In order to define them, it is important to understand the following: - How does economy, both local and global, guide, determine investments in space? - How are the interests of different social groups connected to land and ownership, i.e. what is the nature of their relation with economic processes? - How do the authorities, government behave related to different interests, primarily economic ones, that are exerting pressure (Lazarevi Bajec, 1996)? In view of the specific character of each assignment, urban analysis constantly estimates the conditions necessary to accomplish the community goals: a. what form of regulations, control of construction is necessary in the specific case; b. what are the necessary means, public or private; c. what institutional organisation, which groups and organisations will be involved in implementing the plan, different forms of partnership in construction; d. what compromises are possible on numerous conflict issues (analysis of social groups relevant for ensuring agreements, possible forms of cooperation)? Protection or support to new spatial forms or activities that are of significance for identity of an area include also the analysis of the manner in which ideas are to be implemented. The starting point are the basic principles common to most situations and more or less unchangeable, such as definition of the street, introduction of active frontages, regulating density, variety of building use and ownership, etc. Urban regulations that include defining of conforming and non-conforming land uses, as well as forms of construction, are the means for establishing a ne115

a. kakav oblik regulative, kontrole izgradnje je potreban u konkretnom sluaju; b. kolika su potrebna sredstva, javna i privatna; c. kakva institucionalna organizacija, koje grupe i organizacije e se baviti ostvarivanjem plana, razliiti oblici partnerstava u izgradnji; d. kakvi kompromisi su mogui oko brojnih konfliktnih pitanja (analiza drutvenih grupa relevantnih za obezbedjenje dogovora, mogui oblici saradnje)? Zatita ili podrka novim prostornim oblicima ili aktivnostima koje su od vanosti za identitet podruja obuhvata i sagledavanje naina na koji e se ideje ostvariti. Polazi se od osnovnih principa koji su zajedniki svim situacijama i manje vie nepromenjivi kao to su na pr. definisanje ulice, odreivanje aktivne veze privatnog i javnog prostora, regulisanje gustine, raznovrsnost upotrebe objekata i vlasnitva itd. Urbana regulativa koja obuhvata definisanje dozvoljenih i nedozvoljenih upotreba zemljita kao i naina izgradnje je sredstvo za uspostavljanje okvira za pregovaranje. Kako u izgradnju uglavnom ulau privatni investitori, lokalni, nacionalni, globalni, potrebno je kreirati prostorna reenja koja e omoguiti ekonomski realne investicije (metod podrazumeva stalnu proveru realnosti predloga), ali i jasno formulisati one delove regulative koji e predstavljati zatitu identiteta i biti odgovor na zahteve zajednice. Svaki segment regulative bi trebalo da ima svoju preciznu definiciju i jasno prostudiranu vezu sa ciljevima koji se ele ostvariti. Kako se susreemo sa brojnim esto suprotstavljenim zahtevima, potrebno je definisati i meuprostor u kome se pregovara i pokuava nai reenje. Na primer, ako je za zajednicu neophodno postojanje specifinih zajednikih javnih prostora mogue je ograniiti gabarite objekata, a interes investitora za njihovo poveanje kroz na primer, izgradnju potkrovlja, veih volumena, usloviti odstupanjima u prizemlju, izgradnjom arkada ili trgova sa sadrajima vanim za lokalne aktivnosti; nova izgradnja u vrednim podrujima se moe povezati sa

