Airport City Belgrade newsletter City within a...

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Airport City Belgrade newsletter

AIRPORT CITY BELGRADEAwarded as THE BEST OFFICE DEVELOPMENT PROJECT of the year IN SOUTHEAST EUROPE

““

December / 2016 n ° 20

Happy New Year!

> ????????????????????????

> Rhapsody - calendar 2017

2 3Airport City Belgrade newsletter Airport City Belgrade newsletter

Editor’ s wordDear readers,

Sometimes it’s difficult to select the right topic that

summarises that which is behind us, that which we want

for one another, but also that which makes up our daily

lives. When we add to that the desire for us to be enga-

ged, and for the topic to have some broader meaning...

it’s not an easy task.

Here is one colourful What’s Up with a variety of topics

and a great desire that 2017 would be a year in which

we take a step forward, and for ACB a step upwards,

in which we will reach some new horizons professionally

and personally, and a year in which we will make at least

some of the people around us happy.

Yours sincerely,

Marina Deleon Communication Advisor

Dragi čitaoci,

Ponekad je teško odabrati pravu temu koja sublimira

ono što je iza nas, ono što želimo jedni drugima ali

i ono što čini našu svakodnevicu. Kada na to dodate

želju da budemo angažovani i da tema ima i nekog

šireg smisla… nije lako.

Sve u svemu ovaj broj je jedan šaroliki Whats up

sa mnoštvom tema i velikom željom da nam 2017.

bude godina u kojoj ćemo napraviti korak više, ACB i

korak u visinu; godina u kojoj ćemo doseći neke nove

horizonte profesionalno i lično, i godina u kojoj ćemo

učiniti barem neke ljude oko nas srećnijima.

Srdačno Vaša,

Marina Deleon Communication Advisor

Photography created using the so-called wet-collodion method.Allow us to explain a little bit what it’s all about:This is not a Photoshop effect, but rather these photo-graphs were created using an old method from 1851 called the wet-collodion procedure. In this technique, the exposure of the negative plate is done using a large format wooden camera (in this case the English Under-wood camera from 1890. The size of the “negatives” is 13x18cm). The entire process is done manually, with the help of various chemicals that are commonly applied to glass, metal or some other material. The plate is then dipped in a solution of silver nitrate and stored in the dark in a wooden box, only to be removed and placed in the camera that has been previously set, with the frame ready. After exposure, the plate is transferred back into the dark room and developed using iron salts. The development is halted with water and fixed at the end. Finally, after all this, a clear picture is created. It is well rinsed and dried, and then lacquer is applied. If the process is done on glass, the back can be painted in black (mostly using bi-tumen). The entire process of photographing, developing and fixing must be done while the plate is wet (about ten minutes) – that’s why the procedure is called the “wet-col-lodion procedure”. In this way a unique picture is made, created by hand with the help of chemical solutions - one could say: a handmade photo.The author of this photography is Miodrag Trajković, our long-time associate, who has watched with the lens of his film and photographic cameras all phases of the develop-ment of Airport City to date, and whose images you have liked and praised all these years.Much more important than that, Miodrag is a highly rated author of the Serbian film scene, a famous cinematographer who keeps pace with world technological trends and the only Serbian director of photography who has recorded two 3D films (one in Croatia and one in Serbia) ... but also an author who listens to the echoes of the past as a counter-weight to today’s race towards perfection and millions of megapixels.I consider it a privilege for us that Miki is part of our cre-ative team, which has built the image of Airport City from the very start.

Novododišnja rapsodijaPredstavljamo još jedan autorski neobičan i jedinstven ACB kalendar Tradicionalna tehnika, i ACB kao inspiracija zabeležili su Prvu simfonija u ACBu Fotografije rađene tzv mokrim kolodijumskim postup-komDozvolite da malo pojasnimo o čemu se radi: Ovo nije Photoshop efekat nego su ove fotografije nastale starim postupkom iz 1851. koji se zove mokri kolodijum-ski postupak. U ovoj tehnici se eksponiranje negativ ploče vrši drvenom kamerom velikog formata (u ovom slučaju, engleska Underwood kamera iz 1890. Veličina “negativa” je 13x18cm). Celokupan proces se izvodi ručno, uz pomoć raznih hemikalija koje se najčešće nanose na staklo, metal ili neki drugi materijal. Ploča se potom potapa u rastvor srebro-nitrata i u mraku smešta u drvenu kasetu, kako bi bila izneta i smeštena u kameru koja je prethodno podešena, a kadar spreman. Nakon eksponiraranja, ploča se prenosi ponovo u mračnu sobu, i razvija solima gvožđa. Razvija-nje se prekida vodom i na kraju se fiksira. Konačno, posle svega ovoga, dobija se jasna slika. Dobro se ispere, osuši i nanese lak. Ako je proces obavljen na staklu, zadnja strana se može obojiti u crno (najčešće bitumenom). Celokupan proces fotografisanja, razvijanja i fiksiranja, mora se obaviti dok je ploča vlažna (desetak minuta) - Zato se postupak i naziva “Mokri kolodijumski postupak”. Na ovaj način se dobija unikatna slika, ručno izrađena uz pomoć hemijskih rastvora - moglo bi se reći: Hand made fotografija.Autor fotografija je Miodrag Trajković, naš dugogodišnji saradnik koji je posmatrao okom svoje kamere i fotoapara-ta sve faze rasta Airport City-ja do sada i čije ste fotogra-fije voleli i hvalili sve ove godine.Mnogo važnije od toga Miodrag je visoko pozicionirani au-tor na srpskoj filmskoj sceni, poznati filmski snimatelj koji ide u korak sa svetskim tehnologijama i jedini srpski direktor fotografije koji je snimio dva 3D filma (jedan u Hrvatskoj a drugi u Srbiji)... ali i autor koji osluškuje odjeke iz prošlosti kao protivtežu današnjoj trci ka savršenstvu i milionima me-gapiksela.Smatram našom privilegijom da Miki bude deo kreativ-nog tima koji je gradio image Airport City-ja od samog početka.

New Year’s Rhapsody We present another strange and uniquely authored ACB Calendar

Traditional techniques, and ACB as inspiration, marked the First Rhapsody in ACB

Janu

ar/J

anua

ry 2

017

12345678910111213141516171819202122232425262728293031

npusčpsnpusčpsnpusčpsnpusčpsnpu

Rec urednikaV

Midrag Trajković


> Journalist visit

ISRAEL

RAZNOLIKOST/ DIVERSITYSUPROTNOSTI/ OPPOSITES

KONTRADIKCIJA/ CONTRADICTION

TECHNOLOGY AND TRADITIONThe old settlement built by the Knights Templar, which until a few years ago was a place of abandoned and dilapidated houses, has now been turned into a trendy part

of Tel Aviv’s modern business world

Staro naselje koje su izgradili Templari, do pre par godina mesto napuštenih i oronulih kuća sada je pretvoreno u trendy deo modernog poslovnog Tel Aviva

Bauhaus vs 57. sprat za stanovanje, Neve Tzedek vs Sarona, more vs gužva na autoputu....

Bauhaus vs. the 57th residential floor, Neve Tzedek vs. Sarona, the sea vs. motorway congestion...

TEL AVIV WHITE CITY, BAUHAUS AND SKYSCRAPERSTel Aviv is a charming blend of a modern, hi tech, busy business city, with indescribable congestion, and a small charming oasis that preserves the scents and creativity of a city at the crossroads of Europe and the Levant.

Tel Aviv je šarmantna mešavina modernog, hi techa, poslovnog užurbanog grada, neopisive gužve i malih šarmantnih oaza koje čuvaju mirise i kreativnost grada na razmeđi Levanta i Evrope.


