dijana maric
PhD DIJANA MILAŠINOVIĆ MARIĆ Dijana Milašinović Marić Graduated the Faculty of Philosophy of Belgrade, Department of History of Art, in 1982. At the same Faculty defended her Master’s thesis entitled Architect Jan Dubovi in 1998. and her doctoral thesis entitled the Serbian Architecture of the 1960s and acquired professional title of Doctor of History of Art in 2010. She is a Professor with the Faculty of Technical Sciences and Architecture in Kosovska Mitrovica where she lectures on History of Modern Architecture and Urban Planning, History of Art, Architecture Today, Synthesis of Architecture and Art, and History of Architecture and Settlements in Serbia. She is the author of books (Architecture of Jan Dubovi, Guide to Modern Architecture of Belgrade, 2002) and over 200 professional and scientific papers in magazines such are Spatium, Arhitektura i urbanizam and other. She is the author of scientific –educational serials of the RTS (Radio Television of Serbia): Modern Architecture in Serbia, Personalities and Poetics (11 episodes), Ars Practica (50 episodes) on fine art and artists of applied art of Serbia, and, based on her book, the Guide to Modern Architecture of Belgrade, a serial of 14 episodes. Since 2007, she has been a member of the Professional Editorial Board of the Serbian Encyclopaedia of Fine Arts and Architecture, a member of the Editorial Board of the Glossary of Art Terms, publisher: Serbian Academy of Sciences and Arts. She is member of the Initiative Board of the Docomomo Serbia and AICA Serbia. As an expert for architecture she is involved in two scientific projects: Tempus and the National scientific project funded by the Ministry of Education, Science and Technological Development of Republic of Serbia, since 2012 named: Spatial, Environmental, Energy and Social Aspects of Development of Settlements AND CLIMATE CHANGE - interactions.For creativity she won the annual award of ULUPUDS in the 1999 and 2001, 2003, 2005. She is winner of May Exhibition Plaques in 2011, and winner of the DAB aword at the International Week of Architecture, Belgrade 2011. Based on the decision of the Arts Council and the Board of ULUPUDS she got the status of Eminent artist (2010).
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December 1923 - 25 November 2005), a professor of
the Faculty of Architecture in Belgrade, a full-time
member of the Serbian Academy of Science and
Arts, a member of the Crown Council and one of
the most significant Serbian architects, whose works
were created within a time range of almost fifty years,
represent, in terms of form, structure and content,
an embodiment of the ideals of the time in which
he was active.
The comprehensive range of his works, which earned
him numerous awards, includes a large number of
realized and designed masterpieces of Serbian architecture,
such as: The Museum of Contemporary Art
at Ušće, the Museum in Šumarice (with I. Raspopović),
the “25 maj” Sports Centre, the “Pinki” Sports Hall
in Zemun, the Olympic swimming pool at Poljud in
Split, the Dom pionira complex, together with the
Radio Television Belgrade building and the Duško
Radović Theatre in Belgrade, the “Breza” Hotel in
Vrnjačka Banja, the “Narvik” Hotel in Kikinda and the
Hyatt Hotel in Novi Beograd, the Secretariat of Interior
building in Guberevac, the Politika House in Krupanj,
etc., all of them being purposeful and aestheticized
architectural forms, practically the sublimation of the
objectification of content-related and constructive
requirements.
the team of architects Milenija and Darko Marušić is indicative of trends in Serbia’s Belgrade architectural scene. Their
substantial and affirmed architectural activities encompass a series of issues and themes related both to the changes
in Serbian architecture permeated with dialogues between modernism and postmodernism in the last decades of the
twentieth century and to the specificity of the author’s contribution based on the personal foothold around which their
architectural poetics weaves. The context of postmodernism, particularly the Neo-Rationalist European current, has
been a suitable ambience in the genesis and upgrade of their creativity. It can be considered through several typical
themes on the Modernism versus Postmodernism - relation, starting from the issue of contextuality as determination,
through duality, mutual dialogue as an impetus, attitude about the comprehensiveness of architectural considerations
based on the unbreakable link between the urbanism and architecture, and on the issues of urban morphology the
theme oriented towards both the professional community and the wider public, but also towards architecture itself –
its ethics and aesthetics, which are equally important themes for them.
