IV INTERNATIONAL SYMPOSIUM FOR STUDENTS OF

DOCTORAL STUDIES IN THE FIELDS OF CIVIL

ENGINEERING, ARCHITECTURE AND
ENVIRONMENTAL PROTECTION

Ljiljana Jevremovic1
Milanka Vasic2
Marina Jordanovic3

AESTHETICS OF INDUSTRIAL ARCHITECTURE IN THE CONTEXT

OF INDUSTRIAL BUILDINGS CONVERSION
Abstract: In the paper the aesthetical category of industrial architecture is discussed. Through a brief
historical overview of the development of industrial architecture, the aesthetic and formal qualities of this
building typology were identified. In a situation when the territory of today's cities, "flooded" by physical
remains of an important period of our humanity, industrial era, in the form of buildings and complexes of
former industrial giants that are tightly woven into the urban matrix, the paper addresses the issue of how
the aesthetics of industrial architecture becomes close or is close to modern man and the society. On the
assumption that this relationship is one of the key factors for establishing successful revitalization of old
industrial properties, the paper discusses the current trends of industrial heritage evaluation and the
relationship between this process and the public opinion as a relevant indicator for the proper decisions.
Key words: industrial architecture, heritage, aesthetics, building conversion

ESTETIKA INDUSTRIJSKE ARHITEKTURE U KONTEKSTU

KONVERZIJE INDUSTRIJSKIH OBJEKATA
: razmatrana kategorija estetike industrijske arhitekture. Kroz kratak istorijski pregled
razvoja arhitekture industrijskih objekata identifikovani su estetiki ali i formalni kvaliteti ove tipologije
objekata. U situaciji kada je teritorija dananjih gradova preplavljena fizikim ostacima jednog
znaajnog perioda naeg oveanstva, idustrijske ere, u formi objekata i kompleksa nekadanjih
industrijskih giganata koji su gusto utkanu u urbanu matricu gradova, rad se bavi pitanjem koliko je
estetika industrijske arhitekture bliska ili postaje bliska modernom oveku i drutvu. Pod hipotezom da je
ova veza jedan od kljunih faktora za uspostavljanje uspene revitalizacije nekadanjih industrijskih
poseda, u radu su diskutovani savremeni trendovi evaulacije industrijskog nasledja kao i odnos ovog
procesa i ire okoline tj. javnosti kao relevantnog pokazatelja ispravnosti odluka profesionalaca.
: industrijska arhitektura, nasledje, estetika, konverzija objekata

1. INTRODUCTION
For the last several decades, industry has been leaving the cities and their metropolitan areas, although the
reasons can be different, the decay of industry has brought the similar problems and processes to the most
of cities worldwide. The derelict land and dilapidated buildings they left, challenge architects, planners,
politicians and all those who are interested in the vitality of own cities. Now there is decades-worth of
achievements ranging from well-publicized projects to those only known by their neighbours. One of the
1
Assistant, PhD student, Faculty of Civil Engineering and Architecture, University of Nis, Aleksandra Medvedeva 14, Nis,
-mail: jevremovicljiljana@gmail.com
2
Assistant, PhD student, Faculty of Civil Engineering and Architecture, University of Nis, Aleksandra Medvedeva 14, Nis,
-mail: milanka.vasic@gaf.ni.ac.rs
3
Assistant, PhD student, Faculty of Civil Engineering and Architecture, University of Nis, Aleksandra Medvedeva 14, Nis,
-mail: marina.jordanovic@gmail.com