> Israel, Novem

ber 2016

“When I arrived in Belgrade in 2003, the city was a bit grey and there was almost no construction work going on. There were no cranes anywhere. We have built a new vision on our small area of Belgrade that is called Airport City,” he said. In thirteen years this company has built a true city wit-hin a city from nothing in Belgrade, which has become the first choice for large and international companies that operate in Serbia. “We have completed three and a half stages of construc-tion at Airport City and the fourth phase is currently un-derway and will last for another two or three years. Our plan is to build two more buildings and in the fifth phase, which will most probably begin in parallel with the fourth phase, we will also build two towers. They will be identical and will cover an area of 80,000 square metres, with two underground parking levels. The towers will, we hope, be-come the new symbol of Airport City,” says El Al for Blic. Although construction of these buildings has not yet star-ted, Airport City’s CEO adds that interest already exists among potential tenants. “We are negotiating with a potential tenant that wants to locate themselves in this space, of course not in the entire space, but in a significant part of the building,” he says. Even though this Israeli company has for almost 14 years operated successfully in our country and accepts other equally large projects, El Al says that he came to Belgrade almost by accident.“I knew that Serbia was a country that had survived war and sanctions and had great potential. We came to inve-stigate and I think that none of the exceptional people who began the project – regardless of their optimism and overview of the potential – expected that we would be building this much in Belgrade today,” he recalls. As he says, the “city within a city” concept was already implemented by AFI in Israel. “You have to know how to build a business park. Belgrade has many good construction companies and Serbs defini-tely know how to build, but it is also necessary to know how to develop, how to merge different units to be in synergy, and only then to begin construction. We have a lot of experience in the construction of tall buildings, and in combining residential and commercial space, and we have brought this experience to Belgrade,” says El Al, adding that these investors plan to continue investing in Serbia and Belgrade.“We came to Serbia to invest and we are satisfied that our project is so successful and we will invest more, because we believe in Serbia and its development,” he concludes. MUP BUILDING THIS SUMMERIsraeli investors purchased the Interior Ministry building located in Kneza Miloša Street in June this year. Demoliti-on of the building, which was damaged during the NATO bombing, began a month ago and they plan to build resi-dential and commercial buildings here.“Our plan is to begin construction in the summer of 2017. We will build a multipurpose building with residential and commercial parts, as well as several retail outlets. We are building a car park as well and have also taken on the task of renovating the large park located next to the building,” says El Al.

Ovo je deo intervjua objavljenog u Blicu- Kada sam 2003. godine došao u Beograd, grad je bio pomalo siv i u njemu skoro da nije bilo izgradnje. Nigde nije bilo kranova. Mi smo izgradili novu viziju na našoj maloj teritoriji u Beogradu koja se zove Airport City. Ovako za “Blic”, iz Izraela, priča Adir El Al, generalni direktor prvog biznis parka u Srbiji, Airport City Beograd i predstavnik jednog od najvećih izraelskih investitora u našoj zemlji.Za 13 godina u Beogradu “ni izčega” su izgradili pravi “grad u gradu” koji je postao prvi izbor svih velikih i međunarod-nih kompanija koje posluju u Srbiji. - Završili smo tri ipo faze gradnje u Airport Citiju, i trenutno je u toku četvrta faza koja će trajati još dve, tri godine. U planu nam je da izgradimo još dve zgrade, a u petoj fazi, koja će najverovatnije početi paralelno sa četvrtom, izgradićemo i dva tornja. Oni će biti identični i prostiraće se na 80.000 kvadratnih metara, sa dva nivoa parkinga ispod zemlje. Tor-njevi će nadamo se, postati novi simbol Airport citija - kaže El Al za “Blic”.Iako izgradnja ovih zgrada nije još počela, direktor Airport Citija dodaje da interesovanje zakupaca za njih već postoji.- Pregovaramo sa potencijalnim stanarom koji želi da se smesti u ove prostorije, naravno ne u ceo prostor, ali u značajan deo zgrade - kaže on.Iako već skoro 14 godina ova izraelska kompanija u našoj zemlji posluje uspešno i prihvata se novih, takođe, velikih projekata, El Al kaže da je u Beograd došao gotovo slučajno. - O Srbiji sam znao da je zemlja koja je preživela rat i sank-cije i da ima veliki potencijal. Došli smo da istražimo i mislim da niko od izuzetnih ljudi koji su zapoceli projekat bez ob-zira na optimizam i sagledavanje potencijala nije ocekivao da ćemo danas ovoliko graditi u Beogradu - priseća se on.Kako kaže, koncept “grada u gradu” kompanija AFI je u njihovoj zemlji već napravila. - Biznis park treba znati izgraditi. Beograd ima mnogo do-brih građevinskih kompanija i Srbi definitivno znaju kako da grade, ali treba znati i kako razvijati, kako spojiti različite jedinice da budu u sinergiji, pa tek onda započeti izgradnju. Mi imamo mnogo iskustva u izgradnji visokih zgrada, u spa-janju stambenih i poslovnih prostora u jedan i to iskustvo smo doneli u Beograd - kaže El Al i dodaje da ovi investitori planiraju da nastave ulaganja u Srbiji i Beograd.- Došli smo u Srbiju da investiramo i zadovoljni smo što je naš projekat toliko uspešan i ulagaćemo još jer verujemo u Srbiju i njen razvoj - zaključio je on.

ZGRADA SAVEZNOG MUP-aIzraelski investitori su u junu ove godine kupili zgradu Save-znog MUP-a u Ulici kneza Miloša. Pre mesec dana započeli su rušenje zgrade uništene u NATO bombardovanju 1999. godine, a na njenom mestu planiraju da izgrade stambeno-poslovni prostor.- Plan nam je da izgradnju počnemo na leto 2017. godi-ne. Sada radimo komplikovano planiranje kako bi napravili “multiuse” projekat na mestu jednog od simbola Beograda. To će biti objekat koji će imati i stambeni, poslovni i deo sa malo prodajnih objekata. Gradimo i parking, a na sebe smo uzeli i da renoviramo veliki park koji se nalazi pored zgrade - kaže Adir El Al,koji je direktor i ovog projekta, i dodaje da je u pitanju moderan, prestižan i jedinstven projekat.

Marija Kosanović

Part of interview

with Adir El Al published

in Blic

HOST & PARTICIPANTS

* Avi Barzilay, CEO AFI Europe (left)

* Arie Bachar, Co-owner Tidhar Group (down middle)

* Adir El Al, CEO Airport City Belgrade (right)

* Marina Deleon (down)

* RTS Irina Ivić and Milan Srdić, authors of “Israel to go” (down left)

* Marija Kosanović, home page editor Blic (right)

9Airport City Belgrade newsletter8 Airport City Belgrade newsletter

> Personal view

The attraction of the unattainable has always been en-grained in man. In the second century BC Noah’s de-scendants wanted to touch the sky so much that they started building the Tower of Babel. It is believed that the idea was for the inhabitants of Babylon to have a safe haven if God again desires to flood the land. However, outraged by the height of the tower, God demolished the Tower of Babel.Several thousand years later, the divine curse ceased to count once Elisha Grave Otis invented the lift in 1852. Thirty-three years later, the first skyscraper ap-peared in Chicago. This was no sacred structure, as had previously been the case with buildings that extended skywards, but rather the building of a home insurance company (Home Insurance Building), 42 metres tall.As the word itself suggests, skyscrapers are charac-terised by a kind of pride and arrogance due to the fact that they have succeeded in approaching the sky and touching the clouds. The skyscraper represents a modern expression of the symbol of a world city – a pillar that connects earth and sky, as well as connect-ing the four points of the compass with one another. As such, it symbolises power and wealth, and shows sophistication that goes far beyond its height. It is a defining feature of a city’s landscape and the subject of owners in the global race for the tallest and most beautiful skyscraper.The prestige of possessing them did not bypass Yugo-slavia. These first skyscrapers are still charming today, with their harmonious architectural mass and solid con-struction. Each of them has succeeded in keeping its own secret to this day.

