DRAGANA MECANOV
independent planning engineer, Belgrade
PRILOG PROUČAVANJU ODNOSA SKULPTURE I SLIKARSTVA U MODERNOJ ARHITEKTURI BEOGRADA U DRUGOJ POLOVINI XX VEKA
CONTRIBUTION TO RESEARCH INTO RELATIONSHIP BETWEEN SCULPTURE AND PAINTING IN MODERN ARCHITECTURE OF BELGRADE DURING THE SECOND HALF OF THE 20TH CENTURY
Journal 10/2014 (Museum of Applied Art), pages 47-57
UDC:
728.04(497.11)"19"
730(497.11)"19"
75(497.11)"19"
Abstract (original language):
U tekstu se istražuju i nude različita tumačenja skulpture u modernoj stambenoj arhitekturi Beograda nastaloj u drugoj polovini XX veka. Osnovni cilj je istražiti i prikazati primere značajne za razumevanje odnosa skulpture, slikarstva i arhitekture. Arhitektura modernih pokreta, čiji prvi primeri nastaju u periodu između dva svetska rata, u drugoj polovini XX veka nastavlja intenzivno da se razvija bez elemenata dekoracije i skulptura. U stambenoj arhitekturi, dekorativni elementi slabo su bili zastupljeni. Istraživanje je primarno zasnovano na istoriografskom metodu. Zgrada u obliku meandra u jednom od značajnih novobeogradskih blokova povezuje se sa motivima umetnika Julija Knifera. Zahvaljujući arhitekti Mihajlu Mitroviću, pedesetih godina, skulpture Ane Bešlić i Ratka Stojadinovića, a kasnije i crteži Lazara Vujaklije, bivaju inkorporirani u arhitekturu stambenih zgrada. Kasnije će se koristiti kalupi za izradu betonskih odlivaka, a zgrade će kao celine sadržati elemente skulptoralnosti. U radu se definišu odnosi i sumiraju različita tumačenja brutalizma i „skulptoralne moderne“. Iako je stambena arhitektura odisala, pre svega, skromnom obradom fasada, izdvojeni su pojedini primeri iz Beograda, koji odstupaju od tog pristupa i uvode moderne skulpture. Ovakva analiza odnosa skulpture i arhitekture XX veka pomoći će u definisanju razvoja njihovog međusobnog odnosa i omogućiti periodizaciju ideja.
Key words: (original language)
industrijska moderna, skulptoralna moderna, stambena arhitektura, skulptura, sinteza umetnosti
Summary:
The time period between two world wars is characterized by modernist architecture, which developed under strong influence of European academic centres and growing absence of ornaments. The end of World War II brought new social and political contexts, and new economic circumstances. With the first five-year plan period (1947–1952) also came the architecture of modest materials and forms. In addition, the change in social and political contexts at the beginning of 1950s introduced activities, emergence and development of individual architectural studios. Some of them developed their own architectural expressions and revived relationship between architecture and sculpture in fresh, contemporary way, and created examples that represent the epoch. Here, one remembers the projects realized by studio established by architect Mihajlo Mitrović – apartment buildings in Zahumska Street No. 23 and Gospodar Jovanova Street No. 25. This architecture is inseparable from the sculptures created by Ana Bešlic and Ratko Stojadinović. A completely different approach can be found in examples appearing in Novi Beograd. Numerous requests for mass and quick apartment building added to intensive development of industrial, prefabricated, systems. One of the representative examples is the "meander" building in Block 21 in Novi Beograd. In this essay we analyze the motive of meander, and we relate it to the works done by artist Julije Knifer who favoured meander as the leitmotif of his creations. The sculptural elements of industrial modernism are: the emphasized horizontal lines, basic geometric forms, small number of floors architectural cubes. “Industrial modernism”, as it is referred to in the professional literature, became increasingly present with gradual development of the pre-fabricated systems, as well as with the growth of building industry. Only at the end of the 1960s, there emerged examples of architecture that featured different sensibility. In the sources, it was called “sculptural modernism” abundant with details – and it announced different approaches to forms opposed to the, until then dominant, "industrial modernism". The Genex building in Belgrade, has a larger number of elements as in brutalist architecture, as well as recognizable influences of important examples of international modern architecture. Parts of the Tower of Genex were painted by painter Lazar Vujaklija.
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