Suchergebnisse

U dosadašnjim istoriografskim tumačenjima, nedovoljna pažnja je poklanjana procesima preinačavanja urbane matrice Beograda, uzrokovanih promenljivim socio­ekonomskim interesima. Neuhvatljiv u svom vremenu i tek sa distance razumljiv, kulturni identitet srpske prestonice se u poslednja dva veka često menjao, uporedo sa njenim prostornim proširivanjem, gustim izgrađivanjem i demografskim omasovljavanjem. Radikalna i umerenija graditeljska preinačavanja, prevashodno izazvana ratnim razaranjima, diskontinuitetima u razvoju društva, promenama političkih uređenja, vladarskih i arhitektonskih ideologija, rezultirala su preteranom stilskom šarolikošću i visinskom neujednačenošću izgrađenog fonda. Preinačavanja su uglavnom inicirana planskim odlukama viših društvenih instanci ili spontanim, najčešće neobrazloženim manifestacijama tihe građevinske evolucije. Transformacije srpske prestonice preduzimane tokom poslednja dva veka najpre u vazalnoj, a potom nezavisnoj srpskoj i jugoslovenskoj državi, nejednako su se odražavale na sistem zatečene gradske strukture i život u njoj. Na osnovu dosadašnjih kritičkih promišljanja, preinačavanja se mogu diferencirati prema obimu realizovanosti, civilizacijskoj primerenosti (ili neopravdanosti), stepenu obrazloženosti, urbanističko­arhitektonskoj metodologiji i ideološko­ekonomskim platformama na kojima su počivala. ; So far, the historiographic thought has not paid enough attention to the processes of transforming urban patterns of Belgrade, caused by changing socio­economic interests. Evasive in real time and comprehensible only from a time distance, the cultural identity of the Serbian capital has often changed over the last two centuries, in parallel with its spatial growth, dense development and demographic boom. Its transformations, sometimes radical and sometimes more moderate, were primarily dictated by war destructions, discontinued social developments, overturning of political systems and with it ruling and architectural ideologies, which resulted in too many different styles and non-harmonized height lines of the constructed edifices. The alternations were usually initiated by decisions of state urban planners or spontaneous, mainly unjustified manifestations of 'silent' building evolution. These transformations of the Serbian capital which first occurred in a vassal and then in an independent Serbian and later Yugoslav state, had different impacts on the existing system of the city structures and the city life. According to critical thought so far, these transformations can be differentiated by the scope of their completion, civilizational appropriateness (or inappropriateness), degree of justifiability, urbanistic-architectural methodology and ideological­ economic platforms that inspired them.

Događaji iz ratne 1912. god., višestruko prekretničke za srpsko društvo, državu i kulturu, odrazili su se i na stvaralački put znamenitog neimara Momira Korunovića (1883-1969), čija su se ideološka polazišta usled ovih događaja uže profilisala. Osim što je produbio njegov emotivni patriotski zanos, tok prvog Balkanskog rata definitivno ga je usmerio ka ,,srpskom slogu' u arhitekturi, svojevrsnom ideološko-estetskom konstruktu kojim se nacionalna kultura opirala 'slepom podražavanju neoduhovljene tuđinštine'. Dodir sa drevnim sakralnim spomenicima na oslobođenim teritorijama dublje ga je povezao sa mitologemom srpskog srednjovekovlja, čije će graditeljske tekovine u narednim decenijama stvaralački oživeti, ne libeći se da ih osavremeni nanosima aktuelnih stilova. ; The events of the war in 1912. , the multiple turning point for the Serbian society, country and culture were reflected in a creative way on famous builder Momir Korunovic (1883-1969), whose starting point is the ideological rope profiled. Besides being deepened his emotional patriotic fervor, the course of the First Balkan War, it is definitely directed towards, 'Serbian style in architecture, a kind of ideological and aesthetic construct that national culture is resisted, blind imitation neoduhovljene tuđinštine'. Contact with ancient religious monuments in the liberated territories, the deeper it is connected with mythologemes Serbian Middle Ages, whose architectural legacy in the decades to revive creative, not hesitating to modernize the styles of deposits. It can be concluded that the upheavals of 1912 Korunovic encourage crystallization of ideology and aesthetics maturation. If the improvement in the foreign cultural centers was crucial for the adoption of common architectural lesson periods, ie formation of Pan-Slavic, including the pan-European Korunović's creation in 1912 it has definitely stimulated the search for a national style of synthetic variants to be declaratively inaugirisati as mono-ethnic'' clean''. This turn, derived from deep conviction, rather than the majority of contemporary characteristic pragmatism, was crucial for his future creative way. Besides the military, professional and personal satisfaction (starting a family), his war experience and has instilled tremendous confidence, without which later could not flourish so fertile for generations of admirers valuable construction activity.

