18 Transformation of Modernism in Socialist Yugoslavia Architecture (original) (raw)
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Transformation of Modernism in Socialist Yugoslavia Architecture
PRIZREN SOCIAL SCIENCE JOURNAL, 2018
The Socialist Yugoslavia regime, which was established after World War II, led to innovations in many areas, spreading the modernism that Yugoslavia inherited from the Kingdom period to many areas. It also allowed freedom of expression and opened up to Western European countries kel social, political, commercial and so on kel compared t o the Soviet Union and other Eastern European countries. Provided the development of relations. These openings also led Yugoslav artists to explore various artistic movements abroad and to be inspired from abroad. In this study, it is aimed to examine the effects of the ideological background of the new regime on architecture. The effects of Tito on the transformation of the modernist movement that emerged in the Kingdom of Yugoslavia through the Tito period and the development and change of art and architecture. 1. Introduction The first division of Europe in the east and west is based on the division of the Roman Empire into two in the early 4th century. The territory of the two emperors (Diocletian and Constantine the Great) who created this division was later called Yugoslavia. After the collapse of the Western Roman Empire-in the 7th century the Slavic tribes settled in the Balkan peninsula were divided into two as Eastern Orthodox and Western Catholic Church in 1054. Northwest of Yugoslavia, Western Catholic Church (Romanesque-Gothic-Renaissance-Baroque); and the southeast of it was under the influence of the Eastern Orthodox Church (Kuliç Mrduljaš and Thaler, 2012). This division has also been effective in the six republics of Yugoslavia. Slovenia and Croatia, Western Catholic; Serbia, Montenegro, Bosnia and Macedonia have adopted Eastern Orthodox teachings. The east-west contrast of Yugoslavia, which was established after World War II and observed in its own formation, is seen to continue the socialist ideology that Yugoslavia gained from the East / Soviet Union by taking into consideration the cultural structure of its geography and society. However, in order to unite six different republics in Yugoslavia under the same roof, they adopted an anti-historian approach of modernism and aimed to create a Yugoslav identity independent of Byzantine, Ottoman and Austro-Hungarian influence. This ideology, which was formed under the leadership of Tito, was continued in the name of 'Titoism ı, which is a form of Marxism, against Yugoslavia and capitalism and Stalinism. Although Tito was in the same communist regime as Stalin, he pursued a liberal, libertarian, anti-stalinist policy. This regime is not only in politics; and in architecture and art. 2. Tito's Approach to Art and Architecture The Communist Party, led by Josip Broz Tito, created a new Yugoslav identity, followed its policy and II. In
Modernism in the Case of Cultural Architecture in Yugoslavia
IOP Conference Series: Materials Science and Engineering, Volume 960, 5th World Multidisciplinary Civil Engineering-Architecture-Urban Planning Symposium – WMCAUS 15-19 June 2020, Prague, Czech Republic, 2020
As a result of very strong and organised antifascist resistance on domestic territory during the World War II and historical conditions in the rest of Europe, new established socialist country Yugoslavia on geostrategic games was planned to stay part of the eastern block in the new division of postwar Europe. But just three years after the war Yugoslavian political establishment led by charismatic president Tito, despite the serious threats from USSR and Stalin, he decided to start with their own way of socialism based on self-management with reduced influence of the state into the economy, society and culture. The result was an atypical socialist system for that time, which was very open to the world, but especially to Western Europe and the USA. During the whole history, architecture was always the best representation of historical developments and social circumstances in different civilisations through different periods. Yugoslavian modernist architecture developed by domestic architects, influenced by modernist ideas from Central and Western Europe and with phenomenological support of the state can be considered as an indicator of social and cultural movements during the existence of that avant-garde socialist country from 1945-1990. Through the research of different study cases and examples of architecture from socialist Yugoslavia and studies of relevant scientists from the field of architecture and sociology, as a predominant methodology for this study, relations between architecture and socioeconomic and cultural conditions will be investigated. In accordance with the declared ideas for general modernisation of the entire society, modernist architecture in Yugoslavia was widely accepted as a tool for the realisation of proclaimed ideals for open, human oriented and contemporary society. The architecture of cultural buildings was some of the best examples for the mentioned direction in the content, but even more in conceptual and visual expression. The Yugoslavian architecture of the representative cultural centres, museums, libraries and concert halls are some of the most successful realizations of modernism in the region of south east Europe, but even much wider. At the same time, these buildings were witnessing well organized, state supported institutional work that was able to arrange some of the most prominent cultural activities on the highest world level.
