text and photos: Aleksandar Petrov 

Strong impulse follows the Dekalog television drama series of the famous Polish director Kieślowski. Series of films whose stories draw from the city of Warsaw. All scenarios are entangled in a suburb, recognizable for the period then. The second and third film in particular are rich in darkness and silence, which he sophistically and strictly dissolves through the neighborhly sound in the background and street lights that stain the beautiful shots of rainy windows using the colors of advertising neon lights, traffic lights, car headlights and other urban decor. Shot in the late 80s, at a crucial period for the history of the city and the nation in general.

Today, in a similar night, in the transition between fiction and reality, this urbanity appears, observed in the movement of red-yellow public transport (with drivers’ music in the background), creeping along the long axes of the remaining socialist space. Many elements lack for merging this onetime effect of social-realism, but here we are about to capture it through its present, which is in full swing and transformation. The urban night lighting is still pale, while in the background you can oversee the massive repeating blocks. The space inbetween is still clean and free, sprouted forth with foliage.

The day, on the other hand, is showing us the new Warsaw with the lukewarm sun that breaks the urban dullness and gives golden color, which reflexes against the new crystal facades.

Up till recently, by default, Warsaw itself represented a noun – pattern of a Soviet model city. Today this idea apparently stepped into the symbiosis from social-realism to neo- liberalism. The gulch in the central area is already a financial center in the style of the furious capitalism jammed into a rigid socialist urban grid. And it is impressive, especially if the dominant view spreads right from the terrace of the most contradictory construction (Museum of Science and Techniques) of the Stalinist period, a view to a new capitalist guise of viewpoint so desired by communist regime and as such built only for supremacy and propaganda.

Remnants of the Soviet era are still visibly present in other settlements around the city. If you take the route from south in the district Mokotów, you can see this massive complex of high density which the system then applied through the narrow and long blocks, crossed horizontally and vertically. The same happens towards north at that side of the Wisla River, around part of the district Prague which exists since then and is further-socialized with breaking in/curbing. Set like that, the city is completed with rough infrastructure and with the spatial distances it is filled in all up to the historic center where the compressed, bit old-fashioned architecture prevails, whose significant core is protected. The old center still exists and toughly endures in the sub-context of yellow background as in the fifth part of the Dekalog. Specific architects dating back to the post-war period are the inevitable Warsaw Tigers (named after their aggressive productivity), although their simple and aesthetic expression was suffocated by the former state regime doctrine, through the decoration and Stalinist stylization. The railway station, the Parliament, the PKO building, the University of Social Sciences… all leave some quality trace of the past relics.

Poland has always looked up at the Western civilization although it was constantly under different influences. Exactly that is displayed through the advertising neon lighting of the 50s, a caprice used by the Western capitals and inadequate for the then rigid system. The neon is in contrast to the dogma and breaks down the trampled on and wanted freedom of the required color of the languor back then.

The creations of the best architects and graphic artists come from this era of neonization, when they were engaged to design neon signs/displays embedded in the buildings or streets themselves (today they no longer exist and can be found in the Neon Museum).

With yet another change of the political context, Poland looked at the uncharacteristic for it post-modernism, creating parts of the city that do not differ much from many other world cities. Most consistent representative of late modernism, which is also imported, is the University Library, built in 1993 by the architects Budzinski and Badovski, with typical narrative of postmodern elements using high technology and large botanical garden on the rooftop, spreading from there as a landmark all along to the level of the existing urban park.

Characteristic for their transition is that the state funding of social needs through residential buildings, education, health and employment back then changed through the urban expansion that feeds/fattens only on private companies and investors. Bank interest rates still being quite high, increase the effect that is visible around. Due to the innocent market back then in the 80s and its potential development, Poland, and above all Warsaw, has avoided the worst effects of the global recession.