Key words: modernism versus postmodernism, duality, Serbia, Belgrade school of housing, contextuality.
The body of work of Ivan Antić (Belgrade, 1923-2005), one of
the most important Serbian architects who created his works
in the period from 1955 to 1990, represents almost a reification
of ideals of the times he lived in, both in terms of form and in
structural and substantive terms. His work is placed within
a rationalistic concept which is essentially experienced as
an undisturbed harmony between his personality and the
contemporary architectural expression. However, besides such
way of interpretation, his architecture also includes examples
indicating the thinking about the folk tradition, architectural
heritage, the primordial, as well as the archetypal, typical for
a region.
In the context of the body of work of architect Ivan Antić, this
paper will particularly place accent and track such threads
of thinking which are, in an obvious or transparent sense,
expressed in a series of realized solutions and designs such as
the Guard’s Home in Dedinje (Belgrade, 1957-1958), Children’s
Home (Jermenovci, 1956-1957), Museum of the Genocide
in Šumarice which he designed together with I. Raspopović
(Kragujevac, 1968-1975), „Politika” Cultural Centre (Krupanj,
1976-1981), “25th May” Sports Center (Belgrade, 1971-1973), or
his own house in Lisović near Belgrade. All the abovementioned
buildings, as well as numerous other, which belong at the top
of Serbian architecture, reflect the spirit of the time in which
he created them. They clearly indicate the unbreakable bond
which exists in architecture between the inherited, vernacular,
contemporary and personal architect’s attitude.
Key words: Serbian architecture, traditional, rational,
transposing, architect’s attitude
the team of architects Milenija and Darko Marušić is indicative of trends in Serbia’s Belgrade architectural scene. Their
substantial and affirmed architectural activities encompass a series of issues and themes related both to the changes
in Serbian architecture permeated with dialogues between modernism and postmodernism in the last decades of the
twentieth century and to the specificity of the author’s contribution based on the personal foothold around which their
architectural poetics weaves. The context of postmodernism, particularly the Neo-Rationalist European current, has
been a suitable ambience in the genesis and upgrade of their creativity. It can be considered through several typical
themes on the Modernism versus Postmodernism - relation, starting from the issue of contextuality as determination,
through duality, mutual dialogue as an impetus, attitude about the comprehensiveness of architectural considerations
based on the unbreakable link between the urbanism and architecture, and on the issues of urban morphology the
theme oriented towards both the professional community and the wider public, but also towards architecture itself –
its ethics and aesthetics, which are equally important themes for them.
Key words: modernism versus postmodernism, duality, Serbia, Belgrade school of housing, contextuality.
Conference Presentations
extensive architectural layer of the periods of the 1940s and 1950s is evident
towards which a sufficient attitude, in terms of valorisation, protection and
reconstruction, has not been built in relation to the possible interventions,
revitalisation, demolition or upward extensions, or a comprehensive categorization,
particularly in light of adaptation to energy efficiency, has been made. It is actually
a matter of a considerable body of buildings that are still in use today and towards
which it is necessary to build a clearer attitude based on the knowledge and
analysis of architecture of that time in order to partially or completely preserve the
phenomenon.
We can notice that this architectural body encompasses several basic types
of buildings: lower standard buildings (mostly a pavilion type), where urban
planning solutions are better than architectural design and on which larger scale
interventions are possible; free-standing buildings of higher standard, where the
aesthetic value is important to the extent that they could be preserved in terms
of materialization, structure, colour, etc.; and buildings integrated into the urban
fabric that are built to high standards, more energy efficient and better than other
buildings, and on which, considering their position, the possible energy efficiency
improvement interventions are more demanding.
This paper will present certain principles and measures that could be applied in
the reconstruction and redesign, as well as certain technological applications that
would not destroy the authenticity of the buildings built in the 1940s and 1950s.