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puzzling questions that arose is determining how the redevelopment of industrial sites differs between
countries and regions, especially between developed and developing countries. A known successful
projects show how three powerful forces guiding development today environmental concerns, renewed
urban cores and historic preservation work together to redefine the post-industrial city. [1] This paper
tries to put some light into this complex process examining the aesthetic of industrial heritage as a
parameter of the redeveloping projects. Understanding that there are much more important aspects that
significantly shape the redevelopment strategies and projects, here is more concerns given to an idea that
in societies that have not jet faced any of successfully redevelopment, such as Serbia is, is very important
for a start to emphasize the existence of industrial heritage. In some way, it would be necessary to educate
all society, the people, not only professionals, to recognize, to respect and to value own industrial
heritage. The many successful strategies (projects) have entailed decades of effort, multitudes of
consultants, and concerted political will, as well as extensive financial resources, meaning that the
country, city and/or society in this venture cannot get into unprepared and without patience.
2. THE HISTORICAL OVERVIEW OF AN INDUSTRIAL ARCHITECTURE
Industrial architecture has always had two main goals: efficiency and safety. Improved economy in
turning raw goods into manufactured items and in the construction of the buildings themselves, as well as
the prevention of fire with the resulting loss of life and materials shaped the design of warehouses and
factories. The history of industrial architecture is beyond the scope of this paper; however, a short review
will be given.
2.1 Early developments pre-WWI development of industrial architecture
The germ of the industrial aesthetic is seen in the simple mill buildings from late 1700, precursors of the
modern factory, were straightforward wooden or masonry buildings with repetitive forms and rhythmic
openings. As long buildings, these mills fit into the landscape, their scale and materials making little
impact on their surroundings. The conglomeration of these mills monopolized and blocked the rivers and
canals that fed the millwheels that provided power for their machines. These first mills reflected building
technology of their time and responded to the realities of fire and workplace safety. In the day before
electricity, flooding workspace with as much daylight as possible was the most important. Long and
narrow, these buildings had open and unobstructed internal spaces to accommodate as many machines
and workers as possible. Their narrowness not only allowed light into their centres, but also efficiently
enabled machines on both sides of the building to be powered from a single central shaft down the floor.
Early industrial buildings were simple because their utilitarian nature placed them low in the social and
therefore aesthetic hierarchy. From the earliest times, buildings generally reflected their social
importance. While the buildings of higher reputation, such as churches, public buildings, and royal
structure, the more ornament had used, the service buildings had been strictly no-frills.

Figure 18 Massachusetts Waltham Mills Buildings dates from 1816 (left); Interior of the typical cotton mill factory, Great
Britain, mid-1830 (right)

Most industrial buildings of XIX c. were multi-storied buildings that combined brick or masonry bearing
walls with heavy timber structural frames to obtain the largest column-free interior spaces possible. As
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the ultimate utilitarian places, their design features not only encouraged an efficient work process but
aimed to prevent fires. The fear of fire was so prevalent that insurance companies shaped much of the
early architecture. They discouraged interior wall coverings as well as ornament on building exteriors;
sought open, partition-free interiors to facilitate extinguishing fires; suggested flat roofs and discouraged
the attics; encouraged large windows to facilitate fire suppression; and recommended flat floor areas be
separated from interior stairs. The resulting stair towers that punctuated flat facades punctuated become a
familiar building type. [6] Whatever ornament, if any, was located at the towers, which were sometimes
capped with characteristic roof tops or cupolas to distinguish the owners identity. (see Figure 2)

Figure 19- Manchester, NH (USA), Millyard building near the Merrimack River ,1874 (left); Trent Mill, Chadderton, Oldham,
Greater Manchester, England, 1882 (right)

2.2 Contribution of Albert Kahn to development of industrial architecture

New ways of producing energy enhanced the growth of both buildings and machinery, necessitating
structures that could support more weight, span greater distances. In addition, the manufacturing process
was expanding beyond textiles, demanding more flexible and adaptable layouts. The answer would come
from a material that had been known centuries before but needed enhancement: concrete and iron.

Figure 20- Albert Kahn's Packard Building No.10, 1903 (left); Chrysler's Tanks Arsenal, Warren Township, Michigan,
1941(right)

One of a few architects that were most influenced the aesthetics and development of industrial buildings
and the glorification of the functional design was Albert Kahn. He created the 1903 Packard Building
No.10 (see Figure 3-left), the first automobile factory to use reinforced concrete. The building of 30 foot
spans provided great flexibility for changes in production on the interior. This concrete frame, clearly
expressed on the exterior, had glazed openings to the ceiling permitting as much daylight onto the factory
floor as possible. Kahn designed buildings with an eye toward interior flexibility in order to complement
and enhance the manufacturing process, so the buildings exterior was a continuation of this interior.
During these early days of manufacturing there were two main theories of building for industry housing
different operations in separate buildings specifically designed for those operations or having the entire
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plant in one building. Kahn preferred the later as it allowed for more flexibility, and due to reduced
number of exterior walls, these larger buildings were cheaper to build. Building factories in which
workflow determined operations demanded flexible layouts that could change as the manufacturing
process changed. Kahn soon championed single-story buildings for their flexible and adaptable use. Light
entered through clerestories or monitors on the roofs which were supported by wide-span structural grids.
(see Figure 4) These buildings required more acreage and also a change material thus raised the use of
steel. Steel not only was mass produced but could span great distances compared to cast iron or concrete,
thereby providing the flexibility required for the ever-changing manufacturing processes. [4,5]

