While majority of the exciting projects and current research in architecture goes from material to immaterial, from physical to digital, from solid to fluid, from mechanical to biological, from hard to soft, we explore the opposite route, leading us from Soft to Hard. In continuation with the research project at the University of Belgrade, we have developed a detailed and site specific proposal for a Canopy. The design s is highly adaptable and could be easily adjusted to any other locations while keeping its material, structural and organizational logic. The intent is to create a new public space as an environment within any existing context which may be in the need of restructuring or reactivating. We hope that proposed architectural gesture, besides providing for solar protection, could be the trigger for many different patterns of use. The formal logic of the design relies on the generative powers of elastic material behavior. For the purpose of this project we have developed a custom computation tool to allow for  geometric modelling with material properties, *now available for the Rhinoceros platform. Beyond, its role in the understanding of the building physics and structural analysis, the tool has allowed for the development of the entire design strategy.Initial modelling relied on the properties of the building materials with a large deformation range, yet this site specific proposal is made of steel and wood. Similarly to the programmatic logic of the project, its material, structural and formal logic are based on the transition from Soft to Hard.

Previous prototype, part of  the research project at the University of Belgrade. Simulation of the construction sequence, using Spider for Rhino, custom developed plug-in for  geometric modelling with material properties.

Provisional location for the Soft to Hard Canopy in Sava mala Belgrade, above the lot between KC Grad and deserted construction site.

Model, sacale 1:10, segment of the structure. Testing the  system of interlocking joints.

Digital model,  testing the  system of interlocking joints.

Catalog of details, 249 in total.

credits///design: 4of7///Milan Katic, Milutin Cerovic, Djordje Stojanovic ///programming: Bojan Mitorvic ///

Second prize at the competition to redesign Slavija Square in Belgrade. The proposal aims to create a new public space at the busy traffic junction in Belgrade. The notions of movement and change are taken as two departing points of the study. The movement is related to the dynamics of numerous vehicular and pedestrian traffic routes which all intersect at Slavija Square. The change is related to the weather, most notably to rain or snow falls, but also manifested more subtly through oscillations of temperature, humidity and solar radiation. The proposed interventions consist of many elements, rather than a single and central gesture.The quick fix for the currently devastated image of the Square is based on the introduction of the responsive and field like spatial condition. The new environment of Slavija Square will consist of vectors and trajectories.

Unapredjenje postojeceg stanja Trga Slavija odnosi se na stvaranje znacajnog javnog prostora sa novim identitetom koji se nadovezuje na ulogu koju ovaj trg ima u životu grada. Trg Slavija cini važno saobracajno cvorište na kome se ukršta mnoštvo kolskih i pešackih pravaca. Prostorni identitet trga se sagledava kroz intenzitet razlicitih tokova kretanja i efekte koji nastaju njihovim preplitanjem, pre nego kroz njegovu fizicku strukturu.
Prostorno-programsko rešenje nastoji da okruženje Trga Slavija sagleda kroz pokret i promene kao pojmove putem kojih može biti opisan postojeci karakter trga i koji imaju potencijal da budu primenjeni u stvaranju specificnog javnog prostora grada. Pokret se odnosi na dinamiku saobracajnog cvorišta, vezuje se za cirkulaciju velikog broja automobila i ljudi koji se krecu razlicitim brzinama. Istovremeno, okruženje trga sagledavamo i kroz dinamiku otvorenog javnog prostora koja se odnosi na promene vremenskih prilika, u vidu oscilacija temperature i atmosferskih padavina.
Predložena je prostorna intervencija cija se formalna i organizaciona logika zasnivaju na mnoštvu elemenata, umesto na jednom centralnom motivu. Postojeci problem nedovršenog i nedefinisanog okruženja trga rešava se uvo?enjem nove matrice koja povezuje i stvara efekat celovitosti prostora trga. U vizuelnom smislu trg postaje okruženje koje opisuju vektori kretanja, sama forma predloženog rešenja je manje važna od medjusobnih odnosa elemenata koji tu formu definišu.
Urbanisticko-arhitektonsko rešenje uredjenja neposredne zone Trga Slavija u Beogradu se sadrži cetiri osnovna aspekta, koje cine: motiv u centru trga, saobracajno rešenje, spomenik Dimitriju Tucovicu i urbani mobilijar.