gotiating frame. Given that construction is typically financed by private developers, local, national and global, it is necessary to create spatial solutions that will enable economically feasible investments (the method implies constant verification of feasibility of proposal), and also to clearly define those segments of regulations that will safeguard the identity and respond to the demands of the community. Each segment of regulations should have its precise definition and clearly studied connection to the goals to be accomplished. As we are confronted with many opposing demands, it is necessary to determine space for negotiation and attempts for finding a solution. For example, if existence of specific mutual public spaces is necessary for the community, it is possible to limit dimensions of buildings. At the same time, natural developers interest in enlargement through, for example, building of attics and bigger volumes can be conditioned by exceptions at ground floor, through building of arcades or squares with contents important for local activities; new building in valuable areas can be linked to the obligation of renewal of neighbouring, old buildings where current users remain. True challenge in professional work is to create conditions for profitable projects that will at the same time satisfy social goals of the community. Maintaining of appropriate mixture of activities does not imply only their protection through land use, but also detailed measures that will, with participation of private and public sector, provide for their existence. For example, survival of small family stores where direct face to face contact between owner and buyers is wanted largely depends on the number of specific users. If it is ensured that they are located between strong magnets, for example large trade shops, or around public transportation stops, i.e. if they are preserved within continual trading flows, uninterrupted by non-attractive content, their survival will be supported.
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obavezom obnove susednih, starih objekata u kojima se zadravaju postojei korisnici. Pravi izazov u profesionalnom radu je kreiranje uslova za profitabilne projekte koji e u isto vreme zadovoljiti i drutvene ciljeve zajednice. Odravanje odgovarajue meavine aktivnosti ne podrazumeva samo njihovu zatitu kroz namenu povrina, ve i detaljne mere kojima e se, uz uee privatnog i javnog sektora, obezbediti njihova egzistencija. Na primer, opstanak malih porodinih radnji u kojima je poeljan direktan kontakt vlasnika i kupaca je u velikoj meri zavisan od broja specifinih korisnika. Ukoliko se obezbedi da se one nau izmeu jakih magneta, na primer velikih trgovakih radnji, ili oko stanica javnog prevoza, odnosno, ako se zadre u okviru kontinualnih tokova trgovine, koja nee biti prekinuta neatraktivnim sadrajima, njihov opstanak e biti podran. U integralnom pristupu se snano naglaava potreba kontinualne procene ekonomske realnosti predloga. Regulisanje, ograniavanje privatne inicijative ima svoje granice. Potrebno je definisati samo one elemente koji su od znaaja za ostvarivanje prioritetnih ciljeva i ostaviti investitorima prostor da razvijaju svoje interese u okviru jasno postavljenih granica. Uspostavljanje pravila koja omoguavaju bolja reenja i ostvarenje ciljeva lokalne zajednice, bez poveanja ukupnih trokova investitora, ima vie ansi da se sprovede nego striktne zabrane i strogi reim zatite. Treba napomenuti da je uloga stratekog dizajna u veoj meri u postavljanju mera uinka koje podstiu kvalitet izgraenog okruenja, nego propisivanje pravila. Na taj nain se podstie raznovrsnost reenja i ne ograniava kreativnost. Regulativa za urbani dizajn Ukoliko je osnovni cilj urbane intervencije ouvanje lokalnog identiteta kulturne raznolikosti, potrebno je pronai adekvatne mere koje e omoguiti realizaciju ovog cilja. Regulativa koja e npr. ograniavati ve-

Integral approach strongly emphasises the need for continual assessment of economic feasibility of the proposal. Regulation of private initiative has its limitations. It is necessary to define only those elements that are of significance for achieving priority goals and leave space for developers to develop their own interests within clearly set boundaries. Established rules that enable better solutions and accomplishing goals of local community, without increase of total expenses of the developer, have more chance of being implemented than prohibitions and strict regime of protection. It should be noted that the role of strategic design is more to set performance targets that raise the quality of built environment, than to prescribe rules. In that way creativity is not restricted and diverse solutions are stimulated. Urban design regulations If the major goal of urban intervention is preservation of local identity of cultural diversity, it is necessary to find suitable measures that will enable the realisation of this goal. Regulatory rules that define size of shops or restaurants (insist on smaller units) or exclude possibilities of locating banks, branches, agencies at the ground level of buildings, can help to maintain traditional activities or contribute to their transformation. Careful professional design of regulatory rules for culturally delicate areas can include considering a series of measures that would secure support to local government or different groups that attempt to protect local cultural diversity. It includes a set of design rules and requirements (illustrative examples) which guide the spatial development in a desired direction: reinforcing local patterns of streets and public places, building tradition that supports successful integration of different activities, physical components such as forms, materials, details, specific features of two-dimensional as well as the three dimensional structures of place.
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liinu radnji ili restorana (insistirati na manjim jedinicama) ili iskljuivati mogunost lociranja banaka, predstavnitava, agencija u prizemljima objekata, moe pomoi zadravanju tradicionalnih aktivnosti, odnosno njihovoj transformaciji. Paljivo struno definisanje regulative za kulturno osetljiva podruja moe obuhvatiti i razmatranje niza mera koje bi predstavljale podrku lokalnoj upravi ili razliitim grupama koje pokuavaju da zatite lokalnu kulturnu raznolikost. To obuhvata skup pravila i propisa (ilustrativnih primera) koji usmeravaju organizaciju prostora u eljenom pravcu: podravanje matrice ulica i javnih prostora, tradicije izgradnje koja obezbeuje uspenu integraciju razliitih aktivnosti, fizikih komponenti kao to su oblici, materijali, detalji, posebnih karakteristika dvodimenzionalnih i trodimenzionalnih prostornih struktura. Regulativna pravila, mere, obuhvataju stvaranje uslova (prostornih i funkcionalnih) ne samo za izgradnju i odvijanje dominantnih stalnih aktivnosti ve i podrku lokalnom ivotu kroz stvaranje uslova za raznolikost u vremenu, organizaciju povremenih specifinih dogaaja kao to su karnevali, izlobe, festivali, ulina trgovina odreenim danima, manifestacije razliitog karaktera kroz koje se obezbeuje ouvanje lokalnog identiteta. Da bi kulturna raznolikost, meavina razliitih drutvenih grupa i ivotnih stilova opstala u uslovima trita koje neminovno vri segregaciju, neophodno je paljivo struno intervenisati. To podrazumeva poznavanje i primenu skupa mera koje e uticati na povezivanje razliitih oblika meavina: socijalne (kultura, prihodi, vlasnitvo, demografija), ekonomske (oblici aktivnosti, nivoi proizvodnje i potronje), fizike i prostorne (upotreba, nain izgradnje, zoniranje) i vremenske (razliita korienja prostora u vremenskim jedinicama). (Evans& Foord, 2007) Ostvarenje ovih zahteva podrazumeva razvijanje novih instrumenata koji mogu promeniti pristup urbanom dizajnu.