MODERNISM IN THE CASE OF GOVERNMENTAL, COMMUNIST PARTY AND ARMY BUILDINGS IN YUGOSLAVIA
The 4th International Conference "The Importance of Place", 2015
Processes in Yugoslavian art and architecture were, more or less systematically controlled by the state and served as an instrument for presenting an idea of particularism. It is interesting that some of the most rigid parts of that system such as the Communist Party, the Yugoslav army, or State President Tito were investors or clients of some of the most successful modernist buildings. Processes in Yugoslavian art and architecture were, more or less systematically controlled by the state and served as an instrument for presenting an idea of particularism. It is interesting that some of the most rigid parts of that system such as the Communist Party, the Yugoslav army, or State President Tito were investors or clients of some of the most successful modernist buildings. The link between social context and architecture throughout history is notorious and always visible, but emergence and total acceptance of progressive and humanist-oriented architecture from this particular socialist system, which is often seen as the opposite of those terms is an interesting phenomenon suitable for this research supported with some of the most illustrative examples.
Modernism In-Between: The Mediatory Architectures of Socialist Yugoslavia
2012
Socialist Yugoslavia was a country suspended between traditional cultures, competing concepts of modernization, and rivaling Cold War blocs. As a result, it produced a diverse body of architecture that defies easy classification and blurs the lines between the established categories of modernism. This book explores the historical “in-betweenness” of Yugoslav modernism and the strategies architects used to mediate different—sometimes directly opposed—concepts of culture and architecture. Surveyed here is a wide range of topics: from city building and state representation, to the typologies of everyday life. Also discussed is the work of Yugoslavia’s leading architects, who transformed their in-betweenness into a new quality: Edvard Ravnikar’s seamless blending of such varied influences as Jože Plečnik, Le Corbusier, and Otto Wagner; Bogdan Bogdanović’s war memorials, which filtered deep-seated cultural archetypes through the lens of Surrealism; Juraj Neidhardt’s efforts at forging a modern identity for Bosnia based on the vernacular Ottoman heritage; and Vjenceslav Richter’s neo-avant-garde experiments, which provided some of the most convincing representations of Yugoslav socialism. Wolfgang Thaler photographs document these and many other stand-out achievements.
Unfinished Modernisations: Reconstructing the Architectural History of Socialist Yugoslavia
1,85 € 2 ¦ 2013 Current Issues of Central and eastern european arChIteCtural hIstorIography / proCeedIngs from the arChIteCtural hIstorIans ColloquIum Aktuálne témy Architektonickej historiogrAfie strednej A východnej európy / príspevky z vedeckého kolokviA historikov Architektúry 1135 2679 3 ¦ editorial editoriál henrieta moravčíková PAPERS prednáŠky 4 ¦ slovakia, or what could be the meaning of the architectural periphery? slovensko, alebo aký môže mať zmysel architektonická periféria? henrieta moravčíková 10 ¦ Is eastern european architecture Bound to speak? On Matters of Peripherality and Representation má sa východoeurópska architektúra vyjadrovať? Periferialita a reprezentácia Carmen popescu 16 ¦ unfinished modernisations: reconstructing the architectural history of socialist yugoslavia nedokončené modernizácie: rekonštrukcia dejín architektúry socialistickej juhoslávie maroje mrduljaš, Vladimir Kulić, Jelica Jovanović 24 ¦ on difficulties in Writing the history of romanian modern architecture problematika písania dejín modernej rumunskej architektúry ana maria Zahariade 28 ¦ michal milan harminc -Builder and architect of the Central european region Specifics of the personally-focused Historiography of Architecture michal milan harminc -staviteľ a architekt stredoeurópskeho priestoru Špecifiká osobnostnej historiografie architektúry Jana pohaničová and peter Buday 36 ¦ architectural and material research of peter Behrens synagogue in Žilina, slovakia Architektonický a materiálový výskum Behrensovej synagógy v Žiline peter szalay and magdaléna Kvasnicová 42 ¦ flavouring 'goulash Communism' Approaches to modern architecture in the early Kádár Era in Hungary (1957 -1963) dochutenie gulášu zvaného komunizmus Prístupy k modernej architektúre raného obdobia kádárovskej éry v Maďarsku (1957 -1963) mariann simon 48 ¦ Visions of anarchic space in 1980s estonian architecture and performance art vízie anarchického priestoru v estónskej architektúre osemdesiatych rokov 20. storočia a umenie performance Ingrid ruudi 56 ¦ slovak summary slovenské abstrakty 59 ¦ authors Autori
