C i t y w i t h i n a c i t y

Airport City Belgrade newsletter

AIRPORT CITY BELGRADEAwarded as THE BEST OFFICE DEVELOPMENT PROJECT of the year IN SOUTHEAST EUROPE

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December / 2017 n ° 22

Golden autumn at Airport City

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RD/preuzeto iz CO

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2 Airport City Belgrade newsletter

Editor’ s wordThis year we are followed by an extremely changeable

December...

Today the day is very, very short. And it’s not much of

a day, so gloomy and grey and wet and just Decembe-

rish... and in front of me are divine photos of autumnal

golds, a sun-drenched Airport City.

I wanted to cheer you up and share them with everyo-

ne. Like our 2018 calendar, which found initial inspi-

ration in the René Magritte retrospective exhibition

in Chicago last December. Now Magritte served as a

template for Nemanja, and ACB as inspiration. I hope

you will like the result.

We finish the year by summarising what’s been done

and planning new undertakings... it is the time of ho-

lidays, the time of giving, the time of new decisions,

hopes and beautiful wishes.

I wish you all wonderful holidays, lots of smiles and

satisfaction... and for one and all the most beautiful

and creative year ahead of us.

Sincerely yours Marina Deleon Communication Advisor

Rec urednikaV

Ove godine prati nas jedan baš prevrtljiv decembar...

Danas je jako, jako kratak dan. I nije baš neki, onako je

sumoran i sivkast i mokar i baš onako decembarski... a

preda mnom božanstvene fotografije jesenje-zlatnog,

suncem okupanog Airport City-ja.

Želela sam da vas obradujem i da ih podelim sa svima.

Kao i naš kalendar 2018, za koji je inicijalna inspiraci-

ja bila retrospektivna izložba Rene Magrita u Chicagu

prošlog decembra. Sada je Magrit poslužio Nemanji

kao predložak, a ACB kao inspiracija. Nadam se da će

vam se dopasti rezultat.

Završavamo godinu sumiramo urađeno, planiramo

novo... vreme praznika, vreme darivanja, vreme novih

odluka, nadanja i lepih želja.

Želim vam svima divne praznike, puno osmeha i za-

dovoljstva... i jednu nadasve lepu i kreativnu godinu

ispred nas.

Iskreno vaša,

Marina Deleon Communication Advisor

You are a very successful businessman and one of the top managers at AFI. Did you choose Serbia as your next destination 13 years ago, or did that decision not depend on you?

- When we decided to come to Serbia, we explored possibili-ties and the global market, attempting to find out where we can make better levels of gains in terms of generating profit, but also in terms of further development. We received warm hospitality from the Serbs and Serbian institutions. We were aware that our company could contribute a lot to the Serbian economy, while the most important fact is that more than 90 per cent of our investments stay in the country. I personally find Serbia very attractive for doing business.

As a real estate businessman, why do you consider Ser-bia a good place to do business?

- A lot of my friends in Israel posed the same question to me. In a country where there is a lot of demand for resi-dential and office buildings, where you can build relatively quickly, in a year and a half we can build huge capacities of buildings, in a country where the legislation is complicated yet still – for those of us who have been in the country for many years – manageable. We understand the system and cooperate with it, and there is mutual understanding in terms of the importance of Airport City Belgrade as a mega project in every sense. It is important both for the economy and for the people.

Do you see your career as an obstacle or an advantage for your children, considering that they are growing up in a foreign country that also doesn’t happen to be the best place on Earth?

- This is not an easy question to answer. I have been talking with my wife a lot about this issue. Let’s say that my three sons are very deeply involved in the Serbian community. They speak Serbian excellently, while on the other hand they attend an international school and have met a lot of other kids there who are in the same situation of growing up in a foreign country. I know that my sons enjoy both worlds that they have at their disposal here. When we are at home we are an Israeli family, but outside our home we all feel like Serbians, with a lot of Serbian friends who ‘adopted’ us. Living with so many differences, my wife and I believe strongly that our children are becoming better people. My family is part of this community, and even I can understand a bit of Serbian, while my wife and I are very fond of your culture and, of course, your kafanas.

Is Serbia just a phase in your career and your life, or something else?

- Serbia is not the first foreign country where I’ve worked, but in terms of the foreign counties that have featured in my professional career, I have spent the longest period in Serbia. And I consider that to be a positive fact in my life. I really like Serbia and wouldn’t have stayed so long if I didn’t like the country. However, to answer your question, it would be irresponsible to choose a side in this matter and say whether this is a permanent posting or just a phase. One can never predict everything the future will bring.

There is the saying in Israel that “Haifa works, Jerusa-lem prays and Tel Aviv plays”. What about Belgrade; does it work, pray or play?

- Belgrade does it all together. Although it reminds me of Tel Aviv the most, and a lot of my acquaintances perceive it as a place for fun. From my point of view, it is not like that; I see Belgrade as a place that channels work, pray and play.

Trkač na duge staze„Moja kompanija vidi Srbiju kao mesto gde se može ura-diti puno toga – Srbija i Beograd su za nas neistražena teritorija“, kaže glavni izvršni direktor kompanije Airport City Belgrade Adir El Al.Adir El Al je izvršni direktor kompanije Airport City Bel-grade koja predstavlja jednu od najvećih investicija u Srbiji u formi biznis parka u kome posluje više od 110 najvećih kompanija u zemlji. Iako bi se moglo očekivati da je kao šef kompanije ACB i jedan od ključnih menadžera kompanije

AFI Europe u Srbiji za svoju kancelariju odabrao vrh jedne od najmodernijih zgrada u ovom „gradu u gradu“, CorD je „pronašao“ ovog studenta Izraela i Londona koji je prikupio ogromno radno iskustvo od Afrike do Evrope, u skromnoj kancelariji koja se nalazi na periferiji ACB-a u renoviranom hangaru za avione iz Prvog svetskog rata. “Ovde se osećam prijatno, potpuno svestan istorijskog značaja ove zgrade i kupole izgrađene prema dizajnu Milutina Milankovića i pronalazim određenu simboliku u svemu ovome“, kaže El Al na početku našeg razgovora.

Činjenice o kompaniji Airport City dobro su poznate, ali ko je osmislio koncept „grada u gradu“?

- Kada smo došli ovde 2003. godine, već smo imali sličan biznis park u Izraelu sa istim nazivom Airport City, što je za-nimljivo. Jedan od naših akcionara došao je zajedno sa nama u Srbiju i mi smo pokušali da primenimo isti koncept iz Iz-raela ovde u Srbiji, imajući u vidu da se taj koncept pokazao veoma uspešnim. Airport City je biznis park koji predstavlja kombinaciju nekoliko poslovnih zgrada okupljenih u jedan kompleks koji može da udovolji svim potrebama korisnika i zadovolji njihove zahteve, a tako smo i osmislili koncept i slogan „grad u gradu“. Razlog za to je što na dnevnom nivou pružamo sve što vam je potrebno kao korisniku kancelarije, bez obzira na to koje potrebe su u pitanju.

Koga smatrate vašim glavnim konkurentom u Srbiji imajući u vidu da je koncept biznis parka retkost u zemlji?

- Ne postoji sličan projekat. Mi smo jedini biznis park sa takvim konceptom ali naravno da konkurencija postoji. Pos-toje druge kompanije u Srbiji, kako domaće tako i strane, koje grade poslovne zgrade i komplekse, i koje su veoma pri-sutne i konkurentne iako nisu biznis parkovi. Nikada nisam potcenjivao svoje konkurente i zaista verujem da su drugi značajni igrači na tržištu poslovnog i stambenog prostora.

Airport City Belgrade još uvek nije završen. Možete li predvideti završetak čitavog projekta?