U ovom preglednom članku retrospektivno se razmatraju glavni pravci razvoja srpske arhitekture od početka XVIII do kraja XX veka, kao i vidovi njihove društvene recepcije. Problematizuju se polazišna idejna, tehnička, semiotička i stilistička svojstva izgrađenog fonda na svim teritorijama na kojima su Srbi živeli. Izlaže se i periodizacija novije srpske arhitekture, izdvajaju glavni autorski opusi i ključna dela pojedinačnih razdoblja. Zaključuje se da su u dugotrajnom kulturno-istorijskom procesu permanentne evropeizacije i modernizacije srpskog društva, generacije aktivnih graditelja dale krupan civilizacijski doprinos. Razvoj srpske arhitekture i urbanizma u obuhvatnom trovekovnom razdoblju tekao je u početku skromnije, ali iz decenije u deceniju koncepcijski sve emancipovanije i originalnije. O tome slikovito svedoči današnji arhitektonski lik konstantno uvećavane prestonice i drugih gradova, uprkos stalnim pokušajima političkih elita da ga kontrolišu i instrumentalizuju u poželjnom smeru. Iako pod pritiskom oficijelnih krugova koji nisu uvek raspolagali potrebnim kulturnim rafinmanom, građenje sa umetničkim ambicijama se održalo, kvantitativno i kvalitativno razvijalo, metodološki raslojavalo i profilisalo. Doseglo je i visoke, autorski prepoznatljive domete i međunarodno primećene opuse. Dosadašnja iskustva pokazuju da se značajni objekti novije srpske arhitekture podvrgavaju specifičnim merilima vrednovanja unutar lanca prosuditelja koji čine predstavnici različitih slojeva kulturne javnosti - od laika, do stručnjaka i naučnika. ; This review article retrospectively considers the main directions of development of Serbian architecture from the beginning of the 18th until the end of 20th century. How they were perceived socially is also taken into account. Initial, notional, technical, semiotic and stylistic properties of buildings on all territories where Serbs lived are questioned. New Serbian architecture is also presented, with the main authorial opuses and key works of individual periods pointed out. It is concluded that in the long term process of permanent Europeanization and modernization of Serbian society, generations of active builders gave a big contribution to the civilization. Experiences show that significant objects of newer Serbian architecture are subjected to specific measures of evaluation by a number of judges composed by the representatives from different strata of the cultured public - from laymen to experts and scientists.

U radu se, u formi preglednog izlaganja sa elementima rasprave, komentariše graditeljska delatnost Srpske Pravoslavne crkve, intenzivirana tokom poslednje dve decenije na prostorima bivše SFRJ i u dijaspori. Sa gašenjem jednopartijskog političkog sistema u Jugoslaviji, buđenjem nacionalne svesti i jačanjem društvene uloge crkve, građenje pravoslavnih hramova početkom devedesetih godina doživljava veliki procvat. Od tada do danas, diljem Republike Srbije, Republike Srpske, Republike Hrvatske i Republike Crne Gore, sagrađeno je preko trista pravoslavnih crkava različitih tipova i struktura, dok je veći broj decenijama nezavršenih hramova dovršen. Njihovo istoriografsko tumačenje, bez obzira na neveliku istorijsku distancu neophodno je pokrenuti i produbiti. ; Building activities of the Serbian Orthodox Church was intensified during the last two decades on the territory of former Yugoslavia and in Diaspora firstly was commented in domestic publicist literature, rarely in works with scientific character. Estimate argumentation of all up to now judges, from anonymous publicists until specialized academic researchers with this contribution we wish to instigate more complete historiography valorization of that comprised segment of our contemporary building culture. Pressed beck in decades and from 1990 spirited and branched, new Serbian church building was found in front of much demanded civilization tasks. Appeared need for its creative renewal as much as for radical accommodation to needs of enlightened believers from the end of the 20th century. Conceptually satisfied interest of two primary strategies stimulated by the financial means of local and republic authorities domestic and foreign donators: more extended and more conservative mimetic monumentality options, conditioned by the megalomania of inpatient, frustrated in decades believers, hold by the liberal intellectual circles as much as with formalistic discipline of unbounded builders. Literally and exclusively took example by own building sources, characteristic for the first building stream, partly is originated from coercive cultural and political isolation of Serbian society during the nineties of the last century when it could not in the right time get introduce to actual world aspiration and with that transform and radically turn to symbolic forms of expression in sacral architecture. Examples of both strategies show that their representatives respected proclaimed ideological prerequisite for national recognition of new built temples. There from is structurally and morphologically concept of their realizations was directed to return of extensive neglected national identity of the Serbs in communist Yugoslavia. The most of the new temples has recognizable national and geopolitical marks, expressed in evocative shaped silhouette of historicity compositions permeated by the citations. Retrospective aesthetic of the epoch of postmodernism united three dominant streams of new Serbian sacral architecture. In the first is evocative paraphrased approach more expressed (churches of Predrag Ristic, Radoslav Prokic, Ljubisa Folic) while in the second approach is less literally and freely worked out (temples of Mihajlo Mitrovic, Miladin Lukic), and in third completely abandoned (works of Branislav Mitrovic, Spasoje Krunic, Sasa Budjevac). Significantly for cultural public in Raska district, except note that temples recently built on its territory should comment separately is the fact that old Raska's architecture in many segments successfully evoked in the best examples of the new sacral building. Among those examples is separated church of Saint Apostle Luke (1995-1999) built in the settlement Filmski grad in the southwest edge of Belgrade, by the architect and conserver Miladin Lukic (1956) winner of the great expert competition. In a whole and in fragments this church represents some kind of homage to whole Raska style group of ancient monuments, the oldest and fundamental for entire development of Serbian medieval sacral building.