Regulatory rules and measures include creating conditions (spatial and functional) not only for building and realization of dominant permanent activities, but also the support to local life through providing conditions for temporal diversity, for organization of occasional specific events, such as carnivals, exhibitions, festivals, daily street trade, manifestations of different character, that provide preservation of local identity. If cultural diversity, a mixture of different social groups and life styles is to survive in market conditions, which inevitably entail segregation, it is necessary to intervene with great professional care. This includes knowledge and application of a set of measures that will affect the interconnection of different types of mixes: social (culture, income, tenure, demography), economic (types of activities, levels of production and consumption, scales), physical and spatial (use, type of buildings, zoning), and time (different use of space in time units) (Evans& Foord, 2007). In order to achieve these requirements, new instruments need to be developed that could change the approach to urban design.

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5.6

6.1

Agenda for urban practice

Redefining the approach to urban interventions
Contemporary urban intervention, i.e. the process of steering spatial development and shaping the environment, relies on the concept of dialog between different actors. In a general model it means recognizing and respecting individual interests and reconciling them in the process of searching for solutions. That way, democratic character of the process that lies in the base of the new concept, shifts the focus of planning and design to the local level where individual values and aspirations are more easily recognized and respected. Participation of actors/stakeholders in decision making, planning and design significantly changes the method of creating ideas, as well as the character of the product. The process is tailored to facilitate effective communication among numerous participants, their mutual understanding and willingness to achieve the agreements. Significant change occurs also in selection of development direction, where the responsibility for adopting the regulatory framework for construction is shared with actors and assumes their ability for reasonable decision-making. The expertise in clearly defined areas and formal hierarchically defined procedures are replaced with a new concept that assumes interaction and creation of the process as well as the product and poses a challenge for professionals, administration and numerous actors. The administration is forced to approach each task open-mindedly, by allowing various adequate forms in its definition. Professionals in spatial disciplines, on the other side, are oriented towards recognition of urban dynamics, assessment and synthesis of wider interests, experiences and knowledge. It means that the scope of their work includes not just projects or urban regulations that
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Agenda za urbanu praksu