ALBANIA PALACE - the first skyscraper in Southeast EuropeThe period of general abundance in Yugoslavia between the two world wars was the ideal moment for the en-deavour of conquering the Balkan sky. The idea was to make the first Balkan skyscraper on the site of the old, dilapidated Albania Tavern, which often attracted fa-mous guests, such as Branislav Nušić. The Merchant’s Fund (Trgovački fond) mortgage bank in Belgrade an-nounced a tender that was disputed by some because they did not select anyone in first place among the 84 architects who applied. Second place was taken by Bran-ko Bon and Milan Graklić, but because they completed their architecture studies at the School of Arts in Za-greb, their team had to be joined by Miladin Prljević, who was their representative with the City of Belgrade authorities, as they were not authorised architects.Inspired by the “Chicago” school, A sketch of the fu-ture Albania Palace appeared and construction began on 16th June 1938. The identity of the lead author remains a mystery to this day, with only the names of the three architects and constructor Đorđe Lazarević mentioned. However, nobody has ever questioned its architectural value as the ideal form that encloses the urban ambience of Terazije. The architecture of the Palace possesses the characteristics of mature modernism and a pronounced non-national line in its visual conception.In just over a year, on 20th October 1939, the palace grew into a monumental building 53 metres tall, with 13 storeys above ground and four underground levels, comprising a total area of 8,000m². It was built in the period of Serbian Modernism, the main characteristics of which are pillars on ground floor, rows of windows, be-reft of ornamental façades, with freely arranged basics and roof terraces. Due to specific details, such as gradu-ally cascading masses noticeable at the connecting joints of the tower and side skirts, it can also be classified as an Art Deco creation.The palace was hit by a bomb during an Allied bomb-ing raid in 1944, but the reinforced concrete structure survived and on 20th October 1944 it was adorned with the Yugoslav flag with the five-pointed star as a sign that the People’s Liberation Army of Yugoslavia and the Red Army had liberated the city from its occupiers. It remains a building worthy of admiration and respect to this day.

CK UŠĆE - the biggest communist edificeIn 1959 the Communist Party of Yugoslavia organised a contest in which it invited one architectural firm from each republic. Once again, nobody was worthy of the first prize, while the runner-up was the team from Ser-bia, comprising members of the contracting organisation “Stadion” (Stadium), D. Milenković, M. Janković and M. Marjanović.In order to better acquaint themselves with global trends in the construction of skyscrapers with similar purposes, the three toured world capitals in 1960. Their plan was to build a second building beside the main one with futuristic shape – like a floating plate, which would house the Federal Assembly. The CK (Centralni Komitet – Central Committee) Ušće building was completed two years later and, with its 23 storeys, became the tallest building in the city. The plans for the second building were abandoned in the meantime.The mystery linked to the construction of this skyscraper lies in the fact that the authors of this largest com-munist building were not party members. According to the authors’ accounts, the communist investors did not meddle in their job, but rather only gave instructions that the building should be modern and functional, and should radiate modesty and simplicity.The authors achieved that with a specific way of lay-ing the foundations and the structural concept of the structure created by engineer Milan Krstić. The solution utilised represents a sand cushion in steel armour, with a pressure gauge that registers the slightest deviation from the settlement of the massive plate in relation to four batteries of piles that cannot settle, and they were introduced due to horizontal forces. It is believed that it was precisely this construction that protected Ušće from the six missiles that struck it during the NATO bombing of 1999. The building was later fully renovated, with care taken not to deviate too much from the original design.

BEOGRAĐANKA (BELGRADE LADY) – symbol of the cityUšće was quickly removed from the throne as the tallest building in the city, with Belgrade Palace, better known as “Beograđanka”, being built in 1974 as the first skyscraper

in the city centre. This 24-storey, 101-metre-tall building represents one of the most important achievements of Belgrade architecture in the late 1960s. It was designed by architect Branko Pešić (not the Belgrade Mayor of the same name).As the ambitions of the leaders of the city and the state rose in terms of following global trends in archi-tecture, the idea was to create a first-class sensation and a landmark in the centre of the capital. Beograđan-ka was a wonder in every way in its time – the tallest building in the Balkans and a building spoken about in multi-digit figures: from the number of attachments in reports that followed its design and construction, to the amounts of incorporated concrete and pieces of equipment.Due to its unique location and views, Beograđanka served from its first day for boasting about them, making it an essential port of call during visits of all important guests to the capital. Its views ensured its architectural beauty became of secondary importance. In its first years, up to 100,000 people toured the building annually.The building itself was a business centre. The various companies that had their own branches and offices there changed over time.City planners initially envisaged Beograđanka being built and in time becoming the shortest buildings along the stretch from Slavija Square to Republic Square. However, Beograđanka remains the tallest, while a mystery remains over what its original purpose was, if not to be the tallest.

RUDO – first residential skyscraperApart from the city’s central landmark, it was necessary to build symbols on the periphery of the city that would formally mark the entrances into the city from east and west. Thus, in 1976, three skyscrapers sprouted in the municipality of Zvezdara, better known as “Rudo”, with 28 storeys each and a height of 100 metres. Built in the socio-realism style, the concrete brutality of this complex is broken up by a plateau, children’s playgrounds and plen-ty of greenery.These skyscrapers are built on pedestals three floors high, af-ter which six series with four storeys each terrace and taper to the maintenance system above the 27th floor. This was the first Belgrade skyscraper designed as a residential building.

For the first time it became prestigious to buy an apartment in the Yugoslav capital on the highest possible floor.As it is located near the E75 motorway, its size and spec-ificity ensure that Rudo represents a symbolic gate at the entrance to Belgrade from the east. It remains a mystery how the name “Rudo” was chosen for these towers. It is known that they were referred to with this name by Dragoljub Mićunović, who was responsible for the expert supervision of construction and who hails from the Bos-nian town of Rudo.

GENEX – first smart buildingJuxtaposed to the Eastern gate, Genex Tower emerged on the western entrance to the city in 1980 - a colossal 35-storey, 119-metre-tall structure consisting of two towers connected by a walkway near the top, with one representing a residential tower and the other the business block of economic giant Genex. It is the work of famous architect Mihajlo Mitrović.Many consider it the first “smart” building in the Bal-kans. The tower had a computer centre from which the heating, cooling, electronics and lifts were controlled.Above the walkway that connects the business and res-idential towers, another tower rose into the sky and was supposed to become an elite Belgrade restaurant. The idea was for that part to move on a special drive and to slowly rotate so that the guests could make a circle and see the city from all sides in one hour. It re-mains a mystery why the restaurant has never rotated. However, the restaurant’s view made it the pride of the city, as demonstrated by its many famous guests. It also served as a watchtower. Thus a week before the arrival of U.S. President Jimmy Carter, special team occupied the upper part, where they had an overview of all movements of the president.This tower still decorates the Belgrade skyline with its beauty, but its purpose doesn’t go far beyond being a holder for antennas and a mount for giant billboards.British newspaper The Independent wrote that sky-scrapers could last up to 1,000 years if they are not exposed to extreme weather conditions. According to these calculations, these ones of ours should survive until the 29th century.

Continuously drawing boundaries on the land shifts freedom into the air. The Belgrade beauties that first conquered the skies above the city have

not lost their values and mystique over the years, on the contrary.