The develloping market success manages to raise the standards of many foreign and domestic companies for an attractive and quality architecture. This was a competition, and therefore some of the world famous names of the architecture, such as Libedskin, Foster, Bofill, are starting to work in the city. The chronic shortage of office space additionally makes Warsaw one of the most expensive cities for leasing worldwide. This lack is subject to building speculation, the profit of which is maximized by the investors through renting of the commercial space. This results in a high concentration of business centers and skyscrapers beyond the real size and the surrounding context, cheaply built and with questionable facades.

The city continues to evolve in an already traced direction. Surely, the land organization will play a key role, offering a new mix of subordination that should in the near future, hopefully, give original and special effects. The empty interspace land is only a welcome intermediary of the previous system, which thanks to its spreading, manages to spontaneously control the newly created mass that tends to usurp the required public space (being there in abundance).

I still remember the tedious work breaks during the day, debating with a colleague from Wrocław while sipping our morning coffee. She was surprising me with her attitude for a better Poland. We were regularly coaxing when and for whom it was better? Of course, their presence offers far more than our obsession with the successful Yugoslav socialism then. And so forth and back we were getting lost in unnecessary intervals that had their impact on our geographical traditions.

text and photos: Aleksandar Petrov 

As if in a movable frame of the Venders’ Million Dollar Cities, extends the skyline of the new German capitalism.

A gray silhouette followed up to the Ciel mall, futuristic building where from the center of Frankfurt, via mechanical staircase, you can reach the last sinusoidal floors peeping over the city. Almost as if we are in front of some American toponom here in the centre of Europe. It is thus somehow inserted between the redesigned antiquity and the lifting of the traditional construction.

It is perhaps the only urbanity of this type of structure that extends in the old and conservative Europe, with high, sleek and glassy skyscrapers, large entrances, volumenous atriums, all those features recognizable for the North American cities that develop and concentrate vertically.

It stretches nicely along the bleak river of Main, in whose bed both banks develop intertwined with rigid and industrial infrastructure of bridges. The fog and greyness that make it recognizable accentuate the white color which fades it further, while in the later hours, when the humidity and the temperature rise, it begins to blur with the yellow urban night lighting, displaying it as a graphic aquarelle.

Thus heavily-set in its saga, it is also supplemented with the immigrant hotness that melts the cold and completes its multiethnicity and tolerance. Socially, it looks really tidy.

The city had a specific and rigorous development, mixed with democracy and liberalism. It correctly and constantly replenishes its urban tissue under constant pressure of the heavy capitalism and tension between the residents and its planners.

The city has been intensively developing since the 60s, after it has was destroyed to the ground in World War II. Meanwhile, it was rebuilt following the pattern of its old architecture, that has been faithfully cloned. Nevertheless, the city develops in full swing and therefore intensively begins to enlarge.

In the 70s it spreads towards the west, through City West Plan, impactly increasing the density with skyscrapers up to 40 floors, colonizing the Anlagenring, a district packed with commercial potential and not in conflict with its residents. It is actually here that its aggressive silhouette was conceived.

In the 80s the development does not appease and the City-Light plan is even further urbanized (by the urbanist – Speer’s son). This plan draws an axis where the western part of the city and the southern part of the settlement Bokenhaim meet, using the suitability of the efficient transport routes in that part of the city.

This urban move is from the mandate of NDC political system, which cost them losing the support of the local population that was opposing the enlargement.

In the 90s the city finally begins to grow towards the eastern district which was until then neglected, and since the moment its territory has been degraded opening a new urban gap, it starts being filled with new housing and trade contents.

And it is exactly that part in the city that became a recognizable landmark of the new European financial capital, where the European Central Bank rises as a symbol at the main square.

The city still doesn’t stand still, growing and therefore debating, seeking ways and courses of action. Different intervisions are shared by various architects, including Jonah Freeman, Arata Isozaki, El Lissitzky and many others, offering horizontal links connecting the horizontal lines in the absence of more space, preparing for the upcoming second wave of enlargement.