Redefinicija pristupa urbanim intervencijama
Savremena urbana intervencija, odnosno proces usmeravanja prostornog razvoja i oblikovanja okruenja, poiva na konceptu dijaloga izmeu razliitih aktera. U optem modelu to podrazumeva prepoznavanje i uvaavanje pojedinanih interesa i usaglaavanje u procesu traganja za reenjima. Demokratinost procesa, koja lei u osnovi novog koncepta, na taj nain teite planiranja i kontrole prebacuje na lokalni nivo na kome se prepoznaju i potuju konkretne vrednosti i aspiracije. Uee aktera/stakeholdera u procesu odluivanja, planiranja i projektovanja bitno menja nain dolaska do ideja kao i karakter proizvoda. Proces se prilagoava potrebama efikasne komunikacije izmeu mnogobrojnih uesnika, njihovom meusobnom razumevanju i spremnosti za postizanje dogovora. Bitna promena se deava i u domenu izbora pravca razvoja, gde se odgovornost za usvajanje regulativnog okvira za izgradnju deli sa akterima i podrazumeva njihovu sposobnost za razumno odluivanje. Zamena ekspertize u jasno definisanim podrujima, uz formalno hijerarhijski ureene procedure novim konceptom koji podrazumeva interakciju i kreiranje kako samog procesa rada tako i proizvoda, predstavlja izazov za strunjake, upravu i brojne aktere. Uprava je prinuena da otvoreno pristupa svakom pojedinom zadatku dozvoljavajui primerene oblike njegovog definisanja. Strunjaci za prostorne discipline su sa druge strane usmereni na prepoznavanje urbane dinamike, procenu i sintezu ireg polja interesa, iskustava i znanja. To znai da predmet njihovog rada nisu samo projekti, odnosno, urbana regulativa, koje treba oblikovati prema utvrenim ciljevima i zadacima, ve je pred njima i zadatak uobliavanja procesa koji e ukljuiti raznovrsnosti

are designed based on the predetermined goals and aims, but also the task of shaping the process so as to include diversities and enable exchange and interaction. Strategic design calls for knowledge and skills expansion, as well as an open-minded approach that continually adapts the context in which urban designers and different social groups learn and experiment, engage in a dialogue, redefine the system that allows action and involvement in urban interventions.

i omoguiti razmenu i interakciju. Strateki dizajn upuuje na proirivanje polja znanja i vetina, kao i otvorenost pristupa koji kontinualno adaptira kontekst u kome urbani dizajneri i razliite drutvene grupe ue i ekserimentiu, ulaze u dijalog, redefiniu sistem koji omoguava akciju i ukljuivanje u urbane intervencije.

Mogunosti i ogranienja
Kreativno istraivanje i promena ustanovljene prakse predstavlja sloen izazov u zemljama u razvoju, kao to je na primer Srbija. Formalni sistem upravljanja prostornim razvojem ograniava eksperimentisanje, prostor za ukljuenje aktera je ogranien, onemoguen je uvid u raznolikost argumenata. Suoavamo se sa neadekvatnim informacijama, nerazvijenim procedurama i nejasnim nadlenostima koje su preduslov za unapreenje procesa. Ukoliko urbana intervencija treba da bude vrednosno i etiki zasnovano traganje i delanje u odnosu na razliite drutvene faktore, potrebno je da obuhvati preispitivanje i konkretizovanje vrednosti i ciljeva drutva. U razvijenom svetu postoji koncenzus oko vrednosti u drutvu te problem profesionalne ideologije moe biti usmeren na njihovo identifikovanje i uspostavljanje veza meu razliitim ideologijama. U Srbiji, meutim, sistem vrednosti i ciljeva, drutvenih i grupnih, nije jasno oblikovan, te je zadatak urbanih dizajnera znatno tei. Sa jedne strane, oni ne mogu participirati ravnopravno u razmeni znanja i produktivno koristiti iskustva razvijenijih zemalja poto ona najee nisu primenljiva na konkretnu drutvenu situaciju. Sa druge, oni su suoeni sa nedovoljno jasno formulisanim i stalno promenljivim stavovima aktera koji su ukljueni u proces donoenja odluka, bilo kao investitori, uprava ili graani. Stoga, urbani dizajneri u tim uslovima imaju posebne zadatke koji obuhvataju kako razjanjenje drutveno ekonomskih faktora i kulturne istorije, koji su ukljueni u oblikovanje urbanog prostora u specifinim okolnostima,
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Possibilities and limitations

Creative research and change of established practice present a complex challenge in developing countries, such as Serbia. The formal spatial development management system poses constraints to experimentation, leaves limited room for stakeholder involvement and disables the access to a variety of arguments. We are confronted with inadequate information, lack of procedures and unclear mandates, which are the prerequisites for the improvement of the process. If urban intervention is to be a value based and ethical inquiry and practice in relation to various social factors, it needs to review and concretize values and objectives of a society. In the developed world there is a consensus about values in a society, therefore, the issue of professional ideology could be directed towards identifying them and developing links between different ideologies. In Serbia, however, the system of values and goals, either in the society or particular groups, is vague, which makes the urban designers task much more complex. On the one hand, they cannot participate equally in the exchange of knowledge and productively use the experiences of developed countries as they are often not applicable to the specific social situation. On the other, they are faced with vaguely defined and rapidly changing positions of actors that are involved in the decision making process, be it developers, administration or citizens. In such circumstances, urban designers