Spomenik Dimitriju Tucovicu je izmešten na lokaciju uz Nemanjinu ulicu iz dva osnovna razloga. Prvi se odnosi na ostvarivanje bolje pristupacnosti, dok se drugi vezuje za mogucnost boljeg sagledavanje spomenika iz neposredne blizine usled njegovih dimenzija. Predložena promena lokacije spomenika ima za cilj da reši problem izolacije sa kojom je spomenik trenutno suocen i obezbedi njegovo neposrednije ukljucivanje u životne tokove grada. Istovremeno, predvidjeno je da centralni deo trga i okruženje spomenika Dimitriju Tucovicu cine povezane segmente jedne celine, i dva jednako važna aspekta projekata za urbanisticko-arhitektonsko rešenje prostora neposredne zone Trga Slavije. U okviru buduceg razvoja, predloženo je da se neposredno okruženje spomenika Dimitriju Tucovicu proširi u novu zelenu površinu koja bi obuhvatila znacajan deo prostora izme?u trga Slavija, Narodne banke, ulica Nemanjine i Srpskih Vladara.
Urbani mobilijar cini nekoliko razlicitih elemenata medju kojima najvažnije mesto zauzimaju svetiljke. Drugi elementi mobilijara poput klupa, su rasporedjeni u centru i na periferiji trga, gde omogu?avaju zadržavanje i okupljanje gradjana. Na centralnom delu, predvidjeno je ukupno 91 svetiljki, u vidu iskošenih stubova cija visina iznosi 4m. Pozicije ovih svetiljki na centralnom delu trga su medjusobno sinhronizovane u okviru jedne zajednicke prostorne matrice, cija orijentacija podržava kolski smer kretanja. Svetiljke su sagledive na tri navedena nacina: iz neposredne blizine, iz perspektive pešackog kretanja na obodu trga i prilaznim ulicama, i iz perspektive vozaca, odnosno kolskog saobra?aja. Njihovo prisustvo, uz svetlost koju one emituju, dominira prostorom Trga Slavija.

Svi elementi mobilijara predvidjeni su kao fiksni i njihov oblik i njihova dispozicija su precizno odredjena na priloženima arhitektonskim crtežima. Medjutim, u okviru ovog projekta, razmotrena je dodatna mogucnost uvodjenja pokreta za svaku od 91 svetiljki, koje se nalaze u centralnom delu Trga Slavija. Namenski mehanizam koji pokrece elektricna energija, mogao bi biti ugracen u svaki stub, da bi omogucio rotaciju svakog stuba oko sopstvene vertikalne ose. Akumulacija mnoštva jednostavnih kretnji stubova u vidu rotacije, rezultuje vizuelno složenim efektima. Individualni pokreti svetiljki mogu biti lako kontrolisani i medjusobno sinhronizovani, i putem automatizovane video kontrole usaglašeni sa promenama u njihovom okruženju koje vezujemo za obim saobracaja ili karakteristike vremenskih prilika. Zajednicka rotacija ovih elemenata mobilijara mogla bi ciniti koreografiju koja je zasnovana na promenljivom intenzitetu dešavanja na samom trgu i koja ima za cilj da stvori novi identitet ovog okruženja.

4of7 Slavija Timelapse from 4ofseven on Vimeo.

credits///design: 4of7///Milutin Cerovic, Andjela Karabasevic, Milica Tasic, Bogdan Obradovic, Djordje Matic, Djordje Stojanovic ///anime: Doktor Fried ///

The idea is for these stops along the path to be built gradually, one by one, during a certain period of time. The unique identity of each point is carefully defined by its function. Firstly, the visitor is led by a rent a bike stop in the very beginning of the route /A/, then two resting places inside the forest /B/, only to arrive at the eco-market stop amidst a few houses at the point when the path exits the forest for a while /C/. It is reserved for selling locally produced products and souvenirs. At the spot where the route is closest to the river is where a small picnic area below a wooden shade is planned to be located /D/. The next stop leads the way up into the treetops, as a viewpoint towards the monastery with the river Susica and the forest around it. At the end of the route, a new wooden bridge over the river directs the visitor into the monastery complex Ljubostinja.