Parallel with the city, perhaps one of his most important satellites also develops: the  airport with its terminals and transfers reaching impressive size and development of united metropolis, whose ratio further drains from the current density.

All of the above said, Frankfurt presents a Counter city, filled with numerous non-places: banks, hotels, airports, fairs and skyscrapers, on whose platform you can see businessmen rushing, thus in their own way depicting this modern scenario of surreal city.

Very important for Frankfurt are the upper top terraces that have the most beautiful and dominant visions of the city, which are still closed to the public.

Such conservative absence has prompted the Skyscraper Festival, held since 2011 at the initiative of the then Mayor Petra Roth, with the objective for that exclusive space to be provided for the collective good, to break through the boundaries of such rigid and protected heights and to share the potential that resembles the futuristic installations of the works of Tomas Saraceno.

He constantly develops networks, connections with spheres, communications, inspired by the mega-architecture of the middle of the last century that support the social theory metaphore. CloudCity is an impressive installation of his that breaks the perception of connection and communication between the local thing and something even bigger, globally. All the impact of that rigid Frankfurt constantly breaks down.

text and photos: Aleksandar Petrov 

Benidorm illusion

Impressive and titanium scenery characteristic all along the Spanish east coast. Non-stop city that is developing at a linear length of 8.000 km, from Costa del Sol up to Costa Brava. Dashed urban line that usurps the entire coast, with small breaks inbetween the natural reserves and rocks that prevent the total conquer of the concrete mass. Space that occupies only 4.25% to the total territory and is inhabited with 44% of the population.

This apparent enforcement of the coast started in 50-60-ies of the last century, in the full swing of Franco’s fascist model of development. It usurps any logic in the service of social capitalism which is partially pushed through both the tourism and the real estate market, where its rise began.

The vision of superstudios “Continous monument” (Continous monument, 1968) dates back from then, and in 1972 they deepen the same themes through the Seventh city [band city that is constantly produced]. Although the aesthetics is utopian and differently composed, they manage to predict this impact.

In this text I will frame only part of Costa Blanca, the whole scope of Cartagena up to Culp, since the intensity culminates in this piece. Sharp stretch that draws the marine width in all its splendor and luxury, and as some urban wall divides the barren and rocky white scenery in the background. A contrast that is difficult to balance with the charm of the Spanish tradition and coexistence.Certainly, the two major hot spots, Alicante and Benidorm, are most remarkable in this axis.The first classic Mediterranean city with Roman and Arab historical setting, additionally ubanized and merged to the late last century. Rigid skyscrapers placed an ad hoc follow the shore and the sun, while the space inbetween is filled with massive tourism villages and summer residences. The newer generation of Iberian architects who are among the better in Europe certainly give hope, by managing to unite these dense corroded urbanities through surgical refinements and interventions of connection, mostly through the landscape, the ground area and greater availability of the public space with tame vegetation content. Something very beautiful and typical of this theme is the connection of the urban core starting from the Albufereta beach until the neighboring San Juan, a few kilometers of well organized waterfront with pedestrian and bicycle paths with beautifully created details within the surrounding rubble. They really evoke optimism that there is still hope for the common sense to conquer through these bulky and ugly urban masses.

Benidorm certainly is the second node that could be hardly described by any standard or definition of education.

By the early 60s is a small landscapy village in a picturesque Mediterranean style. The then ambitious mayor Pedro Zaragoza begins its expansion, adjusting the whole area Hyera Hellada from agricultural to urban land. Within just twenty years it become one of the most developed tourist destinations with urban character, and represents a unique tourist model, the essence of which up to the present day seem like an illusion (mirage on the former village). In fact, the idea of ​​thematic tourist attraction prevailing as concept in Benidorm is actually the city itself. A course that spreads, giving a seemingly impression as if all subsequent Latin American cities were born here.