Key worlds: identity preservation, architecture of 1940s and 1950s, energy efficiency
APSTRAKT U izgrađenom korpusu srpskih gradova i sela vidan je jedan obiman graditeljski sloj iz četrdesetih i pedesetih godina prošlog veka prema kome je, u smislu valorizacije, zaštite i rekonstrukcije, nedovoljno izgrađen stav u odnosu na moguće intervencije, revitalizaciju, rušenja ili nadogradnju i ne postoji sveobuhvatnija kategorizacija, posebno u svetlu prilagođavanja energetskoj efikasnosti. U pitanju je obiman korpus građevina koje su danas u upotrebi i prema kojima bi trebalo izgraditi jasniji odnos zasnovan na poznavanju i analizi arhitekture toga vremena, tako da se delimično ili sasvim sačuva njihova pojavnost. Možemo zapaziti da u ovom graditeljskom korpusu ima nekoliko osnovnih tipova objekata: (1) objekti nižeg standarda, pretežno paviljonskog tipa, kod kojih je vrednije urbanističko rešenje od arhitekture i kod kojih su moguće veće intervencije; (2) samostojeći objekti višeg standarda, gde je estetski dojam važan do nivoa da bi ga trebalo očuvati, u smislu materijalizacije, strukture, boje i dr.; (3) objekti ugrađeni u gradsko tkivo čija je gradnja kvalitetnija, koji su energetski efikasniji i bolji od ostalih, a za koje je, s obzirom na njihov položaj, eventualna intervencija u cilju poboljšanja energetske efikasnosti zahtevnija.
Talks
The article present s the commercial and hotel complex
“Rajićeva” in Belgrade designed by Milan and Vladimir Lojanica.
Almost twenty years ago, their design project won fi rst prize
among other 35 projects in the public architectural -urban
planning competition. The building’s urban planning and
spatial concept and architecture merged an entire urban block
into a unique communication structure, turning it into a focal
point made of glass, stone and metal, in which new contents,
meanings and new aesthetic standards have been incorporated.
The authors of this project searched and found the stronghold
for their ideas in the sophisticated dialogue between history
and currentness, in the fundamental honouring of the vestiges
and legends within the city’s memory and contemporary
architecture, its language and spirit of the new age.
Books
The paper is a contribution to the research of the evolution of Serbian architecture in the first decades after the Second World War, with a focus on nineteen fifties. The considered period reveals a multi-layered and vivid picture of the very rich and qualitatively diverse activities and a significant production in the fields of urbanism and architecture. This period gave birth to the emergence of many famous architects and important characteristic architectural forms, when recognizable achievements were created that are unavoidable in considering the history of modern Serbian architecture. Furthermore, exactly the research on this period reveals clear indications of autochthonous search and authentic architectural expression typical for the Serbian architectural space. The nineteen-fifties were the years in which the power and system of the socialist Yugoslav state (in which Serbia was a constituent part) were established, the state that was looking for its development models and choosing the path it would follow. It should be emphasized that architecture, but also the entire culture and society of that time, were under the
powerful dictates of the ideology of communist power,
so that the rigidity of normativism and prescribed plans and models were felt in each segment of creativity. Nevertheless, this did not hamper the development and changes that took place. Architectural activity that started in this period
directed the development of towns, hamlets, settlements, villages and regions and left a visible architectural layer in almost all urban and rural areas in Serbia, towards which an appropriate relationship
should be built in the context of building the continuity
of architecture.
For a proper consideration, the basic research that is focused on architectural achievements in the period between 1951and 1960 is done in the context of all that directly preceded it, but also in the context of what followed immediately after this period. Thus, the research covers a wider period of time, actually from the first masonry buildings and residential pavilions built within the first Five-Year Plan (1947-1951) to the Museum of Contemporary Art built in 1960 that, relative to the socialist realistic ideas with which the post-war development started, sublimated a completely different concepts and postulates which contained the signs of a coming era. In only fifteen years, a huge step forward was made: from the first social housing buildings conceived in the socialist realistic manner that were mainly built by anonymous architects in the spirit of emphasized collective feeling and without identity, to, in many aspects, completely opposite expressions underlining the aesthetic ideas of artistic contents and emphasizing the author's, individual attitude in architecture, which is a precedent without equal in the recent history of the Serbian architecture.