- Do sada smo iskoristili oko 50% parka. I dalje imamo slobodnog zemljišta u razvoju i očekujem da će cela oblast biti završena u narednih pet do šest godina. Kada je u pitanju budućnost parka, planiramo izgradnju dve kule sa 20 i više spratova i nadam se da će se ove kule spojiti sa postojećom siluetom ACB-a koja je već simbol opštine Novi Beograd.

Skyline je Vaš drugi i najnoviji izazov gde su početni radovi krenuli na lokaciji u Ulici Kneza Miloša pre godinu i po dana?

- Preuzeli smo lokaciju u Ulici Kneza Miloša i uspeli da za-vršimo veoma temeljan proces urbanističkog planiranja. Tri kule, jedna od kojih će imati 35 spratova, koje se sastoje od dve stambene kule i jedne poslovne kule, kao i mnoštva pratećih komercijalnih zgrada, će činiti ovaj kompleks mešo-

vite namene. Sve će biti povezano ne samo sa Ulicom Kneza Miloša već i sa parkom „Tri ključa“ pored mosta Gazela koji renovira kompanija AFI. Odlučili smo da rekonstrukcija ovog parka bude naša donacija Beogradu.

Imajući u vidu da je Srbija relativno siromašna zemlja, kako projekti poput ovog mogu biti profitabilni?

- Uradili smo segmentaciju po fazama. Planirano je da svaka faza bude dovoljna za naše kapacitete i za kapacitete samog tržišta. Dokaz za to je da smo u našim drugim projektima uspeli da skoro sve stanove prodamo unapred. Mislim da je deo našeg uspeha zasnovan na činjenici da smo veoma konzervativni u pogledu planiranja i načina na koji trošimo novac, što je razlog zašto nikada nismo bili „prepuni zaliha“.

Vi ste veoma uspešan biznismen i jedan od top me-nadžera u kompaniji AFI. Da li ste pre 13 godina oda-brali Srbiju kao vašu narednu destinaciju ili ta odluka nije zavisila od vas?

- Kada smo odlučili da dođemo u Srbiju, istraživali smo mo-gućnosti na globalnom tržištu i pokušavali da otkrijemo gde možemo da dostignemo viši nivo u pogledu ostvarivanja profita ali i u pogledu daljeg razvoja. Naišli smo na srdačan prijem kod Srba i institucija u Srbiji. Bili smo svesni da će naša kompanija dosta doprineti srpskoj ekonomiji, dok je najvažnija činjenica da 90% naših investicija ostaju u zemlji. Lično smatram da je Srbija veoma privlačna za poslovanje.

Kao biznismen koji se bavi nekretninama, zbog čega smatrate Srbiju dobrim mestom za poslovanje?

- Veliki broj prijatelja u Izraelu me je pitao isto to. U zemlji gde je velika potražnja za stambenim i poslovnim zgradama, gde možete da gradite relativno brzo, gde za godinu dana možete izgraditi zgrade ogromnog kapaciteta, u zemlji gde je zakonodavstvo komplikovano, ali i dalje izvodljivo za nas koji smo u zemlji dugo godina. Razumemo sistem i sarađujemo sa njim i postoji uzajamno razumevanje u pogledu važnosti kompanije Airport City Belgrade kao mega projekta u svakom smislu te reči. To je važno kako za ekonomiju tako i za ljude.

Da li vidite svoju karijeru kao prepreku ili prednost za vašu decu, imajući u vidu da oni rastu u stranoj zemlji za koju se ne može reći da je najbolje mesto na planeti?

- Nije lako odgovoriti na to pitanje. Dosta sam razgovarao o toj temi sa mojom ženom. Recimo da su moja tri sina veoma duboko uključena u srpsku zajednicu. Oni sjajno govore srpski, ali sa druge strane pohađaju međunarodnu školu i upoznali su puno druge dece koja su u istoj situaciji da odrastaju u stranoj zemlji. Znam da moji sinovi vole oba sveta koja su im ovde na raspolaganju. Kada smo kod kuće, mi smo izraelska porodica, ali izvan našeg doma se oseća-mo kao Srbi sa puno srpskih prijatelja koji su nas „usvojili“. Živeći sa toliko različitosti, moja žena i ja snažno verujemo da naša deca postaju bolji ljudi. Moja porodica je deo ove zajednice a ja pomalo i razumem srpski jezik, dok moja žena i ja veoma volimo vašu kulturu i naravno vaše kafane.

Da li je Srbija samo faza u vašoj karijeri i vašem živo-tu ili nešto drugo?

- Srbija nije prva strana zemlja u kojoj sam radio ali u pogle-du stranih zemalja koje su bile deo moje poslovne karijere, najduži period sam proveo u Srbiji. Smatram da je to veoma pozitivan deo mog života. Ja zaista volim Srbiju i ne bih ostao tako dugo da ne volim ovu zemlju. Međutim, kao odgovor na vaše pitanje, bilo bi neodgovorno da prelomim i kažem da li je ovo stalno ili samo faza. Niko ne može pred-videti sve što donosi budućnost.

Postoji izreka u Izraelu da „Haifa radi, Jerusalim se moli a Tel Aviv se zabavlja“. Šta je sa Beogradom, da li se on zabavlja, moli ili radi?

- Beograd radi sve to zajedno, iako me najviše podseća na Tel Aviv a mnogi od mojih poznanika ga vide kao mesto zabave. S moje tačke gledišta, to nije tako – ja Beograd vidim kao mesto koje kanališe rad, molitvu i zabavu.

Danica Vučenić

Adir El Al Airport City CEO and Orchid group CEO

Long Distance Runner“My company sees Serbia as a place where a lot of things could be done; Serbia and Belgrade are ‘virgin territory’ for us,” says Adir El Al, Chief Executive Officer of Airport City Belgrade

Adir El Al is the CEO of Airport City Belgrade, which represents one of the biggest investments in Serbia, as a business park where more than 110 of the largest companies in the country reside

and operate. And although it could be expected that, as the head of ACB and one of the key managers of AFI Europe in Serbia, he would locate his cabinet at the top of one of the most modern buildings inside this ‘city within the city’, CorD ‘found’ this student of Israel and London, who has amassed vast working experience from Africa to Europe, in a modest office located on the periphery of ACB, in a renovated han-gar for World War I planes.“I feel comfortable here, completely aware of the historical significance of this building, a dome built according to the design of Milutin Milanković, and I find some symbolism in all of this,” says El Al at the start of our conversation.

The facts about Airport City are well known, but who came up with the ‘City within the City’ concept?

- When we came here in 2003, we already had a similar business park in Israel, interestingly with the same name of Airport City. One of our shareholders came together with us to Serbia and we were trying to implement the same concept from Israel here in Serbia, considering that it had proven to be a very successful concept. Airport City is a business park, represent-ing a combination of several office buildings gathered together in one complex, which is able to provide all necessities required by users, to ca-ter for all their needs, and that was how we came up with the concept and slogan ‘City within the City’. That’s because we provide whatever you need as an office user on a daily basis, whatever you need to consume.

Who do you consider as your main competitor in Ser-bia, given that the business park concept is a rarity in the country?

- There is no similar project. We are the only business park with such a concept, but of course competition exists. There are other companies in Serbia, both local and foreign, that

construct office buildings and complexes – though not busi-ness parks – and they are very present and competitive. I have never underestimated my competition, and I do be-lieve the others are significant players in the office and resi-dential market segment.

Airport City Belgrade isn’t finished yet. Can you envis-age the final completion of the entire project?

- We have so far utilised about 50 per cent of the park. We still have vacant land under development and I expect this whole area to be finished in the next five to six years. When it comes to its future, we are planning to build two towers with 20 and more floors, and I’m hoping these towers will blend into the existing silhouette of ACB, which is already a symbol of the municipality of New Belgrade.