Figure 21- Albert Kahn's Chrysler Half-Ton Truck Plant - Export Building, 1937, exterior (left) and interior (right)

Electric and coal-fired power combined with advances in mass production developed for the heavy steel
and automobile industries allowed greater flexibility for buildings and their location. Soon the one-story
factory that spread over many acres was seen more efficient than multi-storied buildings. Industry
indelibly changed the landscape and population patterns by moving outside compact cities to where land
was plentiful. This demanded a new and expanded road and rail system for materials and workers.
2.3 Modern Movement and Industrial Architecture
Industrial forms, materials and aesthetics had a great influence on architects and the direction of early
modern architecture. Industry and its processes inspired and continue to engage the imagination of the
artists and architects: from the voice against ornament by Adolf Loos to the design explorations of the
Bauhaus and the sleek lines of the International Style to the explicit expression of construction elements
in the work of Richard Rogers and his partners. Industrial architecture showed a simplicity that was
expressed on the exterior by undecorated flat surfaces, whether in brick, stone or wood. While these
buildings were obviously required for the rise of industry, their designers were often anonymous and
these structures remained outside the scope of traditional architectural practices. Until the beginning of
the twentieth century, architectural theory and styles concentrated on important civic and commercial
buildings or private residences.
As industrial uses grew in complexity and importance, schools of design and architectural theory emerged
to respond to the challenges that this development posed. Charged with defining new forms for the everchanging factories, industrial storage and transport facilities, architects carved pathways toward defining
the future. Around the early 1900s, the factory was seen as a building type deserving of architectural
treatment in order to enhance the production of goods and dignify the workplace, as well as forge
corporate identities. In this context worth mentioning is the Deutscher Werkbund, founded to improve the
quality and design of Germans manufactured goods, although was originally based upon craft and art,
many of Germans most influential architects passed through it including Peter Behrens, Walter Gropius,
Mies van der Rohe. During its existence, two influential industrial buildings were designed by its
members: Peter Behrens AEG Turbine Factory and Walter Gropius and Adolf Meyers Fagus Shoe Last
Factory. Behrenss AEG factory, regarded as a temple to industrial power, had a monumentality based
upon neoclassical principles. For the Fagus factory, Gropius and Meyer eschewed this masking of
structure, striving to clearly express its materials, an important hallmark of the aesthetic of Modern
Movement. [5]
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Figure 22 - Peter Behrens AEG Turbine Factory Berlin, 1907 (left); Walter Gropius and Adolf Meyers Fagus Shoe Last
Factory, Alfeld on the Leine, 1911(right)

Exploring how to respond to industry continued at the Bauhaus. Although it had several phases and its
aesthetics approach was not monolithic, its influence is still seen in designers responses to mass
production of everyday products. Its machine-celebrating spare lines and structural expression still infuse
discussions of modern design.
2.4 Industry after WWII - rise, decline and the consequences
Intensively increased investments in industry after the World War II initiated urban growth of industrial
centres in the middle of XX century, especially in the 50s and the 60s. Due to increase in business
opportunities, population in cities increased fulfilling demands on labour force, consequently housing
areas, services areas, roads and other infrastructural and communal facilities have expanded. This growth,
mainly focused on free land on the cities outskirts leaded to increase in traffic and in additional pressure
on the road network that expand too. Architectural aesthetic of this period is still under the influence of
Modern movement and the International style; intensive is usage of modern materials as reinforced
concrete, iron and glass, but also some entirely new ones such as asbestos, later plastic, etc. Although this
period has given some great architectural works, among all building types, they always have had
difficulties to be appreciated in general population. The new materials, reputed at the time to be
permanent, have poor resistance to the passage of time. However, this architectures worst enemy still
remains the indifference, indeed the contempt that it continues to arouse among the public. This is due, in
particular, to the banality of a large part of the production of the period, in which the examples of quality
become lost. A policy for the protection of the major works of the post-war period is being organised
across Europe and wider (Docomomo and others initiatives). The goodwill of owners who are aware of
the quality of their asset also constitutes an effective driver for the protection of the architecture. The
development of a realisation of the value of these constructions is urgently needed in order to preserve the
fragile balance on which their appeal rests. Industrial buildings of the post-war period shared the destiny
of the other buildings of the time, burdened additionally by theirs everlasting lower reputation as a
building type. However, industrial heritage from this period is the greatest and most common worldwide,
although it is not jet perceived and evaluated rightly.