The Secrets of Belgrade’s

skyscrapers


> ?????????????????????????

> Sustainability

Tajne beogradskih neboderaKontinuirano iscrtavanje granica na zemlji pomera slo-bodu uvis. Beogradske lepotice koje su prve osvojile nebo nad gradom s godinama nisu izgubile na vredno-sti i mističnosti. Naprotiv.

Primamljivost nedostižnog je oduvek bila imanentna čoveku. U drugom veku pre nove ere, Nojevi potomci su jako želeli da dodirnu nebo te su krenuli da grade Vavilonsku kulu. Ve-ruje se da je ideja bila da stanovnici Vavilona imaju sigurno utočošte ukoliko Bog opet poželi da potopi zemlju. Među-tim, razgnevljen visinom tornja, Bog je srušio Vavilonsku kulu. Nekoliko hiljada godina kasnije, božansko prokletstvo prestaje da važi nakon što je Eliša Grave Otis izumeo lift 1852. godine. Trideset tri godine kasnije, u Čikagu se pojavljuje prvi neboder. To nije bila svetinja, kao što je ranije bio slučaj sa zgradama koje su stremile ka nebu, već zgrada jedne osiguravajuće kuće (Home Insurance Buil-ding) visoka 42 metra. Kao što i sama reč sugeriše, nebodere odlikuje svojevrsni ponos i nadmenost zbog činjenice da su uspeli da se pri-bliže nebu i dodirnu oblake. Neboder predstavlja moderan izraz simbola svetskog centra — stub koji povezuje zemlju i nebo, kao i četiri pravca kompasa jedan sa drugim. Kao takav, simbolizuje moć, bogatstvo i pokazuje sofisticira-nost koja ide mnogo dalje od njihove visine. Određujuća je karakteristika gradskog pejsaža i predmet vlasti u svet-skoj trci za najviši i najlepši neboder. Prestiž posedovanja istog nije zaobišao ni Jugoslaviju. Ti prvi neboderi i danas plene svojim skladnim arhitekton-skim masama i solidnom konstrukcijom. Svaki od njih je do danas uspeo da sačuva neku svoju tajnu.

PALATA “ALBANIJA” — prvi neboder u Jugoistočnoj EvropiVreme opšteg procvata između dva svetska rata u Jugo-slaviji je bio idealan trenutak za poduhvat osvajanja bal-kanskog neba. Ideja je bila da se prvi balkanski neboder napravi na mestu stare, oronule kafane Albanija u kojoj su često boravili poznati gosti, poput Branislava Nušića. Hipotekarna banka Trgovačkog fonda u Beogradu je ras-pisala konkurs koji su neki osporavali jer od 84 arhitekata koji su se prijavili nisu izabrali prvo mesto. Drugo mesto su zauzeli Branko Bon i Milan Graklić, ali pošto su zavr-šili arhitekturu na Umjetničkoj školi u Zagrebu, njihovom timu je morao da se priključi i Miladin Prljević, koji je bio njihov zastupnik kod gradskih vlasti u Beogradu pošto oni nisu bili ovlašćene arhitekte. Inspirisana “čikaškom” školom, pojavljuje se skica buduće pa-late Albanija i 16. juna 1938. godine započinje gradnja. Do danas ostaje tajna ko je je glavni autor, već se pominju imena trojice arhitekata uz konstruktora Đorđa Lazarevića. Ali, ono

što niko nikada nije doveo u pitanje je njena arhitekonska vrednost kao idealne forme koja zatvara urbani ambijent Te-razija. Arhitektura Palate poseduje obeležja zrelog moderniz-ma i izrazitu anacionalnu crtu u svojoj vizuelnoj koncepciji. Za nešto više od godinu dana, 20. oktobra 1939, palata je izrasla u monumentalnu građevinu visine 53 metra, sa 13 nadzemnih i četiri podzemna sprata, a na ukupnoj površini od 8.000 m². Izgrađena je u periodu srpskog moderniz-ma, čije su glavne odlike: stubovi u prizemlju, prozori u nizu, bezornamentalna fasada, slobodni aranžman osnove i krovne terase. Zbog određenih detalja, kao što je ste-penasto kaskadiranje masa primetno na spojevima kule i bočnih krila, ona se može svrstati i u ostvarenje Art dekoa. Prilikom savezničkog bombardovanja 1944. godine, Pala-ta je pogođena bombom ali je armirano-betonska kon-strukcija izdržala i 20. oktobra 1944. je na njoj istaknuta jugoslovenska zastava sa petokrakom kao znak da su Na-rodnooslobodilačka vojska Jugoslavije i Crvena armija oslo-bodile grad od okupatora. Do danas, ona ostaje dostojna divljenja i poštovanja.

CK UŠĆE — najveće komunističko zdanjeKomunistička partija Jugoslavije je 1959. godine organizo-vala konkurs na koji je pozvala po jedan arhitektonski biro iz svake republike. Prvu nagradu opet niko nije zaslužio, dok je drugoplasirani bio tim iz Srbije okupljen u projek-tnoj organizaciji “Stadion” koju su činili D. Milenković, M. Janković i M Marjanović. Kako bi se detaljnije upoznali sa svetskim trendovima u izgradnji nebodera slične namene, njih troje odlaze 1960. godine na putovanje po svetskim metropolama. Plan je bio da se pored glavne zgrade sagradi još jedna, futurističkog oblika - nalik na lebdeći tanjir, gde bi bila smeštena Save-zna skupština. Dve godine kasnije zgrada CK Ušće je bila završena i sa svoja 23 sprata predstavljala najvišu zgradu u gradu. Od druge zgrade se u međuvremenu odustalo. Misterija u vezi sa izgradnjom ovog nebodera leži u či-njenici da autori najvećeg komunističkog zdanja nisu bili članovi stranke. Prema priznanju autora, komunistički in-vestitori im se nisu mešali u posao, samo su im dali in-strukcije da zgrada treba da bude moderna i funkcionalna, i da zrači skromnošću i jednostavnošću. Autori su to i postigli uz specifičan način fundiranja i statičku koncepciju objekta koju je izradio inženjer Mi-lan Krstić. Rešenje koje je korišćeno predstavlja peščani jastuk u čeličnom oklopu, sa manometrom koji registruje i najmanje odstupanje od sleganja masivne ploče u od-nosu na četiri baterije šipova koji se ne sležu, a uvedeni su zbog horizontalnih sila. Smatra se da je upravo takva konstrukcija sačuvala Ušće od šest lansiranih projektila za vreme NATO bombardovanja 1999. godine. Nakon toga je zgrada kompletno renovirana pri čemu se vodilo računa da se ne odstupa previše od prvobitne matrice.

BEOGRAĐANKA – simbol gradaUšće je ubrzo sklonjeno sa trona najviše zgrade jer je 1974. sagrađena Palata “Beograd” poznatija kao “Beograđanka” kao prvi neboder u centru grada. Ovo zdanje sa 24 sprata visine 101 metar predstavlja jedno od najznačajnijih ostvarenja be-ogradske arhitekture s kraja 60-ih godina. Projektovao ju je Branko Pešić, arhitekta (ne gradonačelnik Beograda sa istim imenom). Kako su ambicije gradskih i državnih čelnika rasle u pogle-du praćenja svetskih trendova u arhitekturi, ideja je bila da se napravi prvorazredna senzacija i orijentir u centru prestonice. Beograđanka je u svoje vreme po svemu bila čudo -- najviša zgrada na Balkanu i građevina o kojoj se govorilo u višecifrenim brojkama: od broja priloga u ela-boratima koji su pratili njeno projektovanje i građenje, do količine ugrađenog betona i komada opreme.Zbog jedinstvene lokacije i pogleda, Beograđanka je od prvog dana služila za hvaljenje te tako bila neizostavna tačka posete svih važnih gostiju prestonice. Vidikovac je njenu arhitektonsku lepotu bacio u drugi plan. Prvih godi-na je i po 100.000 ljudi godišnje obilazilo zgradu. Sama zgrada je bila poslovni centar. Vremenom su se sme-njivale razne kompanije koje su tu imale svoja predstavniš-tva i kancelarije. Urbanisti su inicijalno zamislili da se Beograđanka sagradi i vremenom bude najniža zgrada na potezu od Slavije do Trga republike. Međutim, Beograđanka je ostala najviša, a misterija ostaje koja je bila njena prvobitna namena, ako ne da bude najviša.

