Jovana Krstic

Jovana Krstić Tel Aviv-bound, Belgrade-based architect Graduated from Faculty of Architecture University of Belgrade Academic work 2009 - 2014 & other design & architectural projects

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Hostel in the Tel Aviv Port, Israel - Revitalization of Cultural Heritage

Design team: Yoav Messer Architects

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MEMORY OF EMPTINESS: SPACE TO ENJOY SOLITUDE - STARO SAJMIŠTE/ THE SPACE OF MEMORY BETWEEN MEMORIAL AND LANDSCAPE

THESIS: The Space of Memory _ Joy of Play vs. Sadness of Reading

“Memory of Emptiness: Space to Enjoy Solitude - Staro Sajmište”, “the project of a theatre in Staro Sajmište (Old Fairground) in Belgrade by Jovana Krstić is the example of meditative and lyrical thinking on space memories in the sphere between memory and lanscape, but with a tone of resignation”

from Foreword of Exhibition Book - International Scientific Conference and Exhibition, Scale of Design FROM MICRO TO MACRO

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Office interior design 

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Logo design for a hostel in the old fairground of Tel Aviv Port.

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Logo design for a start-up working on cultured fish meat (also known as in-vitro or lab-grown meat) and will be growing meat in cell culture, rather than on an animal.

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Logo design for a plastic surgery clinic.

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Self-portrait

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"Memory is trying to be the place, the throne of absolute subjectivity." D. Krell

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Baram City Press, Tel Aviv, Israel

see more here

Design team: Yoav Messer Architects

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Mirrors 

“Paradoxes equivocate. They lie, and they don’t, they tell the truth, and they don’t. Each meaning has always to be taken with the others. The experience of the liar paradox is like standing between two mirrors, its meanings are infinitely reflected.” B. Tschumi

It also happens with a memory of society.

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THESIS: The Space of Memory _ Joy of Play vs. Sadness of Reading

The space of memory is the stage on which joy of play carries in itself sadness of reading.

In order to prevent that those who we can not remember, go into complete oblivion, we have to step on the scene of constant struggle against the domination of the current ideology.

"Mémoire" shall not exceed in "histoire".

MEMORY OF EMPTINESS: SPACE TO ENJOY SOLITUDE

Staro Sajmište

ABSTRACT

Culture of Remembrance in one society directly reflects the system of values, refracting the ideological interests of a society. It is created with a goal to give legitimacy to one view of history, to fit it in a known historical flow, so it becomes a part of collective memory and national identity. Culture of Remembrance as linking memories into a whole, “we”, collective memory, among other things, creates relationship to the sites of historical past which evoke certain historical events.

Staro Sajmiste (Old Fairground) is the place of commemoration of the tragic events in Belgrade during World War II. However, analysis of the collective memory in Serbia testify about the paradoxical relationship to memory, or selective memory.  That is read in the absence of materialization of memory and clear denotation of Staro Sajmiste as a place of the Holocaust. The focus of this work is questioning the materialization of the immaterial and interrelating memory and space.

If you understand the history as non-continuous, but as a stream of constant shifts of present and absent, stops and starts, we see that absent in fact is the gap between the two intervals during the time axis. These gaps are filled with memory. The “presences” are the time when history is vital, is feeding on itself and deriving its energy from its own momentum. Where the present ends, there begins memory. Memory of Emptiness as itself is the method of preserving memory, because memory is created by the act of erasing, as it is happening in intentional forgetting, that we can’t do anything but to remember.

Building environment that echoes memories means that architecture is formally frame of the physical and the mental picture of memories, shifting the perception of the viewer from observing the form to the experience through the form; and in terms of content, translation of the memorial into the ceremonial and antiquarian presentation of the history into the scene for performing memory.

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Mantled Landscape

"Verticals are the main factors that define the architectural form and shape, but the horizontals are the essence of architecture." 

Bruno Taut

“The Thousand Stairs - Herceg Novi” refers to the architecture that is a hint of the entire landscape. The desire to connect architecture with the surrounding is achieved by borrowing part of the landscape in a way that it is placed as an indication and the active image in front of the observer. 

Sense that architecture is not building located in the environment, but it is the interior that could become part of it, altering the space so that what is happening on the inside looks like something stolen from the outside.

Boundaries in such architectures appear more like passing from one state to another, as the transitions between sequences of space or to the intervals of discovery and continuance of space. . This manner of space articulation communicate directly with the viewer through the experience of surprise, causing him to reconstruct an image of the entire area exposing only parts of it.

“As the vision and aesthetic perception are subjective phenomena, and as they take place in time, successively, rather than simultaneously, so the architecture as the visual art is the art of time "l'art du temps", as well as the art of space.”

Regardless a topic of task that is in front of creator, finding the answers and the true essence of space,  within the meaning of the incarnated solution, represents the constant struggle of spirit and mind, intuitive and rational. Behind this lies what could be partly understood from Tadao’s words that "life is a continuous struggle," and that "only conflict can encourage passion."

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Sownscape

*Scape –“A condition in which architecture, infrastructure, and landscape are undifferentiated and subject to the same forces”

Rem Koolhaas

The theme of the project is the redefinition of housing, or making infrastructural base, urban settings and the "skeleton" for the development of residential units in terms of the agricultural landscape in Kovilovo. That is why the title of the project is sown architecture - Sownscape.

The idea is to understand landscape and architecture not through hierarchical thinking, but simultaneously through the relationship with the environment in social and spatial terms. This is much less planning of the facility and positioning it on the ground, but more creating connections of different environment by changing the layering and gradation of the structure - creating dynamic categories of space rather than static categories of walls.

Testing of "temporality" under the topic of housing lead to a possibility of different uses of the same space by changing its "nature."  "Nature" contains catalytic surface, or the functional matrix that is organised not only by objects and spaces, but also by new social needs for which there is no place in the city centre. The social question is the catalyst for the landscape complexity.

How family life takes place in areas where nature is so close to be indistinguishable from architecture. I am seeking ways  to give equal care  and attention to creating architectural and natural spaces. Blurring such boundaries allows us to live in undivided proximity with everything else in the environment. Vision is to transcend rigid concepts of the city. Not a framework that is useful, but the "gap" that is usable.

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Buried Classroom

“Now let's think of the space of the earth. We are living in the interesting space between clouds and land. We call this scenery."  

Junya Ishigami

“ If the form taken by conventional architecture is an ”object”, then this is a “void” or the exact reverse of an object. An architectural form has been erased. This void, however, embraces the sequence of human expiriences. I thus discovered the potential of architecture to act as an expirience or phenomenon, rather than as an object.

How, than, can architecture be made to disappear?”  

...Taut, however, pointed out the importance of the horizontal elements, just as tradicional Japanese architecture emphasized the design of the floor as central element...” Kengo Kuma

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Veranda Housing

"The solution to the problem should primarily be in designing opportunities. The measure of a successful solution is about how far it can predict and how much it is adaptable to future changes or how it enables the user to make a choice. "

Prof. M. Lojanica, member of SANU

The relationship between the individual and groups were translated in the principles of combining units of housing, or in the rules of spatial composition. People can be face-to-face with each other, or to stand back to back.

The spatial organization is based on human relationships.