Figure 23- Diemme Filtrations, Lugo, Italy, from '60s (left); Saarinen's IBM Rochester building from 1958 (right)

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The end of XX century had brought many causes that leaded to the fundamental shifts in society and,
consequently, shifts in industry and in organizational matrix of the cities. Deindustrialization, share of
total employment and total investments indicated a dramatic decline in industrial growth. Changes in
economy structure, decline in employment in manufacturing, accompanied by rise in employment in
services and other supporting companies. Globalization, economic changes that influenced the urban
structure of cities is not limited anymore to national and regional borders. Production facilities are being
relocated intensively to other regions that offer suitable economic incentives, lower production costs in
form of cheaper labour force and lower taxes. Shifts in business strategies, technical innovations and new
organizational and economical concepts lead to functional concentration, efficient land use and higher
productivity, which cause radical changes in organization of spaces and facilities. Due to the urban
growth, complexes that used to be on the outskirts of the city today are inside urban city structure
(distributive warehouses, industrial buildings, infrastructural facilities...). New business concepts, users
and citizens demands have led to relocation of these functions in new areas, outside the city, leaving
empty sites inside the urban city core. >4@ Political changes, shifts in political systems of many countries
have brought big changes: industry transformation, decay of existing economical and industrial subjects
caused by country transformation into market-driven economy through processes of transition, and raise
of new factories. These processes have left closed, ruined factories and their properties, often in very
significant locations in the cities. The character of all mentioned factors describe their universality, they
exist in high-developed countries as well as in developing countries.
3. THE ORIGINS OF THE CONVERSION OF THE INDUSTRIAL BUILDINGS
Seeing beauty in industrial buildings has been critical to their renovation. Years after function or market
changes rendered these buildings obsolete, the simple, wide-open spaces of factories and warehouses,
with their clear expression of construction materials, ignite the imagination of new generations who, have
been rescuing these buildings. Although there are many reasons for the reuse of these buildings and sites,
the allure of the industrial aesthetic cannot be dismissed, and in many instances, is crucial to the success
of their redevelopment. The reuse of old industrial buildings as housing in New England and Lower
Manhattan, NY in the late 1960s and early 1970s was a starting point for industrial renovation. The
expansive interior spaces with large windows invited people, mostly artists, to settle down into formerly
unused buildings while maintaining a sense of history through reuse and renewal. Interior design and
lifestyle magazines had encouraged urban pioneers inhabiting sparsely furnished lofts. This trend had
continued so editors had even promoted Industrial Chic as an interior style which showed how residents
could bring a bit of industrial grit and exposed materials into more traditional apartments, using exposed
functional details as a symbolic association to industry.

Figure 24 Interior of Urban Outfitters Headquarters, former Navy Yard in Philadelphia, USA (left); Interior of Residential
Apartment in converted Printing Press factory, Barcelona (right)

