Search

Copyright of Arhitektura I Urbanizam is the property of Institute of Architecture, Urban & Spatial Planning of Serbia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arhitektura I Urbanizam is the property of Institute of Architecture, Urban & Spatial Planning of Serbia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Micro-spaces - small-scale public city spaces - represent an important element in the structure of the city, both functionally and aesthetically. Due to their small scale, their importance is often overlooked by experts and investors. The paper describes the concept of canopies at public transport stops in Belgrade, which were created in the period from 2007 to the present day. By multiplying the basic type of canopy and its variations, a recognizable element of the city image is built. By upgrading the basic project and introducing additional elements from the repertoire of modern design, such as "green" constructions, "smart" technologies, energy efficiency, etc., this form of urban space would be additionally affirmed and contribute not only to the comfort of users, the creation of the identity of the city and public city transport, but also to general interests such as safety, health and environmental protection

Milutin Jovanović belongs to the generation of architects who significantly contributed to the urban and architectural development of Belgrade between the two world wars. However, since there has been no adequate valorization of his creativity, a complete list of his achievements and basic biographical data have remained completely unknown. By reconstructing Jovanović's works, chronologically systematized data about his movement in the architectural profession was obtained. He began his professional engagement as an assistant at the architectural department of the Belgrade Technical Faculty, and later devoted himself to private practice. During the entire interwar period, Jovanović designed dozens of residential buildings and one hotel, and was also dedicated to other design tasks. He was hired by wealthy representatives of the middle class - merchants, clerks, doctors, entrepreneurs and many others, for whom he designed predominantly representative high-rise residential buildings throughout the central city core. In accordance with the developments on the architectural scene of that time, respecting the requests of the clients, his achievements were in two dominant stylistic directions - academicism and modernism. The discovery of buildings designed in the spirit of modernism is particularly significant, because for a long time it was considered that Jovanović's main style was academicism. Given the lack of personal legacy and complete historiographical sources, the research was based on studying of the fund of the Technical Directorate of the City of Belgrade stored in the Historical Archive of Belgrade. Therefore, this work is the first monographic review of the life and work of the architect Milutin Jovanović.

The subject of the research presented in this paper is the Belgrade opus of architect Janko Šafarik (1882-1949). The research is mainly based on primary sources preserved in the Historical Archives of Belgrade, the Belgrade City Museum, the Military Archives and the archives of the Technical University in Dresden. Although Šafarik and his architectural opus have not been completely presented in any previously published papers, a number of them contain important data related to his work, which is why they were considered in this research. The architect's biographical information is presented, followed by his Belgrade opus, which is chronologically divided into before and after World War One. Most attention is devoted to the most fruitful period of his activity, the 1930s. That is when Šafarik worked in the Technical Bureau - the Fenix Company, within which most of his projects were created. All projects attributed to Šafarik, confirmed by considering available archival material, are presented in this paper, regardless of whether they were carried out or not. Through their analysis, the conclusion was reached that Šafarik did not belong to a group of architects who were looking for their own unique architectural expression, or to those who were dominantly committed to one style, but rather that in his oeuvre, his approache varied, mostly in accordance with the dominant approach at the time each individual project was created.

Copyright of Arhitektura I Urbanizam is the property of Institute of Architecture, Urban & Spatial Planning of Serbia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Numerous published papers have covered the life and work of architect Milan Zloković. He has been presented as a pioneer of the modern movement in Serbian architecture and one of its most prominent representatives, as well as one of the most eminent Serbian architects from the first half of the 20th century. His extensive opus, which officially contains just over 170 designs, has been analyzed in detail. However, during the musealization of his legacy, in the process of forming the Bequest of Milan Zloković, and in cooperation with Belgrade City Museum and the Milan Zloković Foundation, over 50 previously unknown designs were identified. This was the result of the extensive research of vast amounts of project documentation, preserved in his family house and previously unavailable to researchers. This paper presents one part of that research, specifically the designs for several structures in Belgrade, originating from the interwar period. The first section presents a short biography of Zloković, especially with regard to the period from 1925 to 1937. The second section is dedicated to his designs, each of which is presented separately. The section is further divided into two segments, the first of which is built structures, and the second, unrealized projects. Included in the built structures are also a few alterations and extensions. The paper is mostly based on a study of primary sources, designs from the Milan Zloković legacy and documentation from the Historical Archive of Belgrade, as well as previously published research.

The tendency towards modernization is noticeable in Belgrade's architecture from the beginning of the 20th century, in the form of stylistic norms adopted from the Vienna Secession, which was the medium through which the forces of the reforms in architecture, culture and art were incorporated in the overall processes of modernization of in The Kingdom of Serbia. These processes reflect the cultural strivings of Serbian society, the efforts to demonstrate its cosmopolitan spirit, and the need to elevate and complement its historicist architectural stock, grounded in academic and national models, with more modern elements. In the architecture of the Serbian capital, the Secession brought together and conciliated, in a way, these two tendencies. Only a small number of buildings were composed in the dominant Secession style, with the basic characteristics of dissolution and negation of the earlier compositional schemes of strictly symmetrical horizontal and tripartite, or quinquepartite division of façades with risalits and enclosed façades, as well as conspicuous cornices and friezes, pilasters, framed portals and windows. The Secession's decorative schemes were gradually introduced into the architecture of Belgrade as an authentic depository of a new decorative programme that consisted of both typical and original floral, anthropomorphic, zoomorphic and geometric ornaments, which replaced the classical repertory. This was especially prominent in the residential architecture that carried the ideas of the Secession. Therefore, one of the main goals of this essay is to interpret the role of the Secession in residential architecture in Belgrade from the beginning of the 20th century, and to introduce some of its lesser-known examples.

Multi-storey business-residential and residential buildings have been increasingly present in Belgrade since 1900 and testify to its accelerated modernisation. In the period before the WWI, the basic types of multi-family residential buildings were developed and characteristic forms of building assemblies and spatial organisation of apartments were formed. As builders were educated in Central European centres (Pest, Vienna, Munich, Aachen, Berlin and Zurich), the types of assemblies and apartments were created according to their influence. After the war, in addition to the old generation of architects, the younger generation, educated at the Architectural Department of the Technical Faculty in Belgrade, is also active, which contributes to a greater variety of solutions and the influence of other European centres (Prague and Paris). Through the analysis, examples from the period 1900-14 and 1918-41 are considered and compared to define the basic types of building shapes, assemblies and spatial organization of apartments. The research confirms the thesis on the continuity of development and application of the same basic types of buildings and spatial organisation of apartments in both periods. The thesis of continuous use of masonry construction for making walls in both periods was also confirmed, while the use of modern material, reinforced concrete, and semi-prefabricated Herbst construction was established during the third and fourth decades of the 20th century.

The current processes of the Belgrade waterfront planning require the solving of very important locations through a transparent democratic procedures. The need to prepare projects for potential future investors in advance has arisen as a result of socio-economic circumstances. The urban planning in the period of transition no longer reflects the striving for the highest achievements in the profession, but it moves towards the presumed intentions and interests of a potential private capital. The neglect of public interest and absence of a sense of togetherness has occurred in the conditions of neoliberal economy leaving the consequences on the quality of architecture and planning process. This research uses a case study approach to identify and analyse a new current phenomena which directs the attention of architectural profession and general public to