RUDO – prvi stambeni neboderPored centralnog gradskog orijentira je bilo potrebno napraviti simbole grada na obodu koji bi obeležili sve-čani ulazak u grad sa istočne i zapadne strane. Tako su 1976. godine na Zvezdari nikla tri nebodera poznatija kao “Rudo” sa po 28 spratova visine 100 metara. Građen u stilu socrealizma, betonsku surovost ovog kompleksa raz-bijaju plato i igralište za decu, kao i dosta zelenila. Neboderi su građeni na postoljima u visini od tri sprata a posle se šest serija od po četiri sprata terasasto sužavaju do sistema za održavanje iznad 27 sprata. Ovo je bio prvi beogradski neboder namenjen za stanovanje. Po prvi put je u jugoslovenskoj prestonici bilo prestižno kupiti stan na što višem spratu.Kako se nalazi u blizini autoputa E75, svojom veličinom i upadljivošću Rudo predstavlja simbolička vrata na ula-sku u Beograd sa istočne strane. Ostaje misterija kako se odomaćilo ime “Rudo” za ove kule. Poznato je da ih je tako zvao Dragoljub Mićunović koji je vršio stručni nadzor izgradnje nebodera a koji potiče iz mesta Rudo u Bosni.

GENEKS — prva pametna zgradaNasuprot Istočnoj kapiji, sa zapadne strane ulaska u grad 1980. godine je podignuta Geneks kula – kolosalna građe-vina na 35 spratova visine 119 metara Sastoji se od dve kule spojene pasarelom pri vrhu od kojih jedna predstavlja stambeni a druga poslovni blok privrednog giganta Ge-neks. Delo je poznatog arhitekte Mihajla Mitrovića. Mnogi je smatraju prvom „pametnom“ zgradom na Balka-nu. Kula je imala kompjuterski centar iz kojeg je kontroli-sano grejanje, hlađenje, elektronika, i liftovi. Iznad pasarele koja povezuje poslovnu i stambenu kulu se u nebo ustremila još jedna kula, koja je trebalo da postane elitni beogradski restoran. Ideja je bila da se taj deo po-kreće na specijalni pogon i postepeno okreće u krug tako da gosti za sat vremena sedenja obiđu krug i vide grad sa svih strana. Ostaje misterija zašto se restoran nikada nije zavrteo. Pa ipak, restoran je zbog pogleda bio ponos grada o čemu svedoče i brojni poznati gosti. Takođe je služio i kao osmatračnica. Tako su nedelju dana pre dolaska predsednika SAD Džimija Kartera specijalne ekipe okupirale gornji deo, odakle su imale i ceo pregled kretanja predsednika.Danas ova kula svojom lepotom krasi beogradsko nebo, ali njena svrha ne ide mnogo dalje od držača za antene i nosača gigantskog bilborda. Britanski The Independent piše da neboderi mogu da tra-ju i do 1000 godina ako nisu izloženi ekstremnim vremen-skim nepogodama. Prema ovim proračunima, ovi naši bi trebalo da dožive 29. vek. Bojana Barlovac

Belgrade has accepted the “Just Not by Car” challenge for the first time, thereby joining the global initiative that pro-motes alternative means of transport in everyday traffic.The aim of the “Just Not by Car” campaign is to raise pub-lic awareness about the need to preserve the environment through greater use of transport means with lower harmful emissions. It is estimated that cycling 10km in one direction to work, instead of driving a car, reduces emissions of harm-ful gases by as much as 1.3 tonnes.The Management of Airport city recognised the importance of this initiative for creating a better, healthier and safer Belgrade, and we were happy to support it. Thus, on 22nd September 450 employees of 35 companies and organisa-tions in Belgrade left their cars parked and came to work on foot or by bike.The challenge was accepted by several companies based at Airport City, but also many others based in New Belgrade.The organisers of the challenge, which was also joined by the Mayor of Belgrade, were the “Bajsologija” and “Streets for cyclists” association, the United Nations Development Programme in Serbia and the Heinrich Böll Foundation.The individuals and teams who covered the most kilometres on foot or by bike that day were presented with award on the Airport City Avenue on 27th September. The award ceremony was attended by Belgrade City Architect Milutin Folić, who not only participated in the campaign himself, but also promised significant support from the City for cycling enthusiasts.The annual Car Free Day is held every 22nd September, with-in the framework of European Mobility Week, and trans-forms cities, for a day, into centres of sustainable urban mobility, all with the aim of preserving our planet.

Berlin styleBelgrade is gaining new cycle lanes and new parking areas for this means of transport. Like every modern business centre, Airport City has created parking spaces for bicycles in order to provide tenants with the possibility for staff to come to work using this means of transport, but also in order to contribute to the development of a sustainable city.

Berlin styleBeograd dobija nove staze za bicikliste ali i nove parkinge za ovo prevozno sredstvo. Kao svaki moderan poslovni centar, Airport city je napravio parking mesta za bicikle kako bi svojim klijentima obezbedio mogućnost dola-ska na posao i ovim prevoznim sredstvom ali i doprineo razvoju održivog grada.

CYCLING TO A SUSTAINABLE CITY

Bicikliranjem do održivog gradaBeograd je po prvi put prihvatio izazov “Samo ne autom” i time se pridružio globalnoj inicijativi koja promoviše al-ternativna sredstva prevoza u svakodnevnom saobraćaju.Cilj kampanje “Samo ne autom” je da skrene pažnju javnosti na neophodnost čuvanja životne sredine kroz veće korišćenje prevoznih sredstava sa manjom emisijom štetnih gasova. Procenjuje se da vožnja biciklom 10km u jednom pravcu do posla, umesto vožnje kola, umanjuje emisiju štetnih gasova za čak 1.3 tone.Managemement Airport city-a je prepoznao je važnost ove akcije za lepši, zdraviji i bezbedniji Beograd i bilo nam je drago da je podržimo. Tako je 22. septembra 450 zaposle-nih iz 35 kompanija i organizacija u Beogradu ostavilo svoje automobile na parkingu i na posao došlo peške ili biciklom. Izazovu su se odazvalo i nekoliko kompanija čije je se-dište u Airport City-ju ali i mnoge druge s Novog Beo-grada.Organizatori ovog takmičenja, kojem se priključio i gra-donačelnik Beograda, bila su udruženja „Bajsologija“ i „Ulice za bicikliste“, Program za razvoj Ujedinjenih nacija u Srbiji i Fondacija Hajnrih Bel.Pojedincima i timovima koji su u prešli najviše kilometara peške ili biciklom tog dana uručene su 27. septembra na Aveniji poslovnog centra “Airport city” nagrade. Dodeli je prisustvovao i gradski arhitekta Milutin Folić, koji je pored toga sto je i sam ucestvovao u akciji, obećao značajniju podršku gradske uprave zaljubljenicima biciklizma.Dan bez automobila se održava svakog 22. septembra u okviru evropske Nedelje mobilnosti na taj način pretva-rajući gradove, na jedan dan, u centre održive urbane mobilnosti, a sve u cilju čuvanja naše planete.