Aksonometrijski prikaz sadrzaja

Prikaz sadrzaja u osnovi

Detaljni prikaz elemenata mosta, staze, strehe i osmatracnice

credits///design: 4of7///Kristina Arsic, Andjela Karabasevic, Nemanja Kordic, Milutin Cerovic, Djordje Stojanovic ///

This is a design and build propsal for the social and economic development of the Upper Layer of Savamala, submitted for the invited competition under the initiative Urban Incubator: Belgrade, supported by the Goethe-Institut. In July 2012, our proposal was selected by the curatorial board amongst six other projects, which are now awaiting funding. The project will: identify, analyze and try to develop a series of roof top platforms for various uses. On one hand project aims to create a new infrastructure for social cohesion, where people can meet and spend time. On the other, it seeks to create opportunities for the development of organisations and institutions with far reaching goals. For instance, a suitable roof top platform could turn into an Architectural Institute, an organisation which could take part in education and help in raising critical public and professional awareness of the ongoing urban development. It could foster a debate to explore routes for the more suitable development of the city.

The idea for the project comes from what has already happened at the roof terrace of the residential building that lies just opposite form the derelict site marked as the location for the Goethe-Institut pavilion and Urban Incubator initiative. Rather than adding another floor to the building for the commercial reasons, which is the most common scenario Belgrade, residents of this building have gathered around a different initiative with economic as well as social validity. They have build a scaffolding with a display which they rent for billboard advertising while roof top terrace is equipped with furniture, BBQ and plants to become a social space, a hang out place with a view of the Sava river.

credits///design: 4of7/// Milutin Cerovic, Milica Tasic, Djordje Stojanovic

This is a project for a sushi restaurant and bar located on the coast at new build Tivat marina, Porto Montenegro. Space is conceived as a place of gathering and its use depends on the moode of its users. Throughout the day its use fluctuates from an exclusive restaurant and mainland living room intended for marina users, to a common, bar-like space with a typical summertime and holiday atmosphere.

Mitsu Sushi je projekat sushi bara koji se nalazi neposredno uz more u novoizgradjenoj marini u Tivtu. U programskom smislu prostor nije u potpunosti definisan vec predstavlja mesto okupljanja cija namena zavisi od trenutnog raspolozenja korisnika. U toku dana namena prostora oscilira izmedju ekskluzivnog restorana, dnevne sobe na kopnu namenjene korisnicima marine i prostora sa velikim barom za zurke karakteristicne za letnje periode na moru.

Prostor je struktuiran kroz nekoliko zona od kojih je jedina fiksna zona kuhinje. Kuhinja ima servisni ulaz i definisana je za cetiri radna mesta sa toplim i hladnim delom. Preciznim definisanjem kuhinje omogucena je fleksibilnija organizacija usluznih zona restorana. Na funkcionalnu semu kuhinje nadovezuju se dva bara koja su medjusobno razdvojena i slobodno postavljena u prostoru. Na taj nacin omogucena je centralna veza kuhinje i usluzne zone kao i efikasnija veza retropulta sa kuhinjom.

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Usluzni prostor restorana odredjen je kroz elemente mobilijara lusteri i stolovi za goste cine elemente prostora kroz koje se, u likovnom i upotrebnom smislu, uspostavlja aktivna veza izmedju korisnika i samog prostora. Fleksibilnost prostora i njegove dnevne transformacije baziraju se na odnosu ovih elemenata i korisnika.