Inserted in a map of a triangle, it is expanding throughout the years along the front track at width of 100 meters along the coast following the beautiful sandy beach and the clear Mediterranean Sea. Curious are its atypical skyscrapers, which actually represent hotel structures that draw the capacity for tourist beds. While playing on the height card, they are not characterized by lavish and luxury shirk entrances and glass siding facades, being much cheaper with their massiveness demonstrating through monotonous forcing of storey/floors, which makes the place more competitive and affordable for every pocket. Scattered like that, these cubes are set in idyllic surrounding Mediterranean landscape which sets the paradigm and functionality with beautiful sight it consumes by and towards them. Somewhere between the most notorious INTEMPO skyscraper can be seen, a symbol of the collapse of the construction boom. The skyscraper became famous as shocking news on the world news as a building with no elevator, which through the period of countless urban speculation (the object has grown from 20 to 40 floors) loses the most important communication.

This kind of expansion affected its fantastic population/density, which can go up to 2 million tourists in the summer season (from May to September), an average of 400.000 visitors per month. Of course, this density varies in the other periods of the year, when the city barely counts 100.000 inhabitants. This overload sets the illusion of an Asian more than a European city. Although varied, this resort core manages to live year-round. It is quite impressive that in terms of too crowded, the water remains crystal clear and the beach is clean with bright and fine sand. At the end of the day, that is its strong natural resource which manages to attract so many tourists (along with the adjusted prices and offered fun).

Benidorm is a kind of massive basin which generates, but also repairs the economic crisis that gripped Spain. With such production at the construction market, it is the main cause of the bubble (bubblescapes), which generates the banking collapse in the real estate that can not be sold even at record low prices, regardless to the fact that the tourism continues to show an increase (tourism fictitiously increases the GDP, but employs only seasonally). What can be the real future and sustainability of such a hyper active tourist development that requires further victims who are becoming increasingly exhausted?

Although this city is a paradigm, the sense of being part of it is wonderful. I had no idea that it can be so appealing with all its beautiful contrast between the Hispanic food and tradition and environmental construction synthetics.

The room with corner window opens to this beautiful city, flash from the metropolis, which is for the first time here in terms of hitherto imagined. The broken city shows us the endless space divided between its thousands of urban vicissitudes. Its massiveness causes total deconcentration, leading to its urban unknown,  loss of its space. There somewhere is the weekly market, north of the city, which produces a hyper active scene full of life. Street stalls, souvenirs, food mixed with the smell of smog, dust and sweetish spices, lush tropical climate and people, Thai people, people foreigners, people everywhere. The megaphone from the Chatuchak skyrail station emits cries of camp order, and along with the surrounding universal delirium, faces us with this oriental piece.

Welcome to Bangkok

This majesty of a city is charcterized by different dimensions, levels, substances. Modern conglomerate containing a lot of past and a lot of future. Temples and kings on one side, skyscrapers and slums on the other. Misery on one corner, splendor on another. All this blended in a vigorous cohesion, great tolerance, closeness, cosmopolitanism and even extravangace on certain issues.

Bangkok offers real futurism, at times reminiscent of the comic master Enki Bilal’s flying traffic cities (certainly not as bizarre as his scenarios). That view from high above is captured through countless levels of transport nodes and nodes ranging between the filled perimeter and dominated by its sequence. Through the skyrail tangle, subway platforms and competitions you can reach the canals along Chao Phraya River, the situations of which produce various rich and dynamic shots.

Unlike Europe, where there is a specific architecture and subsidiarity, spontaneous and massive settlements are prevailing here in the absence of any precise placement. The architecture is free from any kind of organization and, as such, is created under the demographic pressure. Therefore Bangkok presents a prototype of metabolism produced by the every day frenzy.