14
The nineteen-fifties were, in every respect and at the level of the entire Yugoslavia, marked by upward path of economic growth and political and social development, which was an important basis for architecture development and building of culture. The members of older, pre-war generation of architects were the bearers of the first wave of reconstruction, while younger architects, looking at the world and their own architectural heritage at the same time, recorded the initial results, thus generating an autochthonous architectural trend and expression that would soon be recognized as the Belgrade school of architecture. Inthe conditions of development, this actually meant an aspiration to keep up with the world trends trying to preserve personal and regional specifities. The beginning of developing New Belgrade
represented an important engineering undertaking in the entire period which stemmed from the need, ideology, concept and projection of a state, but was also a reflection of specific demands and architectural and urban planning ideas of the time. Considering the architectural heritage of the nineteen-fifties in general, a recognizable and voluminous architectural layer is clearly noticeable, the valuable architectural heritage extremely rich in architectural structures and concepts of diverse content and structure towards which, given that it is still in use and often updated, an attitude should be built and appropriate rules for the
protection in reconstruction, renovation, demolition, etc., established.
December 1923 - 25 November 2005), a professor of
the Faculty of Architecture in Belgrade, a full-time
member of the Serbian Academy of Science and
Arts, a member of the Crown Council and one of
the most significant Serbian architects, whose works
were created within a time range of almost fifty years,
represent, in terms of form, structure and content,
an embodiment of the ideals of the time in which
he was active.
The comprehensive range of his works, which earned
him numerous awards, includes a large number of
realized and designed masterpieces of Serbian architecture,
such as: The Museum of Contemporary Art
at Ušće, the Museum in Šumarice (with I. Raspopović),
the “25 maj” Sports Centre, the “Pinki” Sports Hall
in Zemun, the Olympic swimming pool at Poljud in
Split, the Dom pionira complex, together with the
Radio Television Belgrade building and the Duško
Radović Theatre in Belgrade, the “Breza” Hotel in
Vrnjačka Banja, the “Narvik” Hotel in Kikinda and the
Hyatt Hotel in Novi Beograd, the Secretariat of Interior
building in Guberevac, the Politika House in Krupanj,
etc., all of them being purposeful and aestheticized
architectural forms, practically the sublimation of the
objectification of content-related and constructive
requirements.
the team of architects Milenija and Darko Marušić is indicative of trends in Serbia’s Belgrade architectural scene. Their
substantial and affirmed architectural activities encompass a series of issues and themes related both to the changes
in Serbian architecture permeated with dialogues between modernism and postmodernism in the last decades of the
twentieth century and to the specificity of the author’s contribution based on the personal foothold around which their
architectural poetics weaves. The context of postmodernism, particularly the Neo-Rationalist European current, has
been a suitable ambience in the genesis and upgrade of their creativity. It can be considered through several typical
themes on the Modernism versus Postmodernism - relation, starting from the issue of contextuality as determination,
through duality, mutual dialogue as an impetus, attitude about the comprehensiveness of architectural considerations
based on the unbreakable link between the urbanism and architecture, and on the issues of urban morphology the
theme oriented towards both the professional community and the wider public, but also towards architecture itself –
its ethics and aesthetics, which are equally important themes for them.
Key words: modernism versus postmodernism, duality, Serbia, Belgrade school of housing, contextuality.
The body of work of Ivan Antić (Belgrade, 1923-2005), one of
the most important Serbian architects who created his works
in the period from 1955 to 1990, represents almost a reification
of ideals of the times he lived in, both in terms of form and in
structural and substantive terms. His work is placed within
a rationalistic concept which is essentially experienced as
an undisturbed harmony between his personality and the
contemporary architectural expression. However, besides such
way of interpretation, his architecture also includes examples
indicating the thinking about the folk tradition, architectural
heritage, the primordial, as well as the archetypal, typical for
a region.
