Beograd

Del Cap wrote:Muralski rat se širi

Cousin Billy wrote:Socijaldemokratska omladina Jugoslavije, koja je u programu i statutu imala oružanu borbu protiv komunističkog režima. Mada sumnjam da su ovi što su precrtavali mislili na to.

(Iskreno se, inače, bez ulaženja u ideološke ocene, divim smelosti nekoga ko sa 17 godina dođe na ideju da 1947. u Jugoslaviji učestvuje u radu takve organizacije).

fikret selimbašić wrote:
Pekić bio naivan ko Frane Tente

Kad noću dolazi policija da ga hapsi a njemu u svoj toj frci najteže pada što je legao da spava neopranih nogu i što će sad to da vide i policajci u stanici. Previše je tu građanštine i finoće za 1 oružani ustanak.

Nacrt izmena i dopuna prostornog plana za projekat „Beograd na vodi” je na javnom uvidu. Pozivamo sve građane Beograda, uključujući i stanovnike Beograda na vodi koje ove izmene isto tako ugrožavaju, da napišu i predaju primedbe do 26. novembra.

Dosadašnji (veoma kontroverzni) plan usvojen je 2014. godine i za mnoge blokove predviđa izgradnju objekata visine do 60m. U izmenama i dopunama se ne zaustavlja na tome i predviđa se još veća spratnost i visina objekata. Tačno 19 od 30 blokova ovim planom doživljava visinsku transformaciju, gde se za 10 blokova maksimalna dozvoljena visina objekata povećava sa 60, 45 ili čak 20 metara na 100 (visina Beograđanke)!

Zašto je ovo problem?
1. Ovo je Nacrt izmena i dopuna prostornog plana i za tu vrstu dokumenta javni uvid traje 15 dana, u odnosu na 30 dana, što je zakonski minimum za javne uvide. Zakon o planiranju i izgradnji eksplicitno navodi da se planski dokument stavlja na javni uvid u skraćenom postupku samo ukoliko se manji deo planskog dokumenta menja. Pod manjim izmenama i dopunama planskog dokumenta smatraju se izmene i dopune koje se sprovode na delu teritorije obuhvata plana koji je manji od 1/3 ukupne površine planskog dokumenta. U ovom slučaju, izmene i dopune plana obuhvataju 19 od 30 blokova predmetne lokacije. Imajući to u vidu, kao i da tekstualni deo nacrta plana ima 79 strana, ovakav način predstavljanja plana i (ne)omogućavanja učešća građana u procesu izrade nije u skladu sa zakonom, te se ne sme raditi po skraćeoj proceduri od svega 15 dana.

2. Ovakva odluka ne samo što dodatno narušava panoramu i izgled grada, okolinu i pogled na reku, utiče negativno i na život stanovnika postojećih (a i novih) solitera Beograda na vodi time što će ih gotovo kompletno zagraditi i okružiti daleko višim zgradama.

3. Plan takođe omogućava rekonstrukciju postojećeg ili izgradnju novog objekta visine do 32m umesto postojeće Pošte Beograd u Savskoj ulici, čime se Javno preduzeće Pošta Srbije potpuno izmešta sa te lokacije.

Pre sedam godina na javnom uvidu, između ostalog, bila je sporna visina objekata – zbog prirode zemljišta, okoline, konteksta, vizura i tehničkih mogućnosti, a sada imamo ponovno uzdizanje solitera na još veće visine, odnosno tačno 650m novih, do sada neplaniranih, spratova. Takođe, važno je napomenuti i rezultate istraživanja javnog mnjenja koje smo sproveli ove godine na reprezentativnom uzorku Beograđana, a koji pokazuju da više od trećine građana ne misli da je ovaj projekat u interesu građana Beograda, kao ni da je osavremenio izgled grada

Javna prezentacija plana je zakazana za 22. novembar u 10h u zgradi gradske uprave grada Beograda, na adresi Kraljice Marije 1, dok je javna rasprava zakazana 10. decembra u 10h na istoj adresi.

Nismo verovali da ćemo ovo ikada reći, ali ovim putem, zajedno sa svim građankama i građanima Beograda, pozivamo stanovnike Beograda na vodi da nas kontaktiraju ukoliko im je potrebna pomoć u sastavljanju primedbi, razumevanju plana i pripremi za javnu sednicu.

Notxor wrote:Ima smisla.
Beograd na vodi jeste zajednički zločinački poduhvat, a kupovinom stana, na neki način, postaješ saučesnik.

Mór Thököly wrote:Od celog BNV, jedino Kula Beograd luči na 21 vek. Ružna je, kao što je recimo i The Chard ružan, ali je slika vremena ako ništa drugo. Ostalo je "tehno Plovdiv na steroidima". Borča za bogate.

Solus_Rex wrote:

Mór Thököly wrote:Od celog BNV, jedino Kula Beograd luči na 21 vek. Ružna je, kao što je recimo i The Chard ružan, ali je slika vremena ako ništa drugo. Ostalo je "tehno Plovdiv na steroidima". Borča za bogate.

Da li si stvarno uspeo da staviš u isti post delo jednog arhitekte iz Italije, koja baš ne ne oskudeva ni arhitekturom ni arhitektima dok ovaj ima jedno tri ormana puna priznanja, nagrada, doktorata & zahvalnica jer em je projektovao od Japana, preko Kine i dalje na zapad do San Franciska, em  što ima 84 godine. Dakle delo jednonog Renca Paijana sa onim kartonskim ogavnostima sa priobalja kojima se ni vlasnik a kamoli ni projektant ne znaju?!