Skyline is the other, latest challenge for you, with ini-tial works having commenced at the site in Kneza Mi-loša Street a year and a half ago?

- We took over the site in Kneza Miloša Street and managed to carry out a very thorough urban planning process. Three towers, one of which will have 35 floors, comprising two residential towers and one office tower, as well as a lot of

accompanying commercial buildings, will compose this mixed-use com-plex. Everything will be connected not only with Kneza Miloša Street, but also with the Three Keys Park next to Gazela Bridge, which is being renovated by AFI. We have decided to make the renovation of this park our donation to Belgrade.

Given that Serbia is a relatively poor country, how can projects

like this be profitable?- We segmented it into phases. Each phase was planned to be sufficient for our capacities, and the capacities of the market itself. And the proof is that in our other projects we managed to sell apartments almost completely in advance. I think that part of our success is based on the fact that we are very conservative, in terms of planning and the ways we spend money, which is why we have never been ‘stocked in the corner’.

I have huge respect for our competitors, though I still think Airport City is unique, because we give additional value to our tenants

I have to underline that AFI Europe strives to plan in advance, to maintain itself in one place, for good reason, as long as necessary, and I do believe in such a ‘philosophy’, because I am a ‘long distance runner’

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What is the correlation between business and the free-dom of artistic expression? This question, unless you are a benefactor, actually remains without an answer, i.e. it sounds nonsensical in itself, if not placed in a particular context. Even though benefactors, as we know of them from the history of art, have long since been consigned to legend, they can even appear during this time of algo-rithms, corporations and profits incidents, and are “threa-tening” to become a rule, at least in one case. Specifically, one casual conversation between Miloš Pavlović, Dean of the Belgrade Faculty of Dramatic Arts, and Marina De-leon, communications expert for Airport City Belgrade, grew into a serious cooperation project between this pre-stigious 70-year-old arts faculty and a company that is the pioneer of the “City within a City” business concept in Serbia. “Airport City needed a corporate film, and Marina and I came up with the idea to – instead of paying an expensive agency that would record the film “by the book” – leave this job to students of the Faculty of Dramatic Arts,” says Pavlović speaking to CorD.- We generally provide schooling for directors, produ-cers, editors, cameramen and actors in both bachelor and master studies. We have the Copywriting subject in bachelor studies and teach them to create campaigns. Without any dilemma, the Faculty of Dramatic Arts has the intellectual, creative and artistic potential to satisfy the criteria of a project of this kind. Our capabilities and Airport City’s needs came together. As far as I know, this

is the first time that a company has given full creative freedom to students to express themselves artistically.

When you say that they give you freedom, what do you mean specifically – considering that it’s difficult to reconcile the corporate and artistic ways of thinking?

- You’re mistaken, and I’ll explain why. I sent the first emails to students of master’s studies on media and advertising and the interest was huge. Then we arranged a visit to Airport City, where director Adir El Al led us through the whole complex, telling us about how he sees the deve-lopment of the company, its mission and vision, and then finally telling us “Now it’s open, it’s up to you”. He gave us the complete freedom to create the film in the way we think best. I have a lot of experience in advertising, both in the country and abroad, and I have to say that it’s rare to come across such an approach. They usually ask you to work within some strict frameworks “by the book”, as it is imagined by management and corporate bureaucracy. But this is something completely different.

And why would a young artist studying at your college be inspired by the tasking of making a corporate film?

- And to answer with rhetorical questions - was it inspiring for Leonardo da Vinci to paint the Mona Lisa as an ordered portrait or for Michelangelo to paint the ceiling of the Sisti-ne Chapel to order? John Ford made all his films according to ordered scenarios. We are professionals and we move within frameworks that are given to us, and here we don’t even have them. I’ll use a metaphor. If the frame within

“We want to help young people not only in the area of creativity, rather we would like to encourage them to defend their ideas and to build a better and more beau-tiful world,” says Marina Deleon, ACB Communications Advisor, explaining the idea of cooperation between Air-port City and the Faculty of Dramatic Arts.When an interlocutor who is a communications expert and communications advisor of one of the most successful fo-reign companies in the country – Airport City – tells you that “young creators mustn’t be cowardly and should fight for their ideas no matter who’s opposite them,” the first thought is that she “missed her calling”, be-cause the corporate way of thinking usually doesn’t insist on battling for freedom of expression and creativity, but rather the most effective way to make a profit, regardless of which sector you are in. But Marina’s bi-ography states that she graduated from the Faculty of Philosophy and dealt with comparative religion, and later journalism, but that she also worked for well-known world brands like the famous Milka or H. Stern jewellery. Perhaps in this unusual and wide range of reflections lies the clarification for how it is that Airport City, for the needs of a corporate film, decided that instead of engaging a professional production team it would esta-blish cooperation with the Faculty of Dramatic Arts and its students.“We wanted, on the one hand, to help, while on the other hand we wanted to encourage young people, to move them towards a creative activity,” explains Deleon, remarking that at ACB, when it comes to social responsibility, the company is usually led by the idea of allocated money being used to “make a difference” in relation to the existing state, not to be a mere gift, but rather to provide someone who can’t afford it themselves with a place to work.- That’s why we this year decided to establish cooperation

with the FDU and the students of this college. We need a bespoke corporate film and are ready to take a step forward with it. Our clients are also people who are in some ways ahead of their time, while most of them belong to the yo-unger generations, who don’t use the same communication symbols, codes or means as older ones, and we want to address them. It was this thinking that brought us to the FDU and students who will, according to our conviction, best communicate messages by practically speaking to their own generation.

The film is about the company and represents this company in public. Understanding your desi-re to also be socially responsible within this field, would it not have been a “safer option” to hire a proven agency and produc-tion team instead of students?- When you start conquering a market you think differently than when you are already the number one brand on a market. More than ten years ago, we wouldn’t even

have considered “experimenting” with students – rather we would certainly have played it completely safe, so to say, and entrusted our corporate film to established experts. The situation today is different, and I’m satisfied with that. Today we can allow ourselves to take a step forward, and in that step we can simultaneously help those who are just starting out, for which most companies don’t have an ear. When a company is at the height of its success it shouldn’t rest on its laurels, but rather it has to think about the future. Airport City’s future is young people, the digital generation, not the analogue one, and through this project we will somehow highlight ourselves, and perhaps also link some of them to ourselves. You should have seen those smiling faces of FDU students at the meeting arranged with ACB’s management and the answer would be clear to you in itself. The creative solutions that a motivated team can provide do not depend exclusively, and most often not primarily, on technical and financial possibilities. And the most important instruction of the FDU team was for them to express themselves freely, within the framework of the assignment, and to communi-cate messages that are important to us in a way and with the visual code of their generation. We wanted something different, unburdened by the usual clichés. ACB Manage-ment, headed by General Manager Adir El Al, believes in their creativity, their mentors at the faculty believe in the knowledge they have given them, and I believe it will provide new quality that will make all of us proud.

And where are the limits of creativity for Airport City?- The sky isn’t quite the only limit… I jest, but director Adir

MILOŠ PAVLOVIĆ, Dean of the Faculty of Dramatic Arts, Belgrade University

“Airport City gave us complete freedom in creating a corporate film that students of the Faculty of Dramatic Arts will film for this company,” says Miloš Pavlović, Dean of the Faculty of Dramatic Arts

The Mona Lisa was also made to order

- Grešite i objasniću. Poslao sam prvo mailove studentima Master studija medija i reklama i interesovanje je bilo ve-liko. Onda smo upriličili posetu Airport City-ju gde nas je direktor Adir El Al proveo kroz ceo kompleks, ispričao nam kako on vidi razvoj svoje kompanije, njenu misiju i viziju i na kraju nam je rekao „Now its open, it is on you“. Dao nam je potpunu slobodu da kreiramo film kako mislimo da je najbolje. Imam veliko iskustvo u advertajzingu, i u zemlji i u inostranstvu moram da kažem da se retko može sresti ova-kav pristup. Uglavnom od vas traže da radite u nekim stro-gim okvirima „by the book“, kako to zamišlja menadžment i korporativna birokratija. Ali ovo je nešto posve drugo.