In the context of the body of work of architect Ivan Antić, this
paper will particularly place accent and track such threads
of thinking which are, in an obvious or transparent sense,
expressed in a series of realized solutions and designs such as
the Guard’s Home in Dedinje (Belgrade, 1957-1958), Children’s
Home (Jermenovci, 1956-1957), Museum of the Genocide
in Šumarice which he designed together with I. Raspopović
(Kragujevac, 1968-1975), „Politika” Cultural Centre (Krupanj,
1976-1981), “25th May” Sports Center (Belgrade, 1971-1973), or
his own house in Lisović near Belgrade. All the abovementioned
buildings, as well as numerous other, which belong at the top
of Serbian architecture, reflect the spirit of the time in which
he created them. They clearly indicate the unbreakable bond
which exists in architecture between the inherited, vernacular,
contemporary and personal architect’s attitude.
Key words: Serbian architecture, traditional, rational,
transposing, architect’s attitude
the team of architects Milenija and Darko Marušić is indicative of trends in Serbia’s Belgrade architectural scene. Their
substantial and affirmed architectural activities encompass a series of issues and themes related both to the changes
in Serbian architecture permeated with dialogues between modernism and postmodernism in the last decades of the
twentieth century and to the specificity of the author’s contribution based on the personal foothold around which their
architectural poetics weaves. The context of postmodernism, particularly the Neo-Rationalist European current, has
been a suitable ambience in the genesis and upgrade of their creativity. It can be considered through several typical
themes on the Modernism versus Postmodernism - relation, starting from the issue of contextuality as determination,
through duality, mutual dialogue as an impetus, attitude about the comprehensiveness of architectural considerations
based on the unbreakable link between the urbanism and architecture, and on the issues of urban morphology the
theme oriented towards both the professional community and the wider public, but also towards architecture itself –
its ethics and aesthetics, which are equally important themes for them.
Key words: modernism versus postmodernism, duality, Serbia, Belgrade school of housing, contextuality.
extensive architectural layer of the periods of the 1940s and 1950s is evident
towards which a sufficient attitude, in terms of valorisation, protection and
reconstruction, has not been built in relation to the possible interventions,
revitalisation, demolition or upward extensions, or a comprehensive categorization,
particularly in light of adaptation to energy efficiency, has been made. It is actually
a matter of a considerable body of buildings that are still in use today and towards
which it is necessary to build a clearer attitude based on the knowledge and
analysis of architecture of that time in order to partially or completely preserve the
phenomenon.
We can notice that this architectural body encompasses several basic types
of buildings: lower standard buildings (mostly a pavilion type), where urban
planning solutions are better than architectural design and on which larger scale
interventions are possible; free-standing buildings of higher standard, where the
aesthetic value is important to the extent that they could be preserved in terms
of materialization, structure, colour, etc.; and buildings integrated into the urban
fabric that are built to high standards, more energy efficient and better than other
buildings, and on which, considering their position, the possible energy efficiency
improvement interventions are more demanding.
This paper will present certain principles and measures that could be applied in
the reconstruction and redesign, as well as certain technological applications that
would not destroy the authenticity of the buildings built in the 1940s and 1950s.
Key worlds: identity preservation, architecture of 1940s and 1950s, energy efficiency
APSTRAKT U izgrađenom korpusu srpskih gradova i sela vidan je jedan obiman graditeljski sloj iz četrdesetih i pedesetih godina prošlog veka prema kome je, u smislu valorizacije, zaštite i rekonstrukcije, nedovoljno izgrađen stav u odnosu na moguće intervencije, revitalizaciju, rušenja ili nadogradnju i ne postoji sveobuhvatnija kategorizacija, posebno u svetlu prilagođavanja energetskoj efikasnosti. U pitanju je obiman korpus građevina koje su danas u upotrebi i prema kojima bi trebalo izgraditi jasniji odnos zasnovan na poznavanju i analizi arhitekture toga vremena, tako da se delimično ili sasvim sačuva njihova pojavnost. Možemo zapaziti da u ovom graditeljskom korpusu ima nekoliko osnovnih tipova objekata: (1) objekti nižeg standarda, pretežno paviljonskog tipa, kod kojih je vrednije urbanističko rešenje od arhitekture i kod kojih su moguće veće intervencije; (2) samostojeći objekti višeg standarda, gde je estetski dojam važan do nivoa da bi ga trebalo očuvati, u smislu materijalizacije, strukture, boje i dr.; (3) objekti ugrađeni u gradsko tkivo čija je gradnja kvalitetnija, koji su energetski efikasniji i bolji od ostalih, a za koje je, s obzirom na njihov položaj, eventualna intervencija u cilju poboljšanja energetske efikasnosti zahtevnija.