Milutin Folić Belgrade City Architect

Awarded participants/Nagrađeni učesnici akcije

ACB CEO Adir El Al and Stevan Vujašinović, Communications and PR Expert at UNDP Serbia


> Interview D

anilo Bećković

Some autumns are in New York, some autumns are the quince that arrives, while the upcoming one is in the sign of honourable and deeply committed samurai warriors. Danilo Bećković, director of the great hit film Little Buddha, is re-turning to cinemas with the film “Autumn of the Samurai”, which is scheduled to premiere on 3rd October. The winning team, headed by Petar Strugar in the lead role, has not changed, but rather the tone has become more romantic, as the autumn requires. In this interview for What’s Up, Bećković explains how Hollywood is to blame for the prob-lems of the main hero and how he then changed because of a girl, but also why cinematography is expensive enter-tainment in Serbia.

In ‘Little Buddha’ you dealt with the characteristics of the mentality of a nation, while in ‘Autumn of the Sa-murai’ you switched to the problem of the individual. What is it that troubles your main hero, Vladica?

Vladica is a film-lover character and his mentality is largely based on a perception of reality taken from cinematography. He does not make a clear distinction between what is real life and what is some role that he first started playing as a kid watching Van Damme and Steven Segal. In this sense Vladica reflects a characteristic of modern society and the modern world, and that is that his life stances and entire lifestyle are in some way taken from the medium of mass culture. He shares the same problem as a lot of people today - the lack of clear prospects. That stems from the fact that in life he only dealt with karate as an amateur sport, only for him to reach the end of his career and find himself in the sit-uation that he does not know how to do anything else and that he is totally unprepared for life after his sporting career.

Is Vladica a typical representative of an epoch in which social and emotional development is neglected in the pursuit of a career, as the ultimate goal and success?

Vladica is a man who imagines he has a career more than he really has one. At the age of 30 he continued living the same life that he lived at the age of 15, with not so clear prospects of what exactly he can do. His problem is more of an identity issue, while his social problem stems from his identity issue, from a projection of reality that is based on the influence of film and other popular culture media. More-over, Vladica, due to his specific choice of karate, is perhaps in a slightly bigger problem and with him that problem is more clearly detected.

Are characters like Vladica able to change or do they just change contexts?

People overcome that phase in which Vladica is trapped a lot earlier. At the age of 15 everyone has long hair and thinks that they will never get a haircut, but then a good part get their hair cut by the time they leave school. On the other hand, there are still some people who are 50 years old and still wear leather pants, which is legitimate and legal, but the only question is whether that is the line of least resistance. Vladica socialises in the way that men usually socialise, and that is because of some woman. She is a beautiful single mother called Snežana who is played by Hristina Popović. Considering that his socialisation happens 15 years later than would be the case with other young karate fighters, this leads to a series of comic and serious situations which he must struggle to overcome.

For “The Age of Innocence” you and Dimitrije Vojnov led a blog in which you connected with the public and which quickly surpassed its initial purpose. This time you did not do that.

That blog emerged when we tried to make our first film under the working title The Age of Innocence, which was almost ten years ago. We never succeeded in making the film, but we managed to sell the screenplay in Slovenia un-der the name Juliet and Alfa Romeo. That blog outgrew its original function and became quite an influential media outlet, which analysed the situation in Serbian cinematog-raphy. That certainly influenced a bit of movement in Serbi-an cinematography. Young people who deal with film had something to read there. It would have been wonderful if we were also able to do that now, but Autumn of the

Samurai comes exactly two years and one week after Lit-tle Buddha. That’s a terribly fast rhythm that hardly leaves room for something else.

Does this mean then that the audience’s meeting with Vladica will be a total surprise for everyone?

We don’t find time and we avoid thinking about that. You cannot shoot films like that. If a man were to shoot while thinking about audience figures, then that man would begin getting scared, calculating, considering what other funny stuff he could add to please the audience, and thereby be-coming a service for the desires that he assumes will appeal to the audience. We shoot the kinds of films that we would like to watch.

In terms of genre, Autumn of the Samurai falls into the category of a romantic comedy, though with elements of a sports film. Could it be said that this is a genre that the Serbian public needs?

When we look at the history of Serbian film, it has gener-ally been the comedy genre that we have been the most responsive to and which has been the most popular, and comedies are also among the best quality films made here. The films of Srđan Dragojević or Slobodan Šijan are among the classics of Serbian cinematography, loved by audiences and directors. I deal with comedy because it’s something I love to do, we deal with mainstream film and want the cinemas to be full when our film is shown, but that’s not a matter of calculation, rather our commitment. If you make a mainstream film and don’t have a full cinema, that’s like making an arthouse film and not succeeding in attending a single festival.

We always associate Samurai warriors with a code of honour that requires taking the hard route. Are you a samurai in the film world if you succeed in fighting for your second film to make it to the cinemas in a country with limited and discretionary allocations of funds for filmmaking?

I cannot use such big words. I can only be a Samurai in terms of my hairstyle. It is difficult to make films every-where and there is nowhere that exists where someone can come to the Ministry of Culture with a script and be told by someone ‘well done! How much money do you need?’ Financing mainstream film is extremely specific in Serbia. It is very difficult to secure help, because the market here is too small and so that there are no commercial films. For

SAMURAI BY HAIRSTYLEDanilo Bećković, film director

films that fill cinemas it is necessary to have the same kind of enthusiasm as for a film that is planned to be shown at three festivals abroad.

But there are always some who understand and want to support film art...

In recent years awareness has begun to rise about the need to make something for cinemagoers. The assistance we received from Film Centre Serbia and our sponsors really meant a lot to us, because without them none of this would have happened. There were even some others like Airport city, who didn’t ask for anything in return, as opposed to that being classic sponsorship support. That was more of an act of goodwill towards culture workers than some kind of commercial sponsorship. If there were more such as these, it would be easier to make films.

You once said that film is made so that the audience has something to watch, and not so that film workers have jobs. How do you view the basic purpose of film – is to entertain or to be engaged?

And why must an engaged film be boring? I think that’s just a matter of approach, because no film that is any good can be disengaged, or rather a bad film that is engaged means nothing. If you want to send a message with your film and you fail to involve the audience, it would have been better if you didn’t start anything. For us, like every society, it is really necessary to invest in culture, and perhaps even more so for us, because we don’t have a market that can just clean that p. Cinematography is expensive entertainment. If you want to get something really good, then you also have to invest.

Neke jeseni su u Njujorku, neke su jeseni dunja koje stižu, a predstojeća je u znaku časnih i požrtvovanih ratnika sa-muraja. Danilo Bećković, reditelj velikog filmskog hita Mali Budo se vraća u bioskope sa filmom “Jesen samuraja” čija je premijera zakazana za 3. oktobar. Dobitni tim na čelu sa Petrom Strugarom u glavnoj ulozi nije menjan, samo je ton postao romantičniji, kao što jesen nalaže. U intervjuu za What’s Up, Bećković objašnjava na koji način je Holivud kriv za probleme glavnog junaka i kako se on onda menja zbog devojke, ali i zašto je kinematografija skupa zabava u Srbiji.

U ‘Malom Budu’ ste se bavili karakteristikama menta-liteta jednog naroda dok se u ‘Jeseni samuraja’ preba-cujete na problem pojedinca. Šta to muči vašeg glav-nog junaka Vladicu?