A zašto bi za jednog mladog umetnika, studenta FDU, bilo inspirativno da pravi korprorativni film?

- A da odgovorim retoričkim pitanjima – a da li je bilo in-spirativno Leonardu da Vinčiju da slika Monalizu kao na-ručen portret ili Mikelanđelu da oslikava Sikstinsku kapelu po narudžbini. Džon Ford je sve svoje filmove radio prema naručenim scenarijima. Mi smo profesionalci i krećemo se u okvirima koji su nam dati, pri tom ih ovde i nemamo. Poslužiću se metaforom. Ako je okvir u kome nešto radite, snimate na primer korporativni film, obala, onda su kreatori filma moćna reka koja teče između tih obala.

Na koji način će taj projekat da se odvija konkretno? - Napravili smo jedan interni konkurs za koji su zaintere-sovani i studenti režije i produkcije, čak i dramaturzi, pored studenata koji se bave advertajzingom, medijima, marketin-gom. Dakle, potrebno je da se razradi ideja za film i da nosi-oci ideje okupe timove koji su im potrebni da film dovedu do kraja. Stimulišemo bodovima one timove koji su oformljeni od studenata sa raznih odseka i predmeta sa FDU. Dobili su i budžetski okvir, tako da su studenti sada u poziciji da od početka do kraja kreiraju projekat i na umetničkom, ali i na budžetskom nivou. Do kraja decembra ćemo izabrati najbolji rad, a snimanje filma i početak projekta zavise i od same ide-je, ali i do vremenskih uslova. Dodao bih da sam već video neke koncepte i da ima veoma kreativnih ali i neočekivanih radova. Najteži deo posla će biti izbor pobednika.

U kojoj meri je neobično da jedna profitabilna kompa-nija, koju umetnost uopšte ne mora da zanima, niti se od nje to očekuje, sarađuje na ovakav način sa jednim umetničkim fakultetom?

- Nekada davno to i nije bilo neuobičajeno. Ali ono što mi na FDU sada pokušavamo je da saradnja sa Airport City-jem ne bude zaboravljena, pošto snimimo korporativni film, već da ona bude početak jednog novog doba. Naime, ide-ja je da osnujemo kreativno razvojni Centar na Fakultetu i da umesto da šaljemno studente, kao sveže snage, raznim agencijama, da ih angažujemo na samom fakultetu da tu razvijaju, pored redovne nastave, svoje profesionalne i umet-ničke kapacitete...

Da li bi FDU Centar bio istovremeno i najveći produk-cijski i postuprodukcijski centar u Srbiji?

Daću vam primer Novog Zelanda koji je postao moćna po-stprodukcijska sila koja zarađuje ogroman novac posle sni-manja franšize Gospodar prstenova baš na postprodukciji. Oni se do tada uopšte nisu bavili tim poslom a sada njihova i država i privreda imaju od toga itekako koristi. Mi već ima-mo određene kapacitete na Fakultetu - laboratorije za zvuk, za digitalne umetnosti i pozorišne i scenske umetnosti.... Digitalno vreme iako ima mnogo mana ima istovremeno i velike prednosti i mislim da od njega treba da uzmemo najbolje i da ga prilagodimo sebi i sopstvenim potrebama.

which you are doing something, recording a corporate film for example, are coasts, then the filmmakers represent a powerful river flowing between those coasts.

How unusual is it for a profitable company that has no reason to be interested in art, or to have any expecta-tions from art, to cooperate with an art college in this way?

- It didn’t used to be unusual long ago. But what we are currently trying to do at the Faculty of Dramatic Arts is for our cooperation with Airport City not to be forgotten, given that we’re recording a corporate film, but rather for it to mark the beginning of a new era. Specifically, the idea is to form a creative development centre at the Faculty and, instead of sending students to various agencies as fresh reinforcements, to engage them at the faculty to develop – alongside the regular curriculum – their professional and ar-tistic capacities. I envisage that Centre having several direc-tions, from advertising, digital media and video games, and then to deal with digital and new forms of performing arts.

Would the possible centre at your faculty also be the largest production and post-production centre in Ser-bia?

- I will give you the example of New Zealand, which became a powerful post-production force that earns huge money after the shooting of the Lord of the Rings franchise, pre-cisely in post-production. They hadn’t previously dealt with this business at all, but now their state and economy benefit greatly from that. We already have certain capacities at the Faculty – laboratories for sound, digital arts and theatri-cal and performing arts. Let me note that the digital era, despite having many drawbacks, simultaneously has great advantages, and I think we should take the best from it and adapt it to ourselves and our own needs.

U kakvoj su korelaciji biznis u sloboda umetničkog izraza? To pitanje, ukoliko niste mecena, ostaje zapravo bez odgovora, odnosno zvuči samo po sebi bez smisla, ako se ne smesti u određeni kontekst. Iako su mecene, kakve ih poznajemo iz istorije umetnosti, odavno otišle u legendu, dogodi se čak i ovom vremenu algoritama, korporacija i profita incident, koji „preti“ da preraste u pravilo, makar na jednom slučaju. Nai-me, jedan neobavezan razgovor dekana Fakulteta dramskih umetnosti Miloša Pavlovića i Marine Deleon, ekspertkinje za komunikacije Airport City-ja prerastao je u ozbiljan projekat saradnje ovog prestižnog umetničkog fakulteta, koji puni 70 godina i kompanije koja je u Srbiji pionir biznis koncepta „grada u gradu“. „Airport City-u bio je potreban korporativni film i Marina i ja smo došli na ideju da, umesto da plate neku skupu agenciju, koja će da snimi film „by the book“, taj posao prepustimo studentima FDU“, priča Miloš Pavlović.- Mi inače školujemo i na osnovnim i na master studijama reditelje, producente, montažere, snimatelje, glumce. Ima-mo predmet Copywriting na osnovnim studijama, gde se bavimo i učimo ih da kreiraju kampanje. Bez ikakve dileme FDU ima i intelektualni i kreativni i umetnički potencijal da zadovolji kriterijume jednog ovakvog projekta. Poklopili su se naši potencijali i potrebe Airport City-ja. Ovo je prvi put, koliko znam, da jedna kompanija daje potpunu kreativnu slobodu studentima da se umetnički izraze.

Kada kažete da vam daju slobodu, na šta konretno mi-slite, imajući u vidu da korporativni i umetnički način razmišljanja teško mogu da se dovedu u vezu?

The sky’s the limit, or is it...?

The most important instruction given to the Faculty of Dramatic Arts team was to freely express the visual code of their generation. We believe in their creativity and I know we’ll all be proud in the end. The shared act of giving is also important for the ACB team

6 7Airport City Belgrade newsletter Airport City Belgrade newsletter

CITY WITHIN A CITYCOMMITTED TO EXCELLENCE

www.airportcitybelgrade.com

Srećni praznici

Happy Holidays

Airport City Belgrade

El Al has left untested space for students. He told them to be innovative and to work in the way they think is the best, which is certainly an exceptional move on his part, and unu-sual for the corporate understanding of things. As commu-nications advisor, I had to be slightly stricter in defining li-mits due to the message itself – I think the limit of creative freedom should be the content of the business messages we want to send to our current and potential clients. But I also see that as a challenge for the creators who will learn through this project how to apply their knowledge acquired from the FDU, how to avoid the trap of “art for art’s sake” in business, but will also learn how to manifest their creativity within the framework provided. After all, some of them will deal with this very job when they graduate, and this will be excellent practise for them. When I say this, I have in mind both their age and their need to be different, not part of the mainstream, which often isn’t inventive. I would perso-nally like them to surprise me and for us to get something unexpected.

