Zoran Lazović
University of Belgrade – Faculty of Architecture


The World is permanently constructed and deconstructed. Is there an essential paradox of deconstructionism in creative works of architects? What does architectural design correspond to? Diary of a story where the narrator is his own interpreter: From an uncertain reminiscence and faded copies to the multiple new originals. Where was the architect’s Babylon? The Group Portrait. Kriegs Insel in Plannen. The Expulsion from the Earthly Paradise. Block 24. The Culture Center of the Third Millennia. The Futuristic Approach to the Sava Amphitheatre of the Third Millennia. Urban Utopia: Homage to the City of Vukovar. The City of Hope. Cauchemare. Night work. Imago Mundi. Observatory of the Future? Wandering and the life at the low frequency. Belgrade Necrosis and the Death of Serbia. The Parallel of introspection, or the death of many worlds in front of us. Those who cannot see that dying will see some other worlds disappearing: their decay, dissolution, disappearance. Look into abyss of the past: for some trace, or for some more traces comparatively. The Architecture. Images. Fragments. Hybrids. Testimony of preserved images, objects, architectural compositions, iconographic fragments, montages, assemblages, art collages, menthol bricolages. The Reflection of major events and ideas: constantly changing and disappearing Context. Context of the big movements. Fashion. Trends. Mainstreams. Wars. Creative priorities and visions. The Anatomy Lesson: confronting your own designs and constructs, bonding, parsing, deconstruction, reminiscence and reconstruction, re-membering. Some trace of already obliterated existence and the inevitable disappearance. Is there an anticipation and a prediction of the events and disintegration, departure and return? What sorts of frames have had the images that were invisible at the time? Trace through the Specter of Derrida.

architecture, ideas, concepts, contexts, deconstructions, destructions, retrospection



SAJ Vol. 5, 2013, No. 2