The term industrial aesthetics can refer to the deliberate exposure of structural and mechanical elements
as well as the repurposing of the objects of manufacture. Industrial architecture and design extolled the
economical use of material and methods of construction that were often not hidden or camouflaged
from the clear expression of the reinforced concrete frame of the daylight factories to the exposed metal
trusses of steel factory buildings and the early exhibition halls and train stations.
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Today, that approach is being use aesthetically in all types of buildings, not necessarily just factories and
warehouses. Clear expression of structural element, as well as building systems such as mechanical and
electrical services, is developed into its own aesthetic. This aesthetic is clearly exposed when the
nonindustrial Centre Pompidou (R. Rogers & R. Piano, 1977) was opened in Paris, France. Often
compared to the Eiffel Tower, which stunned many at the time because its structure was left exposed, the
building of the Centre Pompidou is all steel frame, ducts and pipes. Famous for its exterior escalator that
climbs up the plaza faade and affords a wonderful view of Paris, the building makes architecture out of
industrial elements, though it is unclear how much of the structure and services are simply uncovered
and how much exists for the overall effect and design.
Decades after this trend have started; there are no signs of giving up. In fact, factories continue to be
converted for residential and commercial use, their beams and pipes left exposed. What started as a small
trend among artists in search of large studio space has now mushroomed into a string of conversions into
different uses and scales. The appeal of these buildings as places to live has saved a huge percentage of
the industrial heritage.
4. INDUSTRIAL HERITAGE EVALUATION CURRENT PRACTICE
Approaches to industrial heritage protection and conservation differ from one country to the next. The
British have shown a particular commitment to identifying and preserving key monuments to the
Industrial Revolution, as judged by advances in technology, engineering virtuosity, architectural style and
entrepreneurship. By way of contrast, Italians perceive many of their industrial monuments as symbols of
the Risorgimento (the creation of the Italian nation) and ripe for dramatic and stylish conversions.
Scandinavians tend to pursue an ethnographical approach, focusing on the lives and conditions of the
workforce rather than any heroic leaps in technology, and retaining as much historic fabric and
atmosphere as possible. In larger countries, and above all in Canada and the United States, interests and
policies differ widely between provinces or states. Each seems to have a highly individual group of
specialists, devoted to the protection of mining sites, hydro-electric plant, grain silos or even fish-canning
plant. [7]
A traditional concept of building evaluation and architectural heritage classification is by grade of listing,
present also in our national practice, but also in UK etc. Here is the best architecture defined by aesthetic
qualities, structural innovation and historic associations giving the highest value of the building through
expert opinion of professionals. Such protection should guard, through the need for only listed building
consent against drastic, unsympathetic alterations. This purist approach, developed and applied by
conservationists, historians and industrial archaeologists, is now being undermined as much from within
the preservationist movement as by its critics. [7] The problem occurred when the commitment to public
participation was included and more specifically with the study and protection of twentieth-century
commercial and industrial buildings that is in turn at least in some countries. These are often large
structures that need commercial uses to fund their maintenance and have steel or concrete frames that can
rust and spall from within. Specialists are evaluating these structures with great deal, but the broad public
can only be expected to share such enthusiasms if these buildings are made attractive and usable. So,
aforementioned concept of the listing can only be seen more of a marker than an objective standard of
excellence. We must become more open to debates about preference, manipulation and personal
aspiration and taking on board the attitudes of local people and the distinctive social and cultural qualities
of an area as well.
The complex nature of development today, as well as the need for either public funds or powers, requires
public outreach and often involves the provision of public amenities. Many of these industrial sites are
vacant or abandoned, encompass large swaths of land, or are lonely outposts in changing districts that
requires a comprehensive approach, rather than a simple or discrete renovation and conservation. A
striking aspect of many of successful projects of this kind is how often their genesis stems from the ideas
and actions of one person or group. They are often visionaries, seeing the underlying beauty of these
industrial relics and utility when others cant get past the images of crumbling bricks and contamination.
By force of personality or position, the champions for these renovations bring others on board to work
toward their dream of transformation. Whether others consider the change a dream or nightmare often
determines the length of these battles.

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5. CONCLUSIONS
The industrial aesthetic has often been more admired by architects and artists than the public at large;
however, the clean lines and expansive volumes that were an outgrowth of these design ideas now please
the modern eye and aesthetic that can be considered as a key to renovation success. If we perceive and
assess industrial and technical structures from an aesthetic-symbolic perspective, it is clear that the value
of these works is not based only on their functional and technical components, but also derives from their
specific poetry, monumentality and beauty. In contrast to other types of architecture they acquire these
qualities in very interesting forms.
Although, it also seems that the public, as well as the conservation bodies, are still learning to appreciate
the quality of these structures, there are good examples where valuable works of this category is being
assessed and saved from demolition and disappearance. An important element in the structural change of
a former industrial area is the rediscovery of its own past. The examination of the industrial history, that
leads inevitably to an examination of its architectural witnesses. Yet, it is obvious that the public more
appreciate the industrial buildings from earlier history than the one from recent past.
In order to redefine the architectural past as something of value, the term industrial culture acquires a
special meaning. The confirmation, examination and presentation of the circumstances enable the history
to be viewed from a different angle. The opening up and development of former industrial areas enables
new forms of public discussion. Today, industrial culture is one of the unique selling points with
particular value. Industrial halls are being transformed into exciting art and cultural sites, residential
premises or attractive commercial space but it is not necessarily the matter of convenient building
conservation. This cannot work like a simple protection of physical structures. The industrial architecture
plays a significant role in new forms of identification with the space, the region and the history.
There are many lessons to be learned about how cities are changing from hubs of industry to redefined
urban centres. While its obvious that works for one doesnt work for all, certain principles crop up
throughout many of the projects. Whether is about the remarking of a harbour or the rebuilding of
dilapidated building, the redevelopment of industrial sites required incredible perseverance, knowledge,
and, yes, a bit of luck.
REFERENCES
[1] Bergeron, L., Maiullari-Pontois, M.T.: Industry, Architecture and Engineering: American
Ingenuity 1750-1950, Harry N. Abrams, Inc., New York, 2000, p. 288
[2] Berens, C.: Redeveloping Industrial Sites A Guide for Architects, Planner and Developers,
John Wiley & Sons, Inc., Hoboken, New Jersey, USA, 2011, p. 239
[3] Edensor, T.: Industrial Ruins: Space, Aesthetics and Materiality, Berg Publishers, Oxford,
GBR, 2005, p. 197
[4] Elgendy, H., Seidemann, D., Wilske, S.: The role of spatial planning in steering market-driven
urban change of deteriorated urban areas, 42nd IsoCaRP Congress, 2006
[5] Munce, J.: Industrial architecture: an analysis of international building practice, F.W. Dodge
Corp., the University of Michigan, 1960, p. 232
[6] Nelson, G.: Industrial Architecture of Albert Kahn, New York, Architectural Book Publishing
Company, Inc., 1939, p.175
[7] Stratton, M. (ed.): Industrial Buildings Conservation and Regeneration, Taylor & Francis eLibrary, 2005, p. 274