have to perform specific tasks, such as interpreting socio economic factors and cultural history relevant for designing urban places in particular situations, harmonizing actors experiences with new forms of space production in the modern world, as well as determining their own role and mission. After the 2000 regime change in Serbia and a turn to democracy and market economy, local governments in Serbia, with the help of international organizations, have started to recognize cultural freedoms of individuals and communities as one of the prerequisites for democracy. In that sense, local public policies are trying to respect different forms of diversity such as ethnicity, religion, age, gender, and other distinct features. But they are just beginning to create suitable spatial management instruments that guarantee recognition of cultural differences and application of adequate public cultural policies. The instruments of local policies focused on supporting cultural diversity imply not just planning and design but also direct investment into public programs, assistance to private initiatives, allocation of funds, tax benefits for investments that ensure cultural sustainability etc. Although policies supportive of cultural diversity have been adopted in Serbia, institutions and parts of the system that need to institute fundamental changes are missing. Therefore, spatial intervention through planning and design remains as the only instrument for establishing spatial order. The next challenge is to replace the old socialist ineffective system of planning and design with the new one that will not only support the increasing pressure of development, but also take into consideration alternatives and develop a system that will enable culturally sensitive initiatives to influence the place making. Serbian society is in a process of pluralisation and is becoming more and more multicultural. It can be argued that new processes and strategies have to be conceived in such a way to assist the engagement
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usklaivanje iskustava aktera sa novim oblicima proizvodnje prostora u savremenom svetu, tako i odreivanje sopstvene uloge i misije. Nakon promene reima u Srbiji 2000. godine i prelaska na demokratski sistem i trinu ekonomiju, lokalna uprava u Srbiji je, uz pomo meunarodnih organizacija, poela da prepoznaje kulturne slobode pojedinaca i zajednica kao jedan od preduslova demokratije. U tom smislu lokalne javne politike pokuavaju da potuju razliite oblike raznolikosti i posebnosti kao to su etnicitet, religija, starost, rod i druge karakteristike. Meutim, one su jo na poetku stvaranja odgovarajuih instrumenata prostornog usmeravanja koji garantuju prepoznavanje kulturnih razlika i primenu adekvatnih kulturnih politika. Instrumenti lokalnih politika usmereni na podrku lokalne raznolikosti ukljuuju ne samo planiranje i dizajn ve i direktno ulaganje u javne programe, podrku privatnoj inicijativi kroz odgovarajuu pomo, odreivanje fondova, poreske olakice za ulaganja usmerena na kulturnu odrivost itd. Iako su politike podrke kulturnoj raznolikosti usvojene u Srbiji, nedostaju institucije i delovi sistema koji bi doneli sutinske promene, to prostornu intervenciju kroz planiranje i dizajn istie kao jedini instrument uspostavljanja prostornog reda. To predstavlja izazov za zamenu starog neefikasnog socijalistikog sistema planiranja i dizajna novim, koji e ne samo podrati rastui pritisak na izgradnju, ve ispitati i alternative i razviti sistem koji e omoguiti uticaj kulturno osetljivih inicijativa na proizvodnju prostora. Srpsko drutvo je u procesu pluralizacije i postaje sve vie multikulturno. Moe se podrati stav da novi procesi i strategije treba da budu tako koncipirani da pomognu ukljuivanje strateke urbane intervencije u razvoj multikulturnih zajednica koje e se uspeno nositi sa promenama i oblikovanjem novih kulturnih formi. Zadaci su takoe usmereni ka uspostavljanju novih oblika kooperativnog dijaloga i prakse odlui-

of strategic urban intervention in the development of multicultural communities that will successfully cope with changes and shaping of new cultural forms. The tasks are also oriented towards establishing new forms of cooperative dialogue and decision making practi-ces, as well as thinking through and modifying professional approaches. With the democratization of the society and market influences there are tendencies that shift urban intervention towards socio-economic policies on the one side, and architecture, i.e. construction, on the other. In the situation when there is a gap between general policies that are not translated into locally specific measures and solutions, when comprehensive abstract plans are gathering dust in the local government offices and when major developments are based on architectural projects initiated by developers, we support a specific integration of approaches that can be achieved within the field of urban design.

vanja koji treba da se razviju, ukljuujui i promiljanje i promenu profesionalnih pristupa. Sa demokratizacijom drutva i uticajima trita javljaju se tendencije koje pomeraju urbanu intervenciju ka drutveno-ekonomskim politikama sa jedne strane i arhitekturi, odnosno, graenju, sa druge. U situaciji kada postoji jaz izmeu optih politika koje nisu prevedene na lokalno specifine mere i reenja, kada sveobuhvatni apstraktni planovi skupljaju prainu u kancelarijama lokalne uprave i kada je izgradnja zasnovana na arhitektonskim projektima iniciranim od strane preduzetnika, podravamo specifinu integraciju pristupa koja moe da se desi unutar oblasti urbanog dizajna.