And what do you desire that’s unexpected?- I don’t want a film that smells like it’s been ordered. I don’t want to be pretentious, but I maintain that the creative energy of someone who is just starting to work is not yet affected by clichés, which are a big trap, especially if you are in a job for a long time. But Airport City itself, with most people, whether they are clients or not, provokes positive reactions and the whole “City within the city” concept is very inspiring. ACB actually with the “whole of its being” is reminiscent of a young man – it is contemporary, adapted to modern times, digital and in some way seems futuristic. And that’s why I maintain that young people can easily re-cognise themselves in this concept, because that concept itself communicates, in a way, with people whose time is yet to come.

You are connected to a company that is successful and profitable. Why is one such company interested in soci-al responsibility in the domain of helping others, becau-se CSR obviously isn’t just that?

- CSR, in the case of Airport City, has never been a mere corporate commitment or PR exercise. When you look at all the activities we’ve devised since 2005, you will see that they’ve never been committed to popular and media-intensi-ve projects, but rather are the result of thinking about how our assistance can have the greatest effect. That’s why we opt for interactive help like this cooperation with the FDU. Otherwise, the senior management of Airport City is com-prised of people who aren’t from here. However, they have enough of a sense of hearing to, on the one hand, listen to and accept the environment in which they live and work, and to understand its needs, while on the other hand bringing into that environment the business, life and cultural spirit of their own country - Israel. In short, the company is ready to accept the best of this environment and at the same time apply its own experiences in order for it to function profitably. That’s why I see cooperation with the FDU as a “win-win” situation. I recall that 15 years ago, when we started CSR, our first donation was to help children with disabilities. We didn’t report that anywhere in the media – we don’t make such donations public. The situation is different today, and when we make some help public we are providing incentives for other companies to get involved. The beauty of giving is also a specific feeling for employees, who feel good as part of something humane, which is simultaneously excellent both for teamwork and for team spirit.

Do you plan CSR as business is planned, or is it a matter of momentary inspiration?

- Luckily enough Airport City doesn’t have strict corporate obligations in the domain of CSR, in relation to the headqu-arters of investors Africa-Israel and Tidhar, which is good, because we can plan our activities based on local social needs. Hence I would like to reiterate how much I believe in potential of this project with the FDU and I’m sure we can expand it. If I were to be even more precise, I would say that we want to help young people not only in the area of creativity but to gain business experience at the same time encouraging them to be free and open, to defend their ideas and thus build more beautiful world.

Objašnjavajući ideju saradnje Airport City-ja sa Fakulte-tom dramskih umetnosti, Marina Deleon, savetnica za ko-munikacije ACB-ja kaže da je kreativnost pitanje slobode.Kada od sagovornice koja je ekspertkinja za komunikacije i savetnica u jednoj od najuspešnijih stranih kompanija u zemlji – Airport City-ju, čujete da „mladi kreativci ne smeju da budu poltroni i da bi trebalo da se bore za svoje ideje bez obzira ko je preko puta njih“, prva pomisao je da je „promašila profe-siju“. Jer korporativni način razmišljanja obično ne promoviše bitku za slobodu izražavanja i kreativnost, već najefikasniji put da ostvarite profit, bez obzira u kom ste sektoru. Ali u biografiji Marine Deleon stoji da je završila Filozofski fakultet, da se bavila komparativnom religijom, a kasnije i novinar-stvom, ali i da je radila za poznate svetske brendove, poput čuvene Milke i H. Stern nakita. Možda u tom neobičnom i širokom dijapazonu razmišljanja i leži razjašnjenje kako to da je Airport City, za potrebe korporativnog filma, umesto da angažuje profesionalnu produkciju, odlučio da uspostavi saradnju sa Fakultetom dramskih umetnosti i sa njegovim studentima.„Želeli smo da s jedne strane pomognemo, a na drugoj strani da podstaknemo mlade ljude, da ih pokrenemo na jednu kre-ativnu akciju“, priča Deleon uz opasku da se u ACB-ju, kada je reč o društvenoj odgovornosti, obično vode idejom da taj novac bude upotrebljen tako da „napravi razliku“ u odnosu na prethodno stanje, da ne bude puki poklon, donacija.„Zato smo se ove godine opredelili za uspostavljanje saradnje sa FDU i studentima sa ovog fakulteta. Nama je potreban namenski korporativni film i spremni smo da u njemu napra-vimo iskorak. Naši klijenti su i inače ljudi koji na neki način idu ispred svog vremena, većina njih pripada mlađoj generaciji koja ne koristi iste komunikološke simbole i kodove, pa ni sredstva kao stariji, a mi želimo da se obratimo njima. U tom razmišljanju smo i došli do FDU i studenata koji će prema

našem uverenju najbolje komunicirati poruke obraćajući se praktično svojoj generaciji”, navodi sagovornica WU.

Film o kompaniji predstavlja tu kompaniju u javnosti. Razumevajući Vašu želju da i u okviru tog polja budete društveno odgovorni, zar ne bi bila „sigurnija opcija“ angažovati proverenu produkciju umesto studenata?

- Kada počinjete da osvajate neko tržište onda razmišljate drugačije nego kada ste već brend broj jedan na tržištu. Pre više od deset godina verovatno ne bismo ni razmišljali o „ek-sperimentu“ sa studentima već bi moj savet bio da igramo na sigurno i prepustimo korporativni film etabliranim eksper-tima. Danas je situacija drugačija i zbog toga sam veoma za-dovoljna. Airport City je danas na mestu na kome može sebi da dopusti iskorak, a da u tom iskoraku istovremeno pomo-gnemo onima koji tek počinju, za šta većina kompanija nema sluha. Kada je kompanija na vrhuncu uspeha ne treba da uži-va u lovorikama već mora da razmišlja o budućnosti. Airport City-jeva budućnost su mladi ljudi, digitalna, a ne analogna generacija, a kroz ovaj projekat ćemo im na neki način ukazati na sebe, a možda neke od njih i vezati za sebe. Trebalo je da vidite ta nasmejana lica studenata sa FDU na sastanku koji je upriličen sa menadžmentom ACB-ja i odgovor bi vam sam po sebi bio jasan. Kreativna rešenja koja jedan motivisan tim

može da da ne zavise isključivo, a najčešće ni primarno, od tehničko-finansijskih mogućnosti. A najvažnije uputstvo FDU timu bilo je da budu slobodni da se izraze u okviru zadatka i da komuniciraju poruke koje su nama važne na način i vizu-elnim kodom njihove generacije. Želeli smo nešto drugačije, neopterećeno uobičajenim klišeima. ACB menadžment na čelu s Adirom El Al-om veruje u njihovu kreativnost, njihovi mentori u znanje koje su im dali a ja verujem da će to dati novi kvalitet na koji ćemo svi biti ponosni.