Vladica je filmofilski lik i njegov mentalitet je u velikoj meri zasnovan na doživljaju stvarnosti koji je preuzet iz kinema-tografije. On ne pravi jasnu razliku između toga šta je stva-ran život a šta neka uloga koju je počeo da igra gledajući kao dete Van Dama i Stivena Sigala. U tom smislu Vladica odražava jednu karakteristiku savremenog društva i savre-menog sveta a to je da su njegovi životni stavovi i ceo ži-votni stil na neki način preuzeti iz medija masovne kulture. On deli isti problem kao i veliki broj ljudi danas - nedostatak jasne perspektive. To dolazi od toga što se u životu bavio samo karateom kao amaterskim sportom, da bi se na kraju svoje karijere našao u situaciji da ne zna ništa drugo da radi, da je potpuno nepripremljen za život posle sportske karijere.

Da li je Vladica tipičan predstavnik epohe u kojoj se socijalni i emotivni razvoj zapostavlja u jurnjavi za ka-rijerom kao ultimativnim ciljem i uspehom?

Vladica je čovek koji više zamišlja da ima karijeru nego što je stvarno ima. On je sa 30 godina nastavio da živi isti život koji je vodio sa 15 godina sa ne baš najjasnijom perspekti-vom šta tačno može da radi. Njegov problem je više iden-titeski a njegov socijalni problem proističe iz identitetskog, iz jedne projekcije stvarnosti koja je zasnovana na uticaju iz filma i drugih medija popularne kulture. S tim što je Vladica zbog svog specifičnog izbora karatea možda u malo većem problemu i kod njega se taj problem jasnije detektuje.

Da li likovi kao što je Vladica mogu da se promene ili se samo menjaju konteksti?

Tu fazu u kojoj je Vladica zaglavljen ljudi prevaziđu dosta ranije. U 15. godini svi imaju dugu kosu i misle da se nikad

Scene from Airport City

Here a big and important scene was shot. That old aeroplane hangar where we shot actually used to be a centre where my friend Uroš Stoja-nović shot his film ‘Tears for Sale’, then ‘War Live’ and some other films. In that sense, you feel like you’re part of some tradition, or, as fishermen would say, you’ve come to a fed spot. Moreover, this place looks phenomenal and I’m not sure we would have found such a good location for shooting if we hadn’t got it.

Scena iz Airport city-a

Tu je snimana jedna velika i važna scena. Taj stari avionski hangar gde smo snimali je u stvari nekada bio filmski centar gde je sniman Čarlston za Ognjenku mog prijatelja Uroša Stojanovića, zatim Rat uživo i još neki drugi filmovi. U tom smislu se osećaš kao da si deo neke tradicije ili, što bi rekli ribolovci, dolaziš na nahranjeno mesto. Pritom, to mesto izgleda fenomenalno i nisam siguran da bismo našli tako dobru lokaci-ju za snimanje da to nismo dobili.

neće ošišati i onda se dobar deo ošisa već do mature. S druge strane imamo i dalje neke ljude koji imaju 50 godina i nose kožne pantalone, što je i legitimno i legalno, samo je pitanje da li je to linija manjeg otpora. Vladica se socijalizuje onako kako se muškarci najčešće socijalizuju a to je zbog neke žene. U pitanju je prelepa samohrana majka koja se zove Snežana a koju tumači Hristina Popović. S obzirom na to da se socijalizacija dešava 15 godina kasnije nego što bi bio slučaj kod drugih mladih karatista, to uzrokuje niz komičnih i ozbiljnih situacija sa kojima mora da se izbori.

Za “Doba nevinosti” ste vi i Dimitrije Vojnov vodili blog gde ste se povezali sa publikom i koji je ubrzo prevazišao svoju inicijalnu svrhu. Ovog puta to niste učinili?

Taj blog je nastao kad smo pokušali da napravimo naš prvi film pod radnim naslovom Doba nevinosti što je bilo pre skoro deset godina. Film nikad nismo uspeli da snimimo ali smo taj scenario uspeli da plasiramo u Sloveniji pod ime-nom Julija i Alfa Romeo. Taj blog je nadrastao svoju prvo-bitnu funkciju i postao dosta uticajno javno glasilo koje je analiziralo situaciju u srpskoj kinematografiji. To je svakako uticalo da se srpska kinematografija malo pomeri. Mladi ljudi koji se bave filmom su tu imali šta da pročitaju. Bilo bi divno i da smo sada to mogli ali Jesen samuraja dolazi tačno dve godine i nedelju dana nakon Malog Buda. To je užasno brz ritam koji teško da ostavlja prostora za još nešto.

Da li to onda znači da će susret publike sa Vladicom biti potpuno iznenađenje za sve?

Ne stižemo i izbegavamo da mislimo o tome. Ne mogu se tako snimati filmovi. Ako bi se snimali razmišljajući o gledanosti onda bi čovek počeo da se plaši, da kalkuliše, da računa šta bi još smešno moglo da se ubaci da se publici dopadne i tako se postaje servis za želje za koje pretpo-stavljaš da će se publici dopasti. Mi snimamo filmove kakve bismo mi voleli da gledamo.

Žanrovski ‘Jesen samuraja’ spada u romantične kome-dije sa elementima sportskog filma. Može li se reći da je to žanr koji je srpskoj publici potreban?

Kada pogledamo istoriju srpskog filma, generalno je kome-dija žanr koji je nama najprijemčiviji i najpopularniji, a tako-đe komedije spadaju i u najkvalitetnije filmove koji su ovde snimljeni. Filmovi Srđana Dragojevića ili Slobodana Šijana spadaju u klasike srpske kinematografije koje publika i redi-telji vole. Ja se bavim komedijom jer je to nešto što volim da radim, bavimo se repertoarskim filmom, želimo da bioskopi

budu puni kad se naš film prikazuje ali to nije stvar kalku-lacije već našeg opredeljenja. Ako se baviš repertoarskim filmom a nemaš pun bioskop, to je kao da se baviš umet-ničkim filmom a ne uspevaš da odeš ni na jedan festival.

Samuraje uvek povezujemo sa kodeksom časti koji na-laže da se ide težim putem. Da li ste vi samuraj u svetu filma ako uspevate da se izborite da vaš drugi igrani film stigne u bioskope u zemlji sa limitiranom i diskre-cionom raspodelom sredstava za pravljenje filmova?

Ne mogu da se koristim tako krupnim rečima. Samuraj mogu da budem samo po frizuri. Svuda je teško snimati filmove i ne postoji nigde da neko dođe u Ministarstvo kulture sa scenarijem i neko mu kaže svaka čast, koliko vam para treba. Finansiranje repertoarskog filma je jako specifič-no u Srbiji. Mnogo je teško obezbediti pomoć jer je ovde tržište previše malo tako da nema komercijalnih filmova. Za film koji puni bioskope je potrebna ista vrsta entuzijazma kao i za film koji planira da bude prikazan na tri festivala u inostranstvu.

Ali uvek ima nekih koji razumeju i hoće da podrže sed-mu umetnost…

U poslednje vreme je počela da se razija svest da je po-trebno praviti nešto za bioskopsku publiku. Užasno nam je značila pomoć Filmskog centra Srbije i naših sponzora jer bez njih svega ovoga ne bi bilo. Čak je bilo nekih poput Airport city-a koji nisu tražili ništa zauzvrat, niti je to bila klasična sponzorska podrška. To je više bio jedan čin dobre volje prema kulturnim delatnicima, nego neka vrsta komer-cijalnog sponzorstva. Kada bi bilo više takvih, bilo bi lakše praviti filmove.

Jednom ste rekli da se film pravi da bi publika imala šta da gleda, a ne da bi filmski radnici imali posao. Kako vi gledate na osnovnu svrhu filma — da zabavi ili bude angažovan?