Modernism in Belgrade: Classification of Modernist Housing Buildings 1919-1980
Yugoslavian Modernist Architecture, although part of a larger cultural phenomenon, received hardly any international attention, since there are only a few internationally published studies about it. Nevertheless, Modernist Architecture of the Inter-war Yugoslavia (Kingdom of Yugoslavia), and specially Modernist Architecture of the Postwar Yugoslavia (Socialist Federal Republic of Yugoslavia under the " reign " of Tito), represents the most important architectural heritage of the 20th century in former Yugoslavian countries. Belgrade, as the capital city of both newly founded Yugoslavia(s), experienced an immediate economic, political and cultural expansion after the both wars, as well as a large population increase. The construction of sufficient and appropriate new housing was a major undertaking in both periods (1919-1940 and 1948-1980), however conceived and realized with deeply diverging views. The transition from villas and modest apartment buildings, as main housing ...
The State Artist in Romania and Eastern Europe. The Role of the Creative Unions , 2017
This chapter analyzes the case of architecture during communism in Yugoslavia through three dissimilar case studies. The establishment of the Communist Party after the Second World War affected also the position of architects in Yugoslavia, as the private architectural bureaus that existed in the interwar period were closed and the newly formed " state bureaus " became the only option for work. During the first postwar period, the strong political relationship with the USSR included the import of Socialist Realism. After Yugoslavia's break up with the USSR in 1948, the situation in architecture began to change as well, and the influence of the International Style and the concept of socialist society brought a new term to this architecture, that of Socialist Aestheticism. Some architects managed to become eminent authors and artists for the state's political projects. In the 1970s and 1980s post-modern architecture was also manifested in Yugoslavia, and the design became more personalized and individualized. In this study, through the analysis of three distinctive architects, Mihalo Jankovic, Bogdan Bogdanovic and Mihajlo Mitrovic, we examine the degree to which the position of the state architect was influenced by the political changes over the period 1945-1990, and help bring forward the differences between individual trajectories in Yugoslavia and in other similar cases in Eastern Europe.
Towards an authentic path: Structuralism and architecture in socialist Yugoslavia
The Journal of Architecture, 2019
The breakup between socialist Yugoslavia and the Soviet Union in 1948 paved the way for radical socio-political reforms as well as a new cultural model that would justify a newly invented Yugoslav socialist Sonderweg. In this context, Structuralism became a key vehicle for implementing the social and cultural values of the newly invented socialist self-management ideology. Structuralism helped shape the new culture via different fields and cultural approaches. This paper examines the origins and importance of Structuralism in architecture in the ideological and political context of Yugoslav socialism. As an avant-garde movement, Structuralism consequentially contributed to the critique of the then predominant functionalist paradigm of high modernism, resulting in a new direction that emphasised aestheticisation, a formal and semiotic approach, and the establishment of universal and archetypal values ostensibly derived from the exploration of vernacular architecture in Yugoslavia. Starting from the premise that all these values had a major impact on the construction of the mythology of authentic and autochthonous socialism, this paper shows how architectural Structuralism played a key role in shaping social and political authenticity and cultural mediation.