A gde je granica kreativnosti za Airport City?- Nije baš samo nebo granica, da se našalim, ali je Adir Adir (El Al, CEO Airport City-ja) ostavio nepregledan prostor stu-dentima. Rekao im je da budu inovativni i rade kako misle da je najbolje, što je svakako izuzetan potez s njegove strane i neuobičajeno za korporativno shvatanje stvari. Ja sam kao savetnica za komunikacije morala malkice strožije da defini-šem granicu zbog poruke same - mislim da limit kreativne slobode treba da bude sadržaj poslovne poruke koju želimo da pošaljemo naših sadašnjih i potencijalnim klijentima. Ali ja to vidim i kao izazov za kreatore: kroz ovaj projekat mogu da nauče kako da primene svoja znanja sa FDU, kako da izbegnu zamku „umetnosti radi umetnosti“ u poslu, ali i da u zadatim okvirima, ipak ispolje sebe. Uostalom neki od njih će se baš tim poslom baviti kada diplomiraju i ovo će im biti odlična praksa. Kada ovo kažem imam u vidu i njihove godine i potrebu da budu različiti, a ne deo main streama, koji je često neinventivan. Ja lično bih volela da me iznenade i da dobijemo nešto neočekivano.

A šta je to neočekivano što priželjkujete?- Ne želim film koji će mirisati na naručeno. Verujem da kreativna energija nekog ko tek počinje da radi još nije za-hvaćena klišeima, koji su velika zamka, naročito ako ste dugo u jednom poslu. Airport City kod većine ljudi, bez obzira da li su klijenti ili ne, izaziva pozitivne reakcije i ceo taj koncept „grada u gradu“ je veoma inspirativan i „celim svojim bićem“ asocira na mladog čoveka – savremen je, prilagođen moder-nom dobu, digitalan i nekako pomalo futuristički. I zato sam stava da mladi lako mogu da se prepoznaju u tom konceptu jer taj koncept sam po sebi komunicira sa ljudima čije vreme tek dolazi.

Vezani ste za kompaniju koja je uspešna i profitabilna. Zašto jednu takvu kompaniju zanima društvena odgo-vornost u domenu pomaganja drugima, jer CSR nije samo to naravno?

- CSR u slučaju Airport City-ja nije nikada bio puka korpo-rativna obaveza ili PR. Kada pogledate sve akcije koje smo osmisljavali od 2005 do danas videćete da nisu nikada bile posvećene popularnim i medijski vidljivim projektima, već su posledica razmišljanja na koji način naša pomoć može da ima najveći efekat. Zato se opredeljujemo za interaktivnu pomoć poput ove saradnje sa FDU. Inače viši menadžment Airport City-ja koji čine ljudi nisu odavde. Međutim imaju dovoljno sluha da s jedne strane osluškuju i prihvataju okolinu u kojoj žive i rade i razumeju njene potrebe, a na drugoj strani u tu okolinu unose poslovni, životni i kulturološku duh sopstve-ne zemlje-Izraela. Rečju, kompanija je spremna da prihvati najbolje iz ove sredine, a da istovremeno primeni sopstve-na iskustva da bi profitabilno funkcionisala. Zato saradnju sa FDU vidim kao „win-win“ situaciju. Sećam se da kada smo počinjali CSR pre 15 godina naša prva donacija je bila pomoć deci invalidima. Nismo to nigde objavili u medijima - takve donacije ne objavljujemo. Danas je situacija drugačija i kada neku pomoć učinimo javnom onda time dajemo podstrek drugim kompanijama da se uključe. Lepota davanja je specifičan osećaj i za zaposlene koji se osećaju dobro kao deo humnog cilja koji prevazilazi njihov poslovni milje, a to je odlično i za timski duh.

Da li u CSR planirate kao što se planira u biznisu, ili je to pitanje trenutnog nadahnuća?

Airport City u domenu CSR-a nema striktne korporativne obaveze u odnosu na centralu, na investitore Africa-Israel i Tidhar, što je naša sreća jer možemo da planiramo aktivnosti na bazi lokalnih socijalnih prioriteta. Zato bih želela da nagla-sim koliko verujem u ovaj projekat sa FDU i mogućnost šire-nja saradnje. Želeli smo da pomognemo mladim kreativcima da steknu realno poslovno iskustvo, ali i da ih ohrabrimo da budu slobodni i otvoreni, da brane svoje ideje i tako grade lepši i bolji svet.

In the case of Airport City, CSR has never been a matter of PR. We have never chosen the most popular activity or most visible in the media, rather we’ve considered how our help can have the best effect

>Projekat saradnjeACB i FD

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8 9Airport City Belgrade newsletter Airport City Belgrade newsletter

> People talk

Time for Gifts

Katarina Petković, Restoran Smokvica

I give because I want to, not because I shouldWe show emotions through giving. I give when I want to show affection to somebody, so that the person knows that he/she is important in my life. I usually never pick random gifts but I try to dedicate them completely to that person. Choosing a wrong gift does not happen to me because I do not buy for the sake of buying but I allocate time, I think about what kind of a person that is, what the person needs at that moment, and then I buy. The occasion is also import-ant. I usually give presents for birthdays, New Year’s Eve and Christmas; they are unavoidable at those moments. What is the point of life if not to give? I also like to ask people about what they need, what would make them happy, I do not refrain from that. I do not care too much about how happy I get but when I see that someone else is happy, that I made the right choice, that the person is delighted, that’s great for me! I also care about the way the gift is wrapped and how the guests are greeted, that is what my mum taught me. I like to prepare as much as possible and welcome them

Sandra Vulović, TLScontact

Gift cards and envelopes saved me!I usually give to my closest ones, friends. These are mostly occasions such as birthdays, New Year’s Eve, patron saint day, weddings, birth of a child, etc. I buy instinctively and I am guided by what I would like to have. I believe that I have a universal taste and that the person would like the things I choose, especially if I know the person very well. I buy clothes for people whose taste I know precisely; more often I look for practical things, something that will be use-ful. Only when I am out of ideas I go by what I like at first glance. I find that the most difficult thing is to buy for someone who has everything or for someone that I bought everything to already. But buying is not a problem, I really get into it. Persons who are close to me, parents and sister, always get me what I like. Although I give them sugges-

Snežana Gigić, Telenor

I enjoy givingPersonally, I like to give, regardless of what that relates to. Whether that is assistance I can provide to someone, advice, suggestion or a gift. When someone feels nice, that means a lot to me. Ideal opportunities are birthdays, holidays, New Year’s Eve, but I primarily like to give when that is least ex-pected. That is what I like best, when there is no occasion. It does not matter if it’s a small candy bar with a message, a flower, a CD, the little stuff… That is when they enjoy it even more! I enjoy that. I pay a lot of attention to how the gift is wrapped, how I tie the bow and I make sure that the dedication is there. I pay a lot of attention to that, I consider that a token of appreciation. I enjoy that, in my own feeling while I am giving, which is also recognized by the person, that I devoted myself, invested some time, that I appreciate that the person is happy. I can recognize whether someone is truly happy or if the reaction was artificial, which is also related to my job. I have to recognize different personality profiles, reactions of people, different events and situations. I believe that everyone is happy to receive a gift, at least in my case the ‘don’t look a gift-horse in the mouth’ principle applies. However, I could not decide whether I prefer to give or receive gifts. I will spend Christmas and New Year’s Eve in family envi-ronment when we will all gather and give each other presents.

Snežana Gigić, Telenor

Uživam da darujemLično jako volim da darujem, bez obzira na šta se to odnosi. Da li je to neka pomoć koju mogu nekom da dam, savet,

Dušan Dimkovski, Telenor

Let us be like childrenGift is a token of feelings, a token of humanity. It means that at times of fast living, short and quick information and replies we managed to remember to get out of this circle in order to give something to someone. This means a lot to a person that receives the gift. I mostly give on birthdays but it is even better when it is spontaneous. I equally like to be in both roles but since I have two small children I see that this enthusiasm for gifts has decreased. I prefer when some-one thinks of me, calls me, that is a real token of attention. Especially since I experienced how any gift - chocolate, candy or a lollipop brings children joy. Everything gets a comple-tely different effect, but that’s the case with children. Older people do not show their emotions in the same way, we lost that feeling that it is alright to allow ourselves to be like children, to jump with joy on those occasions. Also, kids should not get everything at any price so that they could understand the value of what they are getting and not lose that feeling of what and when they are getting, as well as

as best as I can, to have plenty of food, drinks and not just to come. This shows how much you care for someone. This is similar to Tolkien’s hobbits who give to others on their birthday. The non-material part is important - I give because I want to, because I feel like it, not because I should or be-cause it is good. I will buy my children gifts for the upcoming holidays and I will also give presents to my husband and some close friends. I am somewhat regretful that there is no practice of buying and sending New Year’s greeting cards. I love writing wishes, that is a must!