The article present s the commercial and hotel complex
“Rajićeva” in Belgrade designed by Milan and Vladimir Lojanica.
Almost twenty years ago, their design project won fi rst prize
among other 35 projects in the public architectural -urban
planning competition. The building’s urban planning and
spatial concept and architecture merged an entire urban block
into a unique communication structure, turning it into a focal
point made of glass, stone and metal, in which new contents,
meanings and new aesthetic standards have been incorporated.
The authors of this project searched and found the stronghold
for their ideas in the sophisticated dialogue between history
and currentness, in the fundamental honouring of the vestiges
and legends within the city’s memory and contemporary
architecture, its language and spirit of the new age.
The paper is a contribution to the research of the evolution of Serbian architecture in the first decades after the Second World War, with a focus on nineteen fifties. The considered period reveals a multi-layered and vivid picture of the very rich and qualitatively diverse activities and a significant production in the fields of urbanism and architecture. This period gave birth to the emergence of many famous architects and important characteristic architectural forms, when recognizable achievements were created that are unavoidable in considering the history of modern Serbian architecture. Furthermore, exactly the research on this period reveals clear indications of autochthonous search and authentic architectural expression typical for the Serbian architectural space. The nineteen-fifties were the years in which the power and system of the socialist Yugoslav state (in which Serbia was a constituent part) were established, the state that was looking for its development models and choosing the path it would follow. It should be emphasized that architecture, but also the entire culture and society of that time, were under the
powerful dictates of the ideology of communist power,
so that the rigidity of normativism and prescribed plans and models were felt in each segment of creativity. Nevertheless, this did not hamper the development and changes that took place. Architectural activity that started in this period
directed the development of towns, hamlets, settlements, villages and regions and left a visible architectural layer in almost all urban and rural areas in Serbia, towards which an appropriate relationship
should be built in the context of building the continuity
of architecture.
For a proper consideration, the basic research that is focused on architectural achievements in the period between 1951and 1960 is done in the context of all that directly preceded it, but also in the context of what followed immediately after this period. Thus, the research covers a wider period of time, actually from the first masonry buildings and residential pavilions built within the first Five-Year Plan (1947-1951) to the Museum of Contemporary Art built in 1960 that, relative to the socialist realistic ideas with which the post-war development started, sublimated a completely different concepts and postulates which contained the signs of a coming era. In only fifteen years, a huge step forward was made: from the first social housing buildings conceived in the socialist realistic manner that were mainly built by anonymous architects in the spirit of emphasized collective feeling and without identity, to, in many aspects, completely opposite expressions underlining the aesthetic ideas of artistic contents and emphasizing the author's, individual attitude in architecture, which is a precedent without equal in the recent history of the Serbian architecture.
14
The nineteen-fifties were, in every respect and at the level of the entire Yugoslavia, marked by upward path of economic growth and political and social development, which was an important basis for architecture development and building of culture. The members of older, pre-war generation of architects were the bearers of the first wave of reconstruction, while younger architects, looking at the world and their own architectural heritage at the same time, recorded the initial results, thus generating an autochthonous architectural trend and expression that would soon be recognized as the Belgrade school of architecture. Inthe conditions of development, this actually meant an aspiration to keep up with the world trends trying to preserve personal and regional specifities. The beginning of developing New Belgrade
represented an important engineering undertaking in the entire period which stemmed from the need, ideology, concept and projection of a state, but was also a reflection of specific demands and architectural and urban planning ideas of the time. Considering the architectural heritage of the nineteen-fifties in general, a recognizable and voluminous architectural layer is clearly noticeable, the valuable architectural heritage extremely rich in architectural structures and concepts of diverse content and structure towards which, given that it is still in use and often updated, an attitude should be built and appropriate rules for the
protection in reconstruction, renovation, demolition, etc., established.