Introduction The author of the Urban Space, Robert Krier was born in 1938 in Luxemburg.

He ranks as one of the most influential urban planners and architects of post modernism. As it is also clear in his book Urban Space, he has always taken the historic repertoire seriously. For him, continuity and aestheticism are ways of reviving what he regards as the art of architecture that lost its way in modernism. The aim of the book Urban Space is to search how the traditional understanding of urban space has been lost within the modern cities. By explaining the terms of urban space and its structure, he has examined whether the concept of urban space retains some validity in contemporary town planning and on what grounds. Chapter 1 analyzes the typological and morphological elements of the urban space. The term urban space can be simply described as external space in town. It is seen as open, unobstructed space for movement in the open air, with public, semi public and private zones. Furthermore, the concept of urban space is to designate all types of space between buildings in towns and other localities as urban space. If we take the aesthetic criteria into consideration, every urban space has been organized according to its socio-political and cultural attitudes. Urban space has been structured in similar laws to interior space. For example, in the category of interior space, we would be talking about the corridor and the room. Similarly, square and the street are the basic elements of the urban space. The only difference is the dimensions of walls which bound them and by the patterns of function and circulation which characterise them. In brief descriptions, square is produced by the grouping of houses around an open space and the street is a product of the spread of a settlement once houses have been built along the available space. The Arrangement of Kriers Typology for Urban Space The spatial forms of urban space derive from the three basic geometric shapes: (square, circle and triangle). These three shapes are affected by modulating factors which are angling, segmentation, addition, merging, overlapping and distortion. These factors can produce regular and irregular results on all three spatial types. In addition, the large number of building sections influences the quality of the space at all these stages of modulation. Moreover, space that is completely surrounded by buildings produces closed space and the partially surrounded produces open space. Finally, the differentiation of scale plays an enormous role in all spatial forms, such as the effect of various architectural styles on urban space.

Morphological Series of Urban Space The author gives various examples for a morphology of urban space within this chapter, there being an almost inexhaustible range of possible forms exists that are mostly from our historic town. For example Hanover Square in London from the18th Century is an example for orthogonal regular ground plan with four central intersections. Piazza Navona in Rome is an example for a geometrically complex form. It is a combination of several spatial forms and many streets enter the square. Place Dauphine in Paris is a regular triangular square that is extremely rare in the history of town planning. These are usually formed by two roads forking. Although these forms are clearly obvious in town planning history, in our modern cities they are criminally neglected in the author's view.

Chapter 2 examines the erosion of urban space in the 20th century. The erosion of urban space is an ongoing process which has been with us for the last fifty years in the guise of technological progress. This era has started with the invention of new military technology. New weaponry neutralized the defensive systems of cities. Consequently, city walls were demolished and allowed armies to simply walk through the city. The need of protection had imposed a new discipline on every town: its construction, rebuilding and expansion. However, the colossal pressure for expansion of cities led planners over rapid decision making on town planning which has resulted with unstructured developments. Architecture was a low priority. Functional, constructional and capital concerns were being the most important issues of the day. Additionally, the influence of industrial building on the urban planning is another catastrophe. It leads to numerous misconceived developments which caused the impoverishment of present-day architecture. For example: The movements towards a purely functional or constructional orientation. The developing proposals of planners for new ideal cities during the 20th Century and 19th Century industrial building has taken away the control of the concept of urban space and architecture. Krier finalized this chapter by showing his illustrations to support his thesis that modern town planning dominates over the concept of urban space which has largely fallen into disuse.