Katarina Petković, Restoran Smokvica

Poklanjam zato što ja želim, a ne zato što trebaPoklanjanjem iskazujemo osećanja. Poklanjam kad nekom že-lim da pokažem znak pažnje, da neko zna da je bitan u mom životu. Poklon uglavnom ne biram nasumično, već se trudim da ga u potpunosti posvetim toj osobi. Ne dešava mi se da izaberem pogrešan poklon, jer ne kupujem samo da bih ku-pila, nego odvojim vreme, razmislim dobro kakva je ta osoba, šta joj u tom trenutku treba i onda kupim. Povod je isto važan. Darujem najčešće za rođendane, Novu godinu i Božić, tada se pokloni podrazumevaju. Koja je poenta života, ako ne poklanjati? Volim i da pitam ljude šta im treba, šta bi ih obra-dovalo, ne ustručavam se od toga. Koliko se ja obradujem, to mi nije puno važno, ali kad vidim da se neko raduje, da sam potrefila, da se oduševio, to mi je super! Bitni su i način kako se poklon spakuje i u kakvom izdanju se dočekuju gosti, to me je mama naučila. Volim da što više spremim i dočakm ih što bolje, da ima dosta hrane, pića, a ne samo da dođu. To je pokazatelj koliko ti je neko važan. Tako isto i Tolkinovi Hobiti koji na svoj rođendan poklanjaju drugima. Nematerijalni deo je važan, poklanjam zato što ja želim, osećam, a ne zato što treba ili valja. Za predstojeće praznike deci ću kupiti paketiće, a darivaću i supruga i neke bliske prijatelje. Malo žalim što ne postoji praksa kupovine i slanja novogodišnjih čestitki. Volim da pišem želje, to je obavezno!

to avoid not knowing how to be happy for what they got.This is why I usually give on birthdays, New Year’s Eve or some major thing that children do. It is nice to exchange gifts, no matter what was bought. The very act of ope-ning a present gets even more charming when children are there with their energy.

Dušan Dimkovski, Telenor

Dozvolimo sebi da budemo kao decaPoklon je znak osećaja, znak ljudskosti. Znači da smo u vre-me prebrzog života, kratkih i brzih informacija i odgovora uspeli da se setimo da izađemo iz tog toka kako bi nekom nešto darivali. Osobi koja dobija polon to mnogo znači. Uglavnom poklanjam na rođendane, ali je još bolje kad je spontano. Podjedanko volim da se nađem u obe uloge, ali od kada imam dvoje male dece, vidim da se taj entuzijazam za poklonima kod mene smanjio. Više volim da me se seti neko, da me pozove, to mi je pravi znak pažnje. Pogotovo od kada sam iskusio koliko decu usreći i oraspoloži bilo ka-kav pokon, čokoladica, bombona, lizalica. Sve dobije potpu-no drugi efekat, ali tako je to kod dece. Stariji osećanja ne pokazuju na isti način, izgubili smo taj osećaj da je u redu da dozvolimo sebi da budemo kao deca, da u tim prilikama skačemo od sreće. Takođe, klincima ne treba kupovati sve po svaku cenu, da bi mogli da shvate vrednost toga što dobiju, da ne izgube osećaj šta i kad dobiju, i da na kraju ne znaju ni da se obraduju tome što dobiju.Zato uglavnom poklanjam na rođendane, Novu godinu ili neku veliku stvar koju deca učine. Razmena poklona je lepa, šta god da se kupi. Sam čin otvaranja poklona dobije još veću draž kad su tu deca sa svojom energijom.

tions. Once I even had a list and when someone would ask me I would just give them the list and tell them to choose. That way there is no mistake. I do not buy for others on my birthday but similar principle is taking your friends out for dinner, on a night out, for celebration… My ideal gift is the gift card; it is completely fine that each person chooses what it needs. Recently I simply began to give money. I practice this on New Year’s Eve and it is only important that I give the same amount to all family members. I be-lieve that sometimes money means more to people.

Sandra Vulović, TLScontact

Gift kartice i koverte su spas!Najčešće poklanjam svojim najbližima, prijateljima. To su uglavnom prilike kao što su rođendani, Nova godina, slave, veridbe, rođenje deteta itd. Kupujem instiktivno i vodim se time šta bih ja volela da imam. Smatram da imam univerzalan ukus i da to što ja izaberem ima da se dopadne i toj osobi, pogotovo ako je dobro poznajem. Garderobu kupujem osobama kojima tačno znam ukus, češće gledam praktične stvar, nešto što će biti korisno. Jedino kad nemam ideju, tada idem po nahođenju šta mi se dopada na prvi pogled. Najteže mi je da kupujem osobi koja ima sve ili sam joj već sve poklonila. Ali nije mi problem, stvarno uđem potpuno u to. Meni lično uvek potrefe ono što mi se dopada osobe koje su mi bliske, roditelji i sestra. Mada ja sugerišem. Jednom prlikom sam čak imala i spisak, i kada me pitaju, ja im samo dam listu i kažem da izaberu. Tako nema greške. Za svoj rođen-dan ne kupujem drugima, ali sličan princip kod nas je čašćavanje, kada prijatelje izvedeš na večeru, u izlazak, u provod, na proslavu... Moj idealan poklon je „Gift kartica“, skroz je korektno da svako izabere šta mu treba. U pos-lednje vreme mi se dešava i da dam jednostavno novac. To praktikujem i za Novu godinu, a jedino je važno da svim članovima porodice poklonim istu sumu. Mišljenja sam da nekada nekome novac više znači.

sugestija ili poklon. Kad se neko lepo oseća, meni to puno znači. Idealne prilike su rođendani, praznici, Nova godina, ali pre svega volim da poklanjam kada se to ne očekuje. To mi je najdraže, bez bilo kakvog povoda. Nije važno da li je to mala čokoladica sa posvetom, cvet, disk, male sitne stvari... Tada se više obraduju! Ja uži-vam u tome. Jako vodim računa o tome i kako je poklon umotan, kako da svežem mašnicu, da bude tu i posveta. Dosta vremena posvetim tome, meni je to znak pažnje. Uživam u tome, u sopstvenom osećaju dok darujem, a to prepozna i ta osoba, da sam se predala, uložila neko vreme, da mi je značajno da se ta osoba obraduje. Mogu da prepoznam kada se neko istinski obraduje ili veštački odreaguje, što je vezano i za posao koji radim. Moram da prepoznam različite profile ličnosti, reakcije-ljudi, različite događaje, situacije. A mislim da se svako obraduje poklonu, barem kod mene važi ona „poklonu se u zube ne gleda“. Ipak ne bih mogla da se opredelim da li više volim da dobijam poklone ili da dajem. Božić i novogodišnji doček ću provesti u porodičnom okruže-nju, kada ćemo se svi okupiti i darivati jedni druge.

Vladimir Plavšić, SECCOM

Gift value is unimportantIf you know the friend you are buying a gift for, you cannot make a mistake. Knowing the person’s habits and taste makes things a lot easier. And gifts are usually given to friends. When I’m buying, I like to give myself time because I believe that the wrapping is also important, as well as the message I want to

send. Everything is important. Gift value is not im-portant but I do not buy just for the sake of buying. When I get such a gift, I take offence. I know how much I dedicate myself and I expect the same from others. I give on holidays and important dates, but also on other occasion, when I feel like it, out of gratitude or when I want to show that I appreciate what the person did or did not do. Most frequently I give to my close friends.