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IV INTERNATIONAL SYMPOSIUM FOR STUDENTS OF

DOCTORAL STUDIES IN THE FIELDS OF CIVIL
ENGINEERING, ARCHITECTURE AND
ENVIRONMENTAL PROTECTION

Marina Jordanovi1
Ljiljana Jevremovi2
Milanka Vasi3

SUSTAINALBLE DESIGN: PROCESSING OF SOLID WASTE AS A

SOURCE OF ENERGY
Abstract: On the road to European integration, solving many problems in the field of environmental
protection has become a priority. The fight for the preservation of the environment in Europe has already
begun. The adoption of a large number of declarations and laws on this issue has greatly raised
awareness of citizens across Europe on the environment. In Serbia, environmental awareness is still not
at a satisfactory level, "wild" landfills are all around us, but the fact that it has begun to speak loudly on
this issue is a good start. Given the diminishing fossil fuels is non-renewable energy and protrude to the
need for electricity and heat constantly, it is necessary to think about the renewable sources. In addition
to solar energy, wind power, water, biomass and municipal solid waste can be a "producer" of energy. As
waste, either organic or inorganic, is being made every day, it would be absurd not to use such a source.
Key words: solid waste, energy, sustainable design

ODRIVO PROJEKTOVANJE: PRERADA VRSTOG KOMUNALNOG

OTPADA KAO IZVORA ENERGIJE
Rezime: Na putu evropskih integracija, reavanje mnogobrojnih problema iz oblasti zatite ivotne
sredine mora postati jedan od prioriteta. Borba za ouvanjem ivotne sredine u Evropi je ve odavno
poela. Donoenjem velikog broja deklaracija i zakona po ovom pitanju, u velikoj meri je podignuta svest
graana irom Evrope o ouvanju okoline. U Srbiji ekoloka svest jo uvek nije na zavidnom nivou,
divlje deponije su svuda oko nas, ali injenica da je poelo da se glasno govori o ovom problemu je
dobar poetak. Imajui u vidu sve manje fosilnih goriva koja su neobnovljivi izviri energije a da je
potreba za elektrinom i toplotnom energijom neprestana, neophodno je orjentisati se na obnovljive
izvore. Pored suneve energije, snage vetra, vode, biomase i vrst komunalni otpad moe biti
proizvoa energije. Kako komunalni otpad, bilo organskog ili neorganskog porekla, nastaje svakog
dana, besmisleno bi bilo ne iskoristiti takav izvor.
Kljune rei: otpad, energija, odrivo projektovanje

1
d.i.a., Assistant, Facutly of Civil Engineering and Architecture, University of Ni, Aleksandra Medvedeva 14, 18000 Nis,
Serbia, email: marina.jordanovic@gmail.com
2
d.i.a., Assistant, Facutly of Civil Engineering and Architecture, University of Ni, Aleksandra Medvedeva 14, 18000 Nis,
Serbia, email: jevremovicljiljana@gmail.com
3
d.i.a., Assistant, Facutly of Civil Engineering and Architecture, University of Ni, Aleksandra Medvedeva 14, 18000 Nis,
Serbia, email:milanka.vasic@gaf.ni.ac.rs

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