Nova uloga urbanog dizajna

Lokalni nivo upravljanja u savremenim gradovima dobija znaajnu ulogu. U procesu uestvuju brojni akteri/stakeholderi sa stalno promenljivim interesima i potrebama. To uslovljava potrebu koncipiranja asimetrinog sistema odluivanja koji podrazumeva meavinu upravljanja na razliitim prostornim nivoima. Kako se konkretna izgradnja deava na lokalnom nivou i u odreenom vremenu, u pripremi svakog konkretnog urbanog projekta otvara se potreba preispitivanja politika, strategija, ciljeva definisanih na drugim nivoima kao i njihova procena. Nov koncept urbanog dizajna, dakle, podrazumeva promene procesa koji kree od preispitivanja i modifikacije generalne strateke vizije razvoja grada u odnosu na lokalne okolnosti, i formulisanja posebnih, kulturno osetljivih oblikovnih principa i politika. Lokalna vizija nije statina ve se stalno proverava i renovira, prema konkretnim, aktuelnim potencijalima i mogunostima razvoja. To znai da se na nivou svake konkretne akcije, urbanistikog projekta, vizija proverava i adaptira koliko je to potrebno i mogue. Prihvaene smernice odraavaju karakter zajednice, skup interesa i inicijativa usaglaenih sa realnim
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The new role of urban design

Local level governance in the modern city gets a significant role. The process involves numerous actors/ stakeholder with constantly changing interests and needs. This calls for a design of asymmetric decision-making system that includes a mixture of management at different spatial levels. As the concrete construction takes place at the local level and in the defined time frame, in the preparation of a specific urban project there is a need to review and reassess the policy, strategy and objectives defined on other levels. The new concept of urban design, therefore, entails changes in the process, starting from examining and modifying the general strategic vision of city development in view of local circumstances, to shaping of specific, culturally sensitive design principles and policies. The local vision is not static, but constantly verified and reformulated, according to specific cur-

rent potentials and development opportunities. This means that at the level of each specific action, urban project, vision is reviewed and adjusted as much as necessary and possible. The accepted guidelines reflect the character of the community, set of interests and initiatives, harmonized with real possibilities and capacities. It is considered that wide participation of individual interests guarantees legitimacy of the process and enables efficient implementation. In such a concept of steering development by a bottom-up-approach, it is necessary to secure a dynamic relationship, interconnection with the policies and plans of higher rank, as well as development of mechanisms that enable embedding of local projects into strategies and policies at higher level. Contemporary urban design concept significantly changes the role of a designer who, in the conditions of participation of large number of participants, takes on multiple important roles. Complex circumstances of participatory process demand new experts trained for communication with participants with different qualifications and abilities, in order to steer their participation towards clarifying values and formulating detailed regulations based on such values. A new urban designer is expected to provide solid technical support in terms of methodological guidance in the process of determining spatial arrangements, as well as to translate local initiatives into creative design solutions. This includes the ability of synthesis, correlating different views of urban areas, recognition of strategic ideas and development priorities.

mogunostima i kapacitetima. Smatra se da iroko uee pojedinanih interesa garantuje legitimnost procesa i omoguava efikasnu implementaciju. U ovakvom konceptu usmeravanja razvoja, gde se proces kree odozdo na gore, neophodno je obezbediti dinamiki odnos, meusobno usklaivanje lokalnih predloga sa politikama i planovima vieg reda, odnosno razvoj mehanizama koji obezbeuju ugraivanje specifinih lokalnih projekata u planske strategije i politike na viem nivou. Savremen koncept urbanog dizajna bitno menja ulogu dizajnera koji, u uslovima participacije velikog broja uesnika, preuzima vie znaajnih uloga. Sloene okolnosti u kojima se odvija participativni proces zahtevaju novog strunjaka obuenog za komunikaciju sa uesnicima razlilitih kvalifikacija i sposobnosti za usmeravanje njihovog uea u pravcu razjanjenja vrednosti i formiranja na njima zasnovane, detaljne regulative. Od novog urbanog dizajnera se oekuje pruanje vrste tehnike pomoi u smislu metodolokog usmeravanja procesa definisanja prostornog reda, kao i delovanje u smeru prevoenja lokalnih inicijativa u kreativna oblikovna reenja. To podrazumeva sposobnost sinteze, objedinjavanje razliitih vienja urbanog podruja, prepoznavanje strtatekih ideja i razvojnih prioriteta.