Prostor restorana ispunjen je sa dvanaest lustera koji su slobodno rasporedjeni u prostoru. Naglasenim dimenzijama i razlicitim proporcijma lusteri formiraju manje prostorne ambijente – nalik prirodnom pejzazu geometrija lustera sugerise slobodno kretanje korisnika i postepeno sagledavanje prostora. Materijalizacija lustera je od celicne zice 5mm presvucene elasticnom belom tkaninom. Tokom dana i na dnevnom svetlu, lusteri se pojavljuju kao neprozirni volumeni jasne geometrije i kontura, dok u vecernjim satima i pri vestackom osvetljenju, lusteri postaju transparentni elementi ciji se volumen i konture polako gube ispred zicane potkonstrukcije lustera. Uticaj svetla na unutrasnji prostor dodatno je povecan kroz uvodjenje reflektujcih bakarnih panela koji po obodu okruzuju zonu lustera. Uloga reflektujucih panela je da dodatno uvedu prirodno svetlo u enterijer i da svojom povrsinom prenesu deo spoljasneg ambijenta u unutrasnji prostor restorana.

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credits///design: 4of7///Milutin Cerovic, Petar Smiljanic, Djordje Stojanovic /// structure: Gomid Doo///Nenad Srebro

Some plants have burrs, prickly flowers with outer bracts ending in hooks. After the flower head dries, the hooked bracts will attach to humans and animals in order to transport the entire seed head. The interesting bit here is the connection between the flower and the environment which happens via tentacle-like bracts. Imagine now, related but quite a different situation, if these bracts may be informed to find the most suitable way to connect with the given environment and if their growth and anchoring would be a defining force behind the flower form. Any such form would then come into being as a result of the real-time adaptation process. Its constitution would accurately correspond to what is found in its surroundings; and if one could remove its surroundings with the magical wand, the form would then represent the accurate memory of that space. This is what we tried to achieve with the project. At first formless piece of textile equipped with tentacles is suspended in the air. The structure is then starched in a form-finding process, according to available space and anchoring points. In the final stage epoxy resin adhesives are used to stiffen the canvas and to achieve structurally autonomous shape. The project is done for the promotional purpose of Ceresit, Henkel Building Systems at 2011 Mikser Festival with the help of students form University of Belgrade.

More images on our flicker page.

In 1968 local kids have erected the first structure on this spot, like a retreat and without a building permit proper. Not only the natural setting is intriguing but also the fact that it sits on the river which now represents border between two countries, territory not belonging to either jurisdiction, sort of duty free zone. The structure was rebuilt several times since then. Whenever torrential rain and flood take the structure down, one of the original builders, Milija Mandic Gljiva, would build a new one. This year, rain and flood have done it again and for the seventh time, Mr. Mandic now in his sixties, has started preparing for the construction works. Here is the video of the structure just before it was demolished by flooded river and the video of the actual demolition moment. Having heard about the story, we have met up with him and have jointly developed a concept on how to build a structure from locally available materials and workforce which would be able to withstand torrential floods by letting water through its own interior. The idea is that structure would remain a bathing place and a local retreat with protection from sun and rain.

Proposed structure� letting water through the interior.

Plan and section of the new proposal with the axonometric scheme of the timber construction method.

credits///design: 4of7///Milutin Cerovic, Milija Mandic, Ivana Damjanovic, Stanislava Predojevic, Djordje Stojanovic

Like many other cities, Belgrade too is lacking green space. In particular it needs equipped and maintained green areas that are open to public. We have joined non-governmental organization Supernatural in an initiative to create a series of such spaces across the town. The first one is a small lot of land located next to the Kula Nebojsa and river Sava.

The idea was to involve public and gather citizens who would bring a plant each to create a park within a day. Over the time the plan evolved with corporations chipping in to support the idea. Telenor, mobile operator, have acquiring large number of plants to be planted by their employees. Totaling number of plants grew over five hundred and benches, solar lights and homes for birds were included. The design is based on the idea that park should be created as a consequence of collective action. We have provided some framework concerning the choice of plants and creation of the central green area with circulation routes, but have relied on individual preference for the position of the plants.
The first day at Supernatural Park.

Design sequence: a. proposed topography b. land infill� c. planting grid d. approximate plant disposition c. circulation and paths

Final plan for one day planting action.

Visual made for fund raising and promotion purposes.

Workshop drawings for the bench.

Workshop drawings for the bird’s house.