From a distant view, the spatial continuum of a cohesive traditional urban structure can be compared to the barriers which channel pedestrian movement. If there is a gap in the barrier, it should cope with the shortcomings in the system of orientation. The spatial arrangement of the modern city is composed of forlorn and isolated sections of barrier, battered on all sides by every conceivable stream of activity and with no margin left for meaningful activity or orientation. The aim of Chapter 3 is to understand the authors viewpoint for redeveloping a city. Krier has suggested possible approaches to reconstruction for various parts of Stuttgart. The former coherent urban structure of Stuttgart was destroyed to a catastrophic extent during the Second World War. The heart of the city was broken up into a large number of small islands battered by waves of heavy traffic. In Rob Kriers schemes for Stuttgart, he tried to win back downtown of the city for pedestrians, without excluding the car in the process. In practical terms, this means using redevelopment to weld together seamlessly the isolated areas at those critical points, whose significance for the pedestrians spatial awareness was eroded during the post war years because of costly civil engineering programmes. Particular attention is paid in these studies to restoring the continuity of spatial experience within an urban context. Additionally, he designed streets and squares for pedestrians, harmonised as closely as possible with the existing structure and showing the utmost consideration for the legacy of the past. Conclusion The book is very useful to understand the town planning achievements of the present and the past. It is also a well-structured book which gives an historical summary of town planning and how it has been a miserable failure in the contemporary town planning. The following conclusion can be drawn from the review; the rush of rebuilding and the priority which is given to the traffic and to the other technologies rather than the peoples need resulted with scattered buildings with no proper spatial planning. This has proved the thesis of author that the traditional concept of urban space and its structure has been lost within modern cities.

Uvod

Autor urbanog prostora, Roberta Krier roen 1938 u Luksemburgu. On je rangiran kao jedan od najuticajnijih urbanista i arhitekata postmodernizma. Kao to je jasno u 'urbanog prostora "Njegovo knjizi, on je uvek ozbiljno uzeti istorijski repertoar. Za njega, kontinuitet i estetizam su naini oivljavanje ono to smatra umetnosti arhitekture koja izgubila svoj put u modernizam. ilju urbanog prostora 'The knjige je da trai koliko tradicionalnom shvatanju urbanog prostora je izgubio u modernim gradovima. Objanjavaju i uslove urbanog prostora i njegove strukture, on je ispitao da li koncept urbanog prostora zadrava neku valjanost u savremenoj urbanizma i po kom osnovu. Poglavlje 1 analizira tipoloke i morfoloke elemente urbanog prostora. To urbanog prostora "Termin se moe jednostavno opisati kao spoljanji prostor u gradu. Vidi se kao otvorenog, prostora za nesmetano kretanje u otvorenom prostoru, sa javnih, polu javnih i privatnih zona. Nadalje, 'koncept urbanog prostora' je da odredi sve vrste prostora izmeu zgrada u gradovima i drugim mestima kao urbanog prostora. Ako uzmemo u obzir estetske kriterijume, svaki urbani prostor je organizovan u skladu sa svojim drutveno-politikim i kulturnim stavovima. Urbani prostor je struktuiran u slinim zakonima u unutranjem prostoru. Na primer, u kategoriji unutranjeg prostora, bilo bi nam govori o hodniku i prostoriji. Slino tome, trg i ulica su osnovni elementi urbanog prostora. Jedina razlika je dimenzije zidova koji ih obavezuju i obrazaca funkcije i prometa koji ih karakteriu. U kratkim opisima, kvadrat je proizveden od strane grupacije ku a oko otvorenog prostora i ulica je proizvod irenja naselja jednom ku a je izgraena uz raspoloivog prostora. Raspored tipologije Krier je za urbanog prostora Prostorni oblici urbanog prostora potiu iz tri osnovnih geometrijskih oblika (kvadrat, krug i trougao). Ova tri oblika su pogoeni modulacionu faktora koji su ribolov, segmentacija, dodavanje, spajanje, preklapanje i izoblienja. Ovi faktori mogu proizvesti regularnim i neregularnim rezultate na sva tri prostorne tipove. Pored toga, veliki broj graevinskih deonica utie na kvalitet prostora u svim ovim fazama modulacije. Osim toga, prostor koji je potpuno okruen zgradama proizvodi "zatvorenom"