Dizajn i kultura
Savremene tendencije, koje odlikuju globalno drutvo, kreu se u pravcu interakcije kulturnih tradicija i oblika u pravcu stvaranja interkulturnog drutva. Na promene u lokalnim tradicijama umnogome utiu migratorni procesi, koji u savremenim okolnostima poprimaju nove oblike. Nove generacije migranata pokreu novi ekonomski uticaji, pre svega usmereni na razvoj znanja i kreativnog drutva. Novouspostavljeni sistemi vrednosti i globalni procesi dovode do stvaranja specifinih kulturnih meavina koje menjaju lokalne tradicije. Dinamiki procesi utiu na promene u ivotnim stilovima, navikama, kulturnim obrascima, razvijajui nove hibridne identitete. Kao
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Design and culture

Contemporary tendencies in the global society support the interaction of cultural traditions and forms toward creating an intercultural society. Local traditions are significantly modified by migratory processes that in contemporary circumstances take new forms. New generations of migrants are motivated

6.2

by new economic influences, most of all the ones aimed at development of knowledge and creative society. Newly established value systems and global processes lead to creation of characteristic cultural mixtures challenging local traditions. Dynamic processes affect lifestyles, habits, cultural patterns, developing new hybrid identities. As a result, people in cities develop multiple identities and form new communities that require different spatial forms, i.e. spatial solutions that correspond to new life styles. Global economy on its part views new cultural forms as a new value. Namely, standardisation and unification, as dominant characteristics of contemporary cities, provoke reactions in the direction of encouraging cultural diversity. In a multitude of uniform cities and urban environments, local governments become sensitive to local particularities accepting them as a significant potential for economic development. In contemporary world, cities are observed as training grounds for international investments and they seek to enhance their competitiveness on the global scene. New possibilities for attracting investments are searched for. In that sense, local particularities of cities, i.e. their characteristic communities, become a significant economic resource. Their recognisability on the global scene means creating an attractive urban image, i.e. recognizable urban and physical surroundings. In such circumstances, where it is necessary to identify and acknowledge local potentials, to recognize main owners of development projects, and upgrade local environment in terms of creating a recognizable image, interdisciplinary character of urban designers profession gains an extremely important role. The general approach to culturally sensitive urban interventions adopted in this book requires re-examination of conventional approaches to urban design. The method that is supported here explores the potentials of strategic approach to spatial develop127

posledica ljudi u gradovima razvijaju viestruke identitete, formiraju se nove zajednice koje trae drugaije prostorne oblike, odnosno prostorna reenja koja odgovaraju novim ivotnim stilovima. Sa druge strane, globalna ekonomija nove kulturne forme posmatra kao novu vrednost. Naime, standardizacija i unifikacija kao dominantne karakteristike savremenih gradova, izazivaju reakcije u pravcu podsticanja kulturne raznolikosti. U mnotvu uniformnih gradova i urbanih sredina lokalne uprave postaju osetljive na lokalne specifinosti prihvatajui ih kao znaajan potencijal za ekonomski razvoj. U savremenom svetu gradovi se posmatraju kao poligon za internacionalne investicije to uslovljava potrebu za podizanjem konkurentnosti na globalnoj sceni. Traga se za novim mogunostima privlaenja investicija. U tom smislu, lokalne specifinosti pojedinih gradova, odnosno njihove karakteristine zajednice, postaju znaajan ekonomski resurs. Njihova prepoznatljivost na globalnoj sceni podrazumeva kreiranje atraktivne urbane slike, odnosno prepoznatljivog urbanog i fizikog okruenja. U takvim okolnostima, gde je neophodno sagledavanje i prepoznavanje lokalnih potencijala, uoavanje glavnih nosilaca razvojnih projekata, unapreenje lokalnog okruenja do nivoa prepoznatljivog imida, interdisciplinarni karakter profesije urbanih dizajnera dobija izuzetno vanu ulogu. Generalni pristup kulturno osetljivim urbanim intervencijama koji je iznet u ovoj knjizi namee preispitivanje uobiajenog pristupa urbanom dizajnu. Metod rada koji se podrava podrazumeva istraivanje potencijala stratekog pristupa prostornom razvoju. Umesto postupnog razreavanja konkretnih problema, koji esto zamagljuje generalne razvojne ciljeve, daje se znaaj formulisanju jasne vizije koja pomae definisanje osnovnih principa i usmerava pojedinane predloge za razreenje problema ili ostvarenje ciljeva. Izmenjeni pristup urbanom dizajnu sugerie sintezu izmeu pristupa usmerenog na razumevanje i raz-