Hteo sam reći da je The Schrad toranj jedan landmark  arhitekture XXI v. ravan Ajfelovom tornju XIX v. koji UK sebi nije usple da priušti Pirovom pobedom u WW I pa bi da se prikaže kao da je danas u naletu. Tu za poređenje sa nama nema nikakvog mesta ali ima dovoljno za kritiku koja nas isključuje iz razgovora: da se piše recimo o spektaklu kapitala koju  najbolje arhitekte mobiliše kako bi za gradove stare Evrope zadobio poverenje finansijskog sektora jednim brand effect-om ali opet to porediti sa onim sakaćenjem koje se kod nas provodi je školski marifetluk zamene teza, Vučićevog tipa. Mi smo logika onih NY likovi što ugrađuju metalne implante po glavi pa negoduju kad društvo posle neće da ih zaposli.

Vrlo kratko o Pijanu:

Istorijski fragmenti wrote:

They say a bad day in Paris is still better than a good day anywhere else. Maybe it’s due to the fact that every corner, every street, every boulevard, and every brick is somehow its own little work of art. A simple walk down the sidewalk will “provide lessons in history, beauty, and in the point of life,” as Thomas Jefferson once said.

As sophisticated as it can be, nothing speaks more about the elegance of Paris than the Eiffel Tower. With all of its monumental grandeur, from the moment it was finished in 1889 up until today, it is the beacon and the beating heart of the city. “I ought to be jealous of the tower. She is more famous than I am,” said Gustave Eiffel, the father of what is now the symbol of Paris. And he was right. Since its inauguration as the entrance to the 1889 World’s Fair, the Iron Lady of Paris has been everything but ignored. On the contrary, after a whole century it still continues to attract more than 7 million visitors every year.


While most people have always found the tower charming and romantic, there was a group painters, poets, writers, and all different kinds of preeminent artists who lived in and admired Paris but despised the colossal iron tower even before it was built. They called themselves the Committee of Three Hundred.


For every single foot that was supposed to be erected, there was one displeased Parisian who was offended by the notion and protested against the construction of “this useless and monstrous Eiffel Tower,” as they would famously argue in their petitions to stop this apparent madness.

The group of prominent figures and intellectuals, led by the renowned architect and constructor of the Grand Palais Garnier opera house in Paris, Charles Garnier, raised their voices against the radical design of the tower and even signed an official manifesto which was published on Valentine’s Day in Le Temps, two years before the finalization of what they called a “gigantic black factory chimney.”

“Imagine for a moment a giddy, ridiculous tower dominating Paris like a gigantic black smokestack, crushing under its barbaric bulk Notre Dame, the Tour Saint-Jacques, the Louvre, the Dome of Les Invalides, the Arc de Triomphe, all of our humiliated monuments will disappear in this ghastly dream,” reads the official statement. However, they were only a few fish in a sea of many who thought otherwise, among whom was the man who envisioned the tower. He considered it to be the greatest monumental achievement in human history and the best way to celebrate the 1ooth year anniversary of the French Revolution.

While he was overseeing its construction, the French engineer Gustave Eiffel opposed their views of his “Iron Lady of Paris” with scientific explanation, pointing to his desire to show that “we are not simply the country of entertainers, but also that of engineers and builders called from across the world to build bridges, viaducts, stations and major monuments of modern industry, the Eiffel Tower deserves to be treated with consideration.” Eiffel even compared his tower to the pyramids in Giza. “My tower will be the tallest edifice ever erected by man. Will it not also be grandiose in its way? And why would something admirable in Egypt become hideous and ridiculous in Paris?”


This battle of the wits and tastes between the artistic elite in Paris and Gustave Eiffel went on until the Eiffel Tower was completed and triumphantly proved its opponents wrong. Many of the protesters ultimately changed their minds and indulged in the tower and its presence.

However, the French writer and master of the short story genre Guy de Maupassant, who was among the artist protesters, apparently never accepted the tower and its presence. Defeated by the tower and annoyed by its immense popularity, de Maupassant couldn’t stand the sight of his “iron arch nemesis,” which seemed to follow him whenever he wanted to stroll around the center of Paris. At last de Maupassant thought of a safe place where he could avoid the tower that he obviously despised so much: underneath the Eiffel tower itself. Every day, he had lunch at the tower’s base restaurant, just because “inside the restaurant was one of the few places where I could sit and not actually see the Tower!”

Unfortunately for him, replicas of the tower were soon being produced from every material known to man and displayed on every street corner throughout Paris. Stuck in this “unavoidable and agonizing nightmare,” he left Paris and traveled to Sicily. In 1880 de Maupassant wrote The Wandering Life (La Vie Errante), in which he explained the reasons for his departure.

He died only a decade later in 1893 at the age of 43. He was buried just a 12-minute ride from the tower, at the Cimetière de Montparnasse in Paris. Luckily, it does not offer a clear view of the Eiffel Tower.

The city lived on without him, and today the Eiffel Tower is widely recognized as the enduring emblem of Paris. More than 250 million people have visited it since it was completed in 1889. An average of 25,000 people ascend the tower every day, making it the most-visited paid monument in the world, as well as the most popular replica souvenir among travelers.