A zašto bi angažovani film morao da bude dosadan? Mislim da je to samo stvar pristupa jer nijedan film koji je iole dobar ne može biti neangažovan, odnosno lošem filmu koji je angažovan to ništa ne znači. Ako želite da pošaljete neku poruku svojim filmom a ne uspete da involvirate gledaoce, bolje da niste ništa ni počinjali. Nama je kao i svakom druš-tvu jako potrebno da ulažemo u kulturu, a nama možda i više zbog toga što nemamo tržište koje to može samo da isprati. Kinematografija je skupa zabava. Ako hoćete da do-bijete nešto zaista dobro, onda morate i da uložite.

Bojana Barlovac

> SRP

14 Airport City Belgrade newsletter

PROMOTION OF THE “CYCLE TO WORK” CAMPAIGN This represented support for a mo-dern way of thinking and a more conscious atti-tude regarding the concept of sustainable energy, without which the younger generations realise that it will not be possible to live a comfortable and healthy tomorrow. We have started allocating parking spaces for your bicycles.We will see whether or not the allocated area proves to be too small in the coming seasons of good weather...?What do you think about that?We, as ACB, are including ourselves in all future activities of the City of Belgrade and the pro-grammes of USDP related to this topic.

PROMOCIJA AKCIJE “BICIKLOM NA POSAO” bila je podrška jednom savremenom načinu raz-mišljanja i svesnijem odnosu prema konceptu energetske održivosti bez koje mlađe generaci-je shvataju da neće biti moguće živeti udobno i zdravo sutra. Mi smo započeli s parkingom za vase bicikle. Videćemo da li će naredne sezone lepog vremena ovaj prostor postati suviše mali…?Šta mislite o tome?Uključićemo se kao ACB u sve buduće akcije grada Beograda i USDP-jevih programa na ovu temu.

SRPEverything we’ve done

that we were all proud of in recent months

When we laid the foundations for our SRP ten years ago, we wondered about whether or not we had the right as a corporation to ignore individual appeals for help, but also at the same whether we had the right to presume that helping one person me-ant helping someone else. Believing that, as a company, we should help the wider community in some activities of general in-terest, we opted for that kind of support and we leave it up to our employees and management to engage in individual acti-vities depending on their own abilities and affinities.

NAŠ SRP - šta smo sve uradili i na šta smo sve bili ponosni poslednjih meseci

Kada smo pre desetak godina postavili osno-ve za naš SRP razmišljali smo imamo li kao korporacija pravo da se oglušimo o indivi-dualni apel za pomoć, ali isto tako imamo li i pravo da pomoć jednoj osobi pretposta-vimo pomoći nekom drugom. Verujući u to da bi trebalo kao kompanija da pomognemo široj zajednici u akcijama od opšteg značaja opredelili smo se za takvu podršku, a svojim zaposlenima i menadžmentu ostavljamo da se uključe u pojedinačne akcije prema svojim mogućnostima i afinitetima.

NEW YEAR’S GREETING CARDS ARE A TRADITIONAL DONATION TO THE CHILDREN’S VILLAGEWe don’t think this is something that should be a topic for advertising or self-promotion, even in the context of recapping our SRP activities, but it is a good feeling for us and for the clients and friends, who receive with good wishes a gree-ting card from the Children’s Village, to share the feeling of being part of a small but noble gesture...

NOVOGODISNJE ČESTITKE TRADICIONAL-NA SU DONACIJA DEČJEM SELU.Ne mislimo da je to nešto što bi smelo da bude tema za reklamiranje ili samoreklamu čak i u okviru podsećanja na SRP akcije, ali dobar je ose-ćaj kada uz dobre želje primite i čestitku Dečjeg sela – podelili smo osećaj sreće jer smo bili deo jednog malog ali plemenitog gesta...

THIS YEAR WE PARTICIPATED IN THE ORGA-NISATION OF THE CONGRESS OF NUCLEAR MEDICINE, which enabled world-renowned doc-tors and scientists to exchange experiences with colleagues from around the world – our experts monitor what is happening in the world, and the area of diagnostics in this domain is crucial to the successful treatment of the diseases that unfortu-nately mark our time. We are glad that our dona-tion contributed to exchanging knowhow.

OVE GODINE UČESTVOVALI SMO U ORGA-NIZACIJI KONGRESA NUKLEARNE MEDICINE koji je omogućio svetski priznatim lekarima i na-učnicima da razmene iskustva s kolegama iz sveta – naši stručnjaci prate šta se u svetu dešava a oblast dijagnostike u ovom domenu je od ključnog značaja za uspešno lečenje bolesti koja je nažalost obeležila naše vreme. Drago nam je da je naša donacija doprinela razmeni znanja.

WE WERE CONTACTED BY THE STUDENTS OF BELGRADE UNIVERSITY’S FACULTY OF MECHANICAL ENGINEERING and we were re-ally glad to make space available to them for their competition. These smart young people certainly include future employees of companies that ope-rate at Airport City!

OBRATILI SU NAM SE STUDENTI ETF-A I BILO NAM JE ZAISTA DRAGO DA IM USTUPIMO PROSTOR ZA NJIHOVO TAKMIČENJE. Među ovim pametnim mladim ljudima sigurno su budući zaposleni u firmama koje rade u Airport City-ju!

FILM AUTUMN OF THE SAMURAI We allocated the space of our old hangar for the purposes of shooting this film.The creation process for an artistic story that will come to life on cinema screens tomorrow is certainly interesting. Perhaps it is in some way even more interesting to observe Milanković’s hangar transform and breathe life into the story of the film... Thanks Samurai team - it was also inspiring for us, and not just for you!

FILM JESEN SAMURAJAUstupili smo prostor sta-rog hangara za snimanje filma.Proces nastanka umetničke priče koja će sutra živeti na bioskopskom platnu je svakako zanimljiv. Možda je na neki način i još zani-mljivije posmatrati Milan-kovićev hangar kako se transformiše i diše živo-tom filmske priče… Hva-la ekipi Samuraja - bilo je inspirativno i nama, a ne samo vama!

Airport City Belgradethe first business park in Serbia

Proudly announces that we have overcome tough competition among 60 nominees to win the prestigious

CIJ Award for 2016declared as

• The Best Developed Business Space – Airport City Belgrade

• Leadership Award for ACB CEO Mr Adir El Al

We would like to thank the members of the CIJ Jury, who are distinguished real estate professionals.And we would also like to share these awards with our loyal clients and partners, who are an integral part of our success.

Airport City BelgradePrvi biznis park u Srbiji

S ponosom želimo da podelimo s vama naš poslednji uspeh:

u oštroj konkurenciji od 60 nominovanih kompanija osvojili smo dve prestižne

CIJ nagrade za 2016

• The Best Developed Business Space – Airport City Belgrade, kao najbolji kompleks

poslovnog prostora

• Leadership Award koji je osvojio direktor Airport City-ja

gdin Adir El Al

Želeli bismo ovim putem da se zahvalimo CIJ–u i da im poželimo uspešan start u Srbiji;

stručnom žiriju CIJ-a u kome su učestvovali eminentni predstavnici real estate poslovne zajednice;

ali pre svega bismo želeli da ove nagrade podelimo sa našim vernim klijentima i poslovnim partnerima bez kojih

naš uspeh ne bi bio moguć.

16 Airport City Belgrade newsletter

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Koncept i urednik / Editor in Chief: Marina Deleon Novinari saradnici / Journalist contribution: Ljiljana Lukić, Bojana Barlovac Prevod / Translation: Mark Pullen Foto / Photo: Miodrag Trajković, Nemanja Jovanović, Luka Trajković, Oksana ToskićPriprema / Prepress: Ana Jovanović

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