Vladimir Plavšić, SECCOM

Vrednost poklona nije bitnaAko poznaješ prijatelja za koga biraš, ne postoji pogrešan poklon. Mnogo olakšava posao kada znaš navike i ukus te osobe. A poklone generalno daješ prijateljima. Kada kupujem, dam sebi vremena jer smatram i da je omot važan, kao i poruka koju že-lim da pošaljem. Važno je sve. Vrednost poklona nije bitna, ali ne kupujem čisto radi reda. Kada dobijem takav poklon za sebe, uvredim se. Znam koliko se ja posvetim, pa očekujem i od drugih. Dajem na pra-znike i značajne datume, a u drugim prilikama, kada osetim, iz zahvalnosti ili kada hoću da pokažem da mi je značajno to što je taj neko uradio/ili nije uradio. Najčešće se dešava da poklanjam bliskim prijateljima.

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10 11Airport City Belgrade newsletter Airport City Belgrade newsletter

> Who is N

emanja Jovanović?

In front of you is the fifth consecutive unusual ACB calen-dar, which is this time inspired by the works of renowned surrealist artist René Magritte.The pleasant little chap with the bowler hat and gentle smile who “dismantles” reality into tiny parts.This “ordinary”, “boring” Belgian, who defined surrealism be-fore the movement was hijacked by Dali, thanks to good marketing and self-promotion.The creative concept of, among other things, transposing his famous ‘Golconda’ oil on canvas into the hectic business reality of our “City within the City” was again devised by ACB Advisor Marina Deleon and all that was required was to invi-te visual artist and long-time associate Nemanja Jovanović.“Come on and make the surreal out of reality, and do so in the spirit of such a genius. Now you try to do something commercially from his work, trying to honour and conclude the story responsibly, using “straight (clean) photography” as the technique” – this was the main notion the besieged the author of the calendar, who admitted that this task is his first genuine challenge for a long time.You should also know that all the photography, more or less, is directly stolen from Magritte. And they are all pho-tographs; there are no photomontages and no drawing in Photoshop. Okay, a little deleting perhaps, and that’s all. And one, serious business space in which “strange elements” have been added. And the finale... Golconda (the title of the painting that brought special public interest to the work of this Belgian painter, to whom a friend revealed the name of a destroyed city in India that had otherwise been the centre of a former region known for the excavating of diamonds between the 14th and 17th centuries and whose name, Golconda, translates as “Mine of wealth”).Nemanja is certain that he wouldn’t have been able to carry out the task successfully without the great team that in-vested a lot in production. Marko, Dule, Nina, Ana and Marija...

Pred vama se nalazi peti po redu neobični kalendar ACB, ovog puta inspirisan delima poznatog slikara nadrealiste Re-nea Magrita. Simpatični čikica sa polucilindrom i blagim osmehom, koji „rastura“ realnost na sitne delove. „Obični“, „dosadni“ Belgijanac, koji je definisao nadrealizam pre nego što je pravac Dali preoteo zahvaljujući dobrom marketingu i samopromociji.Idejni koncept da se, između ostalih, njegovo čuveno osli-kano platno „Golkonda“ pretoči u užurbanu poslovnu real-nost našeg „Grada u gradu“ ponovo je osmislila PR savetnica ACB Marina Deleon i sve što je bilo potrebno je da pozove vizuelnog umetnika i dugogodišnjeg saradnika Nemanju Jo-vanovića.„Hajde od realnosti napravi nadrealno, a u duhu takvog ge-nija. Hajde sada ti pokušaj da od njegovog rada uradiš nešto komercijalno, trudeći se da ispoštuješ i izneseš priču odgo-vorno do kraja, pritom koristeći „strejt (čistu) fotografiju“ kao tehniku“, glavna je misao koja je opsedala autora kalen-dara, po čijem priznanju je ovaj zadatak prvi, pravi izazov posle dužeg vremena.Treba još da znate da su sve fotografije, manje-više, direkto ukradene od Magrita. I sve su fotografije. Nema fotomonta-že. Nema crtanja u fotošopu. OK. Malo brisanja. I to je to. I jedan, ozbiljan, poslovni prostor u koji su ubačeni “čudni elementi”. I kraj… Golkonda (u pitanju je naziv slike koja je donela posebno interesovanje javnosti za rad belgijskog slikara, kome je prijatelj otkrio ime uništenog grada u Indiji, inače centra nekadašnje regije poznate po iskopavanju dija-manata između 14 i 17 veka čije ime Golkonda u prevodu znači ”rudnik bogatstva”).Nemanja je siguran da zadatak ne bi uspešno izveo do kraja bez sjajne ekipe koja je uložila mnogo u produkciju. Marka, Duleta, Nine, Ane i Marije…

@Nemanja Jovanović“Satisfied with the result ”

#photo journalist “The most important thing for me is for the photographs to have as little manipulation as possible and to be as real, as authentic as possible”

#documentary photographer“I’ve been dealing with documentary photography for almost 20 years, and for more than 10 years I’ve worked as a photo editor in various magazines, weeklies, newspapers, agencies”

#Belgrade“I was born in this city, and here I also completed college for photography”

#visual art“My whole life I’ve been ‘heated’ by the visual: film, comics, photography, painting...”

Homage to René Magritte ACB Calendar – our traditional gift for New YearSo far we made 4 totally different yet unexpected calendars, different subject but ACB re-mained main actor in all of them: inspiration for the camera. From fashion and black/white world of Dragana Ognjenovic captured by M.Sovilj camera; contemporary dance in ACB seen by Slavimir Stojanovic through Sonja Zugic camera; we reached very interesting experiment in technique belonging to early days of photo history by Miodrag Trajkovic. So this years inspiration was Rene Magritte visit to Airport City, Homage to R. Magritte…One fantastic exhibition in Chicago last December and two best friends from Belgrade discussing where they stared and where are they heading led to creative brief for Nema-nja Jovanovic and his colleagues Magritte visit to ACB…Hope you would love it…

Airport City kalendar je postao tradicijaDo sada smo kreairali seriju od 4 kalendara koji su istog formata potpuno drugačije teme ali negde je ACB bio glavni glumac i inspiracija za kameru. Od mode i crno-belog sveta Dragane Ognjenović kroz kameru Marka Sovilja, savremenog plesa i pokreta u stilu Sla-vimira Stojanovića, kroz kameru Sonje Žugić stigli smo prošle godine do neverovatnog eksperimenta Miodraga Trajkovića i oživljenu tehniku s početka ere fotografije u ambijentu modernog biznis centra. Ove godine inspiracija na temu Rene Magrit u ACBu ili ACB in unique light ili Omaž Magritu...Jedna fantastična izložba 2016 u Chicagu i razgovor dve Beograđanke o tome odakle dola-ze i kuda idu... doveo je do kreativnog zadatka: kako Rene Magrita vidi Nemanja Jovanović sa svojom ekipom u ambijentu Airport City-ja.Nadamo se da ćete voleti i ovaj kalendar.

Creative concept Deleon Consulting team Photo:Miodrag Sovilj ’13, Sonja Žugić ’16, Miodrag Trajkovic ’17, Nemanja Jovanović ’18

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Koncept i urednik / Editor in Chief: Marina Deleon Novinari saradnici / Journalist contribution: Sanja Ilić Prevod / Translation: Mark Pullen, Dimitrije Vulić Foto / Photo: Nemanja Jovanović, Marko Đoković, Luka TrajkovićPriprema / Prepress: Ana Jovanović