prostor i delimino okruena proizvodi "Open" prostor. Konano, diferencijacija skali igra ogromnu ulogu u svim prostornim oblicima, kao to je efekat razliitih arhitektonskih stilova na urbanom prostoru. Morfoloka Serija urbanog prostora Autor daje razliite primere za morfologiju urbanog prostora u okviru ovog poglavlja, budu i da gotovo neiscrpna opseg mogu ih oblika postoji koji su uglavnom iz naeg istorijskog grada. Na primer Hanover Skuare u Londonu od the18th veka je primer za ortogonalne redovno osnove sa etiri centralnim raskrsnicama. Piazza Navona u Rimu je primer za geometrijski kompleksan oblik. To je kombinacija nekoliko prostornih oblika i mnoge ulice unesite kvadrat. Mesto Dauphine u Parizu je redovna trougla kvadrat koji je izuzetno redak u istoriji urbanizma. Ovo se obino formira dva puta forking. Iako ovi oblici su jasno izraeno u istoriji urbanistike, u naim savremenim gradovima su krivino zapostavljen u miljenju autora. Poglavlje 2 istrauje eroziju urbanog prostora u 20. veku. Erozija urbanog prostora je u toku proces koji je bio sa nama za poslednjih pedeset godina u obliku tehnolokog napretka. Ovo doba je poeo sa pronalaskom nove vojne tehnologije. Nova oruja neutralisani odbrambene sisteme gradova. Shodno tome, gradske zidine su demolirane i vojske dozvoljeno da se jednostavno provesti kroz grad. Potreba zatite je nametnuo novu disciplinu na svakom grada: njegova izgradnja, obnovu i proirenje. Meutim, kolosalni pritisak za proirenje gradova dovelo planere preko brzog donoenja odluka o gradskom planiranju koja je rezultirala sa nestrukturiranih deavanjima. Arhitektura je bila nizak prioritet. Funkcionalni, graevinski i kapital su zabrinutost to najvaniji problemi na dan. Pored toga, uticaj industrijskog objekta na urbanizma je jo jedna katastrofa. To dovodi do brojnih deavanja pogreno to je izazvalo osiromaenje dananjoj arhitekturi. Na primer: kretanje u pravcu isto funkcionalne graevinske ili orijentacije. U razvoju predlozi za nove idealnim planerima gradova u 20. veku i 19. veku industrijske zgrade je oduzeta kontrolu koncepta urbanog prostora i arhitekture. Krier finalizovan ovo poglavlje pokazuju i svoje ilustracije da

podri tezu da je moderni urbanizam dominira koncept urbanog prostora koji je u velikoj meri izbaeno iz upotrebe. Iz dalekog prikazu, prostorni kontinuum od solidarnog tradicionalne urbane strukture mogu biti prepreka u odnosu na koji kanal peaka kretanja. Ako postoji jaz u barijere, treba da se izbore sa nedostacima u sistemu orijentacije. Prostorno ureenje modernog grada se sastoji od Usamljen i izolovanim delovima barijere i pretuene sa svih strana po svim mogu im tok aktivnosti i bez margine ostavio za smislenu aktivnost ili orijentacije.

Cilj Poglavlje 3 je da razume stav autorovu za redeveloping grad. Krier je predloio mogu e pristupe za rekonstrukciju razliitih delova tutgart. ivi koherentan urbana struktura tutgart je uniten u katastrofalnom meri tokom rugog svetskog rata. Srce grada je podeljena na veliki broj malih ostrva zlostavljane od strane talasima gustog saobra aja. U Rob Krier je ema za tutgart, pokuao je da dobije nazad centru grada za peake, bez iskljuivanja automobil u procesu. U praktinom smislu, to znai ponovni koristi za varenje zajedno da lako u izolovanim oblastima na tim kritinim takama, iji je znaaj za prostorno svesti peake bio je erodirala tokom posleratnih godina zbog skupih graevinskih programa. Posebna panja se poklanja u ovim studijama se obnovi kontinuiteta iskustva u okviru prostornog urbanistikog konteksta. Pored toga, on je dizajnirao ulice i trgove za peake, usaglaen u najve oj mogu oj meri sa postoje om strukturom i pokazuje najve u panju za naslee prolosti. Zakljuak Knjiga je veoma korisno da shvatimo dostignu a urbanistiki plan iz sadanjosti i prolosti. Takoe je dobro struktuiran knjiga koja daje istorijski pregled urbanizma i kako je bilo jadno neuspeh u savremenom urbanizma. Slede i zakljuak se moe izvu i iz razmatranja, navala obnovu i prioritet koji se daje u saobra aju i drugim tehnologijama nego potrebom naroda rezultiralo sa rasutim zgradama bez odgovaraju eg prostornog

planiranja. To je dokazao tezu autora da tradicionalni koncept urbanog prostora i njegova struktura izgubila je u savremenim gradovima.