The aim of this thesis is the elucidation of the concept of architectural recycling as an environmentally sustainable alternative to demolition and preservation. More precisely, the research aim relates to the redefinition of recycling design principles in the context of the sustainable architectural design. The process of architectural recycling was placed in the context of a sustainable architectural design, as the global concept of sustainable development is imposed as a general context for all building related questions in the last few decades. Industrial architecture is the most appropriate type of architecture for the research on architectural recycling due to its physical characteristics, i.e. large flexible spaces with great adaptability potential. The focus of this research is on the exploration and redefinition of the recycling design principles. More precisely, the focus is on the creation of the so-called 'recycling model', consisting of three redefined recycling design principles, which stem from the analogy between the domains of biology and architecture. The analogy was conducted in a systematic manner, applying the set of criteria which refer to structure, material, form and spatial organisation, i.e. their relationship between both existing building and new intervention. The general research hypothesis refers to the advantages of the architectural recycling over demolition and preservation, seen as the most frequently applied methods of dealing with the existing building stock. This assumption is based on the view that processes of demolition and replacement simply contribute to the endless circle of production, consumption and waste, given that the building sector constitutes one of the biggest waste streams produced in Europe, and is unquestionably the biggest polluter. On the other hand, preservation persists in maintaining status quo and prevents the building to adapt to changing condition through alterations and change of use. A systematic review of the concepts of preservation, restoration, destruction and sustainable design, is presented based on the sources by John Ruskin, William Morris, Eugène Viollet-le-Duc and Rem Koolhaas, respectively. The analysis enabled the elucidation of the concept of architectural recycling as preservation through change: in the context of a sustainable architectural design. The second hypothesis refers to the adequacy of biological analogies for the definition of the recycling design principles. lt is assumed that the biological concept of symbiosis is the most adequate one for the definition of the possible relationships between the original industrial building and the new intervention. From the concept of symbiosis stem three redefined design principles of recycling, namely: commensalism, mutualism, and parasitism. The final research hypothesis refers to the relationship between the physical characteristic of an underused industrial building and the most environmentally sustainable design principle for its recycling. lt is assumed that in order for the recycling intervention to produce least environmental damage, the original building should be exploited to a high degree. Hence, it is assumed that the election of the most environmentally sustainable recycling design principle depends on the current condition of the existing industrial building. The value of the 'recycling model' (consisting of three redefined recycling design principles) is seen in its multidisciplinary character and its systematic approach to the topic of recycling architecture, i.e. the principles embedded in this model relate to the aspects of structure, material, form and spatial organization. The 'recycling model' provides a fresh understanding of how an extensive range of physical characteristics of an existing building can be considered in a systematic way in order to provide the guidance for choosing the most environmentally sustainable recycling design principle.

Nije namjera projekta Poli-Art stvaranje novog programa koji će obuhvatiti ponešto iz svakoga umjetničkog područja i obvezti pojedince i ustanove u obrazovanju i kulturi na njihovu realizaciju prema nekim metodičkim uputama - tek onda ne bismo ništa novo napravili jer to već postoji kao zatvoreni i potrošeni model. Otvooreni model Poli-Art zagovara i preporučuje fleksibilnost u određivanju programske orijentacije i koncepcije te odabiru sadržaja koji će potaknuti kreativne i aktivne metode stvaralaštva, prema sklonosti i interesu svakog pojedinca. U ovom projektu ponuđen je spoj, ali i sudar dviju paradigmi u umjetnosti. S jedne strane tradicionalnog glazbenog razmišljanja i suvremenog likovnog jezika i sadržaja kroz ponuđene apstrakcije. Dakle, dva leksika u suodnosu i kontekstu prema iskrenoj umjetničkoj poruci i doživljaju.