ment. Instead of incremental approach to concrete problems, that often blurs general development goals, the emphasis is placed on formulation of a clear vision that guides the identification of basic principles and specific problem solving and goal achievement activities. The changed approach to urban design suggests synthesis between an understanding and problemfocused strategy, that is normally adopted in research, and a solution-focused strategy common in traditional design. Great importance is assigned to research, which does not mean just collecting facts but also dealing with concepts and their translation into visual material which, on the one side lays the foundation for communication, and on the other enables the restructuring of problems and development of creative ideas. Strategic urban design implies considering the effects of proposed urban regulations, spatial order, and also the awareness of alternatives, the ways in which they are understood and evaluated. This creates the possibility of insight into the diversity of positions of major and marginal actors and allows for time dynamics. The process of building cities is continuous, the influence of actors is changeable. We must understand that urban game never ends. Definition of alternative courses of action and anticipation of their implications in the design field requires special creative talents. Once we move away, in the field of urban design, from thinking only of what is possible today, institutionalized through current laws and policies, possibilities emerge for identifying more adequate approaches, based on incorporating and supporting new values and producing more imaginative control mechanisms. The category of possible must be placed at the centre of attention, in spite of actual and future policy, technical and economic limitations.

reavanje problema, koji je prisutan u istraivanju i pristupa usmerenog na traenje reenja koji je uobiajen u tradicionalnom dizajnu. Veliki znaaj se daje istraivanju koje ne predstavlja samo prikupljanje injenica ve pretpostavlja i manipulisanje konceptima i njihovom prevoenju u vizuelni material koji sa jedne strane gradi osnovu za komunikaciju, a sa druge omoguava prestruktuiranje problema i razvijanje kreativnih ideja. Strateki urbani dizajn podrazumeva sagledavanje efekata predloene urbane regulative, prostornog reda, ali i svest o alternativama, nainima na koje se one razumeju i procenjuju. Time se stvara mogunost uvida u razliitosti pozicija glavnih i marginalnih aktera i omoguava dinamika u vremenu. Proces izgradnje gradova je kontinualan, uticaj aktera je promenljiv. Potrebno je shvatiti da urbana igra nikada nije zavrena. Definisanje alternativnih pravaca akcije i odredjivanje njihovih implikacija u oblasti dizajna zahteva posebne kreativne talente. Ukoliko se u okviru urbanog dizajna odustane od razmatranja samo onoga to je danas mogue, institucionalizovano kroz zakone i politke, mogao bi se stvoriti prostor za otkrivanje adekvatnijih pristupa zasnovanih na ukljuivanju i podrci novih vrednosti kao i produkovanje imaginativnijih mehanizama kontrole. Kategorija mogueg se postavlja u sredite panje, uprkos aktuelnoj i buduoj politici, tehnikim i ekonomskim ogranienjima.

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4.4 M.Milojevi 2009.

4.5 M.Maruna 2007.

4.6 D.Milojki 2009.

4.7 D.Milojki 2009.

5.5 (fotomontaa) M.Milojevi 2009.

5.6 M.Milojevi 2009.

6.1 M.Milojevi 2009.

6.2 M.Milojevi 2009.

6.3 M. Maruna 2009.

 , 711.4.01 , 1948 Strateki urbani dizajn i kulturna raznolikost = Strategic Urban Design and Cultural Diversity / Nada Lazarevi Bajec, Marija Maruna ; prevod, translation Tamara Stanisavljevi ... [et al.]. - Beograd : Arhitektonski fakultet Univerziteta = Belgrade : Faculty of Architecture, 2009 (Beograd : Colorgrafx). - 140 str. : ilustr. ; 21x21cm Uporedo engl. prevod i srp. izvornik. - Tira 300. - Bibliografija: str. 130-137. ISBN 978-86-7924-026-2 1. , , 1968- [] [] a) COBISS.SR-ID 168408844