This Metamorpolis has a special way of transformation. Its citizens still cherish the traditional customs and manage to fit them into the global processes thus ensuring diversity in the urban environment, without getting lost in the post-liberal regime that is very present here. The city is constantly evolving through its flexibility and local habits like Sanuk (collective socializing) and Pbai-tieuw (something undiscovered that must be discerned). It is this cultural specificity that upgrades the central area and contributes to its originality. Such Sanuk urbanism hosts for many surprises and events that happen on the street corners, starting from the kitschy decorated buildings up to the roof terraces. These styles and lifestyles originate from the family context, which also represents historical force in the creation of Bangkok over the years.

Affluent urban families still today govern 75% of the urban land. The property they own manages to reproduce economic development creating new conditions that lead to unscrupulous and uncontrolled expansion of the city along the main street spots. Wide gaps (as seen from the upper floors of skyscrapers) between the main streets are still used as farms or occupied by the poor classes. This is notable in Thonburi, west of the city, through the canals passing in this peaceful suburb, full of robust huts barely relying along the course filled with cesspool, filth and neglected vegetation. It is complemented by the floating market, which, together with the offered, creates a tourist attraction. And this fragile image, observed from the yellow boat, sets special aesthetics of rugged beauty with a specific habitat.

Strong colors mixed from the public transport are visibly apparent, blending from the lilac and yellow-green taxi to the blue and purple rickshaw. Congested electric cables also take away the attention, the urban cobwebs of which tricky entangle the canopy trees and greenery, creating artificial lаndscаpе, which, along with the pedestrian pavement, continuously indent typical decor. Local folklore decorations in shops crowded with anything interferes with the elegant silk and cashmere markets, while in the surrounding area bigger shopping centers can be found. There is a very interesting local architect who manages to blend in and apply all this in his architecture. Super machine is an architectural studio with experience based on Bangkok daily routine.

Public advertising space is particularly important, filled with world-known products, among whose the King being re-inserted as universal and national brand, whose dominance is reminiscent of the times of socialist parade. Although democratic and liberal, this country fosters an illusion of royal mythology.

And certainly, in this crowded insert, most beautiful are the streets of Bangkok where everyone knows that eating is the best, at some of the street corners in Sukhumvit, where the food is better than in any downtown restaurant. Even the most ordinary coconut milk soup can arouse special buds feeling, rubbing in between sweet and sour, while the taste of ginger gives the final “kick”. Thus, sober and seated in a stool with a folding table overlooking directly at the counter where the food is prepared, this meditation calms you in the surrounding apparent world full of oriental anxiety.

“Genova Symphony of the City” (GENOVA Sinfonia della Città) is an animated film by Emanuele Luzzati that can hardly leave you indifferent due to the passion and emotionality with which he displays his city. The film is a masterpiece, which speaks of Genova, of this turbulent and glorious city. It is an emotional story book, experienced repeatedly, as in animation of  compositional overlap of multiple drawings that move simultaneously and show the existence of all those cities that co-exist in the same space.

In Genova, actually, the medieval, renaissance, baroque, neoclassical and modern city are built in. Genova is tucked between the Ligurian Sea and the surrounding Apennine Mountains, stretching along the sleeve created between these two natural boundaries. It moves from the suburb of Nerves in the East, to the Vezima area in the West with length of 42 km. Typical Mediterranean and linear city that constantly evolves throughout its history.

This city with a typical colorful splendor, is constantly being experienced growing/maturing throughout the years. It is modern, broken down and thickened, full of scars from traffic connections that spontaneously hang or underground pass through it. These concrete infrastructures embedded in its overall appearance and splendor, are stirring the traverses and spread the view towards it. Adjusting it to the living in the present and distancing it away from its former glory.

The city is a touristically most tempting in its narrow center, which abounds with the famous Genovese Republic history. Narrow streets, tall buildings (with 5-6 floors, which, for that time, is a miracle), moisture which erodes the facades, Renaissance and Baroque decor, the smell of the sea mixed with the Ligurian cuisine from the surrounding restaurants. Leisurely movement and a sense of tranquility is present everywhere, offering the tourists an opportunity to enjoy and to flock its streets.

To have even greater feeling of the ambient, it is complemented by the Crêuza de mä melody of the famous songwriter De Andre, a song in old Ligurian language, which brings us in that setting. This central core experiences its culmination in the sea perimeter circumference where it turns to the open sea. The coastal promenade is a well known infrastructure through which the old city regenerates, designed by the renowned local and international architect Renzo Piano during the Expo in 1992, on the occasion of marking 100 years of the discovery of America.

Genova is recognizable for its specific architectural shapes that characterize the harbor, with the parked yachts and traffic of cruisers that mix the horizon with the background of the city. The platform is enhanced with public rafts/alloys (outdoor premises) where you can enjoy the surrounding urban Mediterranean theater.

However, Genova is not only the supreme tourism. It is also a real town that faces contemporary issues. It is one of the major European ports, after Marseilles, with high exchange and transport of materials, heavy industry, tankers and large shipyards. Shipping containers are spread all over the edges of the sea and its suburbs, complementing the coastal urban landscape. There are parts of town that are partially degraded, playful with the chaos of African and Latin American immigrants, who add an additional cultural weight to it.

In the 1960s, during the economic boom, the city was in a building expansion and was industrialized the most in this period. In this overall building conglomerate that gets out of control, some of the bolder architectural endeavors took place, which, from today’s point of view, represent a huge accomplishment.

Significant is the work of the architect Luigi Carlo Daneri with the residential social complex Forte di Quezzi, which rises to the height of suburb of Marassi and protrudes with its massive structure. (This approach was then present only in Corbuzier’s theories through the example of the plan Opus for Alighieri).

There is also the suburb of San Pietro (called a washer/washing place), which, although built bravely at the time, is today a synonym of urban degradation and impact on the environment and the significant nature thereof. After this period of accelerated development, the city abruptly lost a third of its inhabitants, whereas the territory remained a paradox. Approximately 10 percent of the existing buildings remained empty, and the overall area of the city is still condensed with buildings that extend to the top of the mountain heights.

This demographic crisis coincides with the economic crisis that rules in the recent years across Europe. The population is increasingly aging, especially in Italy, where the average age is 43.5 years of age, and even 47.2 years of age in Genova. The trend shows that by 2050, the age limit of the city will reach 49.7 years. This statistical indication puts to the forefront the future of this famous city, which in these critical years will have to find a way for its existence.

Thereof, many young groups work and debate on the direction in which they want their capital to grow. One of the most important directions is the manifesto of several influential architects representing the concept of Genova – 1%. This project aspires to make a turn in the property regime, which in these times of crisis is still moving by inertia. They proposed demolition of vacant and abandoned buildings that would revitalize the area and create larger gaps, which would solve the more existential problems of parking, green areas and larger/wider public space.

Parts of Genova develop spontaneously and unplanned, thanks to Latin-American immigration whose masses are toughly dealing with the crisis, and through their traditional lifestyle manage to become protagonists. A typical example is the suburb/neighborhood of Sampierdarena, populated by them, where the overgrown urban tissue regenerates, the prices of construction square meter are reduced, the conditions of living of the entire district are adjusted, and children’s voices are present everywhere. Through their action the social friction increases and makes this suburb more promising.

This friction certainly makes Genova more interesting, complements it and it becomes diverse, open and cosmopolitan. In Genova, the coming years will be crucial to maintaining its Mediterranean continuity, and perhaps this uncertainty will be of its benefit.

P.S.

At the exit from Genova in the west suburb of Voltri, where the urban concrete structures can still be overseen, there is a very interesting and improvised space. The beach here is still free to use. (This is generally not the case with the Italian sea good, which the state rents for lease). At part of the beach Erasmus, the locals organized spontaneously have created the blue camp. Scattered barracks/shacks, containers and various other improvisations focus on this part of the suburb. Characteristic of all these elements is that they are painted in blue, and along with the nearby boats of blue theme, make this landscape original and anomal. In summer it is very live, since these instant gathering places are used for protection from the summer heat and enjoy leisure time. This is perhaps one of the meekest ad-hoc phenomena, giving an impression of a well-conceived urban neighborhood landmark.

Architect:Janko Konstantinov

Architect: Marko Music

Architect: Georgi Konstantinov

text and photos: Aleksandar Petrov

Urban anglomerate Melbourne is in full swing of its urban and modern trasformation. Massive and even 100 square kilometers spacious, it constantly complements and improves its physical existence. In the next few issues  we will try to give an overview of its urban structure and thus capture the important architectural achievements.”Down there” in the country, as some prefer to call Australia, Melbourne spreads at the southeast corner in Victoria. The largest financial center, which is, in addition to being the district capital, also the second largest city after Sydney, takes the primacy in its population in the seventies of the last century. The city was created along the Yarra River in the mid -19th century, with no significant history, but developing very quickly, thanks to the large gold findings in that period. That is the reason why many immigrants from Europe and Asia populated the city. The initial core, the so called Hoddle grid, was set by then British colony administration in 1837, representing the matrix for further development of the future metropola. It is a chess grid with rectangle dimensions of 1600×800 meters.The city began to spread to the east following the river up to Dandong Ranges, and to the southeast where it exits Bay Port Filip, following Maniboning river. With its growth, the most important buildings have occurred: Queen Victoria Women Centre (1848), Flinders Station (1854), State Library (1854), Parliament House (1856), St. Michael Church (1866), Melbourn Town Hall (1880), St. Paul Cathedral (1880), Supreme Court of Victoria (1884), Captol House (1921), Manchester Units Building (1929) and others.

Today Melbourne is divided into 30 municipalities, which fall between three central administrations: City of Melbourne, Port Philip and the City of Yarra. Through these three municipalities we will try to capture the beauty and heat of the metropolis. Although close to each other, as urbanity, they clearly differ, creating with their originality and uniqueness special incentives for living in the city. Our movement would start from Central Melbourne, with the most distinguished suburbs as CBD, Carlton, Dockland and the area around West Melbourne. The Central Business District (CBD) is quite dynamic, tuned, hysterical at the same time. Walking through its wide streets gives you a feeling of flying sublimeness, a sense of a range of our time, which makes us vulnerable to huge skyscrapers, elegant mixture and purity. The mass of people constantly takes us from one semaphore to another, entering into the daily trance of the urban jungle. This section is characterized by large offices of multinational companies, which, through the storey height, compete for its prestige. Huge shopping malls, world-famous fashion brands, street musicians, the smell of various take-away restaurants that improvise the taste of the diversity of races and cultures, but also the well-known food chains, which confirm to us the Anglo-Saxon culture. Construction sites are everywhere and with their immense mechanization they capture the commitment to building. North of the CBD spreads Carlton, settlement created by Italian and Jewish immigrants, that have to this day retained their own cultural specificity. Due to their large number, the area is known as Little Italy. With a small walk along the Laygon street, you can taste the best Italian pizza and pasta, and of course, have original espresso, accompanied by the noise of mostly Calabrese dialect. You can note the substantially moving youth, since we are near the university area. The Victorian architecture from the Gold Rush period is very obvious, when actually the suburb was created. This authenticity spiritually fills the streets. From this point I use public transportation, renting a bike that is in the best way taking me into the city congestion. Protective helmet is mandatory, and along with the cluster of other bikers, we head towards the south.Through Laygon street we are heading towards Bourke street and follow the route up to the exit of the harbor, where the new Dockland is located. This is quite a new settlement which developed gradually over the last ten years, at the site of the former Victoria harbour. It was built very luxurious, with skyscrapers of residential and commercial character, representing a significantly large venture of the leading real estate companies.

It captures high quality of life and standards, among other things because it follows the coast with beautiful landscape views of the bay and the Yarra River and the elegant port with luxury yachts. In this part there are several significant buildings that we will describe in detail in the following issues: Nab Headquarters, Dock 5, Webb Bridge, Tower 5 and 1001 La Trobe Street. The main features this District are vast abundances of urban landscape and art installations, which in the form of various shapes stretch almost across the whole water front. It is an excellent intervention and communication with the bay complemented by beautiful urban elements, bridges, parks, playgrounds, modern sculptures, areas for relaxation and other stuff. Some of the artists who intervened through their works are: Silence (Adrian Maurick), Cow Up a Tree (John Kelly), Anchor (Neil Dawson), Blowhole (Dunkan Stemer). Dockland is still developing and, unfortunately, you can not feel the great agitation as in other areas yet, but we all hope that once completely finished, it will revive. I return the bike to one of the staging service stations and continue to move with public transportation, which mainly consists of trams and outdoor metro. It is very efficient and accurate with lots of information at almost every stop. It is very pleasant while being used, as it shows the Melbourne everyday life, filled with chaotic flux of people, who are constantly rushing somewhere. The best way to observe their distinctive way of dressing, with backpack, Smurf hats and different styles of plaid fashion accessories. Teenagers are the most interesting, often seen wearing short sleeves and flip flops at a temperature of 5 degrees Celsius. The view to all different races and colours is beautiful, which are so mixed up that it makes it difficult to assess their identity; yet they communicate with the perfect Ozzie accent.

From Etihad Stadium through Cross Station we are heading towards Flinderstrit, from where to switch to the Yarra mynicipality. In Yarra, I have chosen the neighborhood Fitzroy as the most characteristic one. It is just opposite of central District, both anthropologically and physically, with low historic houses in Victorian and Edward style and Bohemian spread at the streets. Typical enclave of alternative movements, where it is literally possible to find anything. Here you’ll find handmade shops, hairdressing salons arranged ad hoc, mostly with old used furniture, garage used as a shoe store, factories turned into breweries and restaurants of every kind (both typical and atypical), social clubs. The overall ambience is complemented by street art, murales and numerous art galleries, from where we are moved by sounds of psychedelic alternative music. Perhaps the best evidence of it are the quite avant-garde bands Curse ov Dialect ( https://www.youtube.com/watch?v=8A-8DgWQlV4 ), Brothers Hand Mirror, and the most famous Architecture in Helsinki. Curse ov Dialect is a multicultural group of political rap music with ethno hip – hop based music image. The group is comprised of Maltese, Pakistani, Indian and Macedonian members. Their hit Bury me Slowly can most adequately present this urban neighborhood. Walking through the side streets you can discover lots of examples of quality architecture. Here I will mention the residential projects such as 32Kerr, Abito, and the Melbourne Museum. Moving towards Portphillip Municipality, what attracted our attention were the iconic buildings that already have deeply penetrated in the city DNA Melbourne Recital Centre (2008), National Gallery of Victoria (1960), Arts Centre Melbourne (1984) and certainly Federation Square (2002), an intervention on the occasion of 100 years since the Australia uniting. We continue in the direction of St. Kilda. This suburb is one of the major tourist attractions, thanks to its proximity to downtown and the beaches to the picturesque bay Portphilip. Lately, it is in revival and is a perfect hangout place. The breeze takes us, bringing the smell of the ocean. There are whale surfers on all sides, enjoying the stirred water, people sleeping along the beach and crowds of walkers who enjoy walking the promenade that stretches on forever. Beautiful greenery and typical palm trees enrich the overall picture. Sports are played everywhere and people are in great shape. Following the promenade towards the inside, on Oakland I Fitzroy street you will notice the incredibly full cafes and restaurants, and you can also enjoy the most important amusement park located there. What’s also worth paying attention to are Edgar Water Tower (1959), Palais Theatre (1927) and Princes Pier (1916). I go back sitting in a car on the right side, and I turn on PBS radio station (106.7 FM), a provider of independent and alternative music. Rushing along the streets, we are experiencing the fusion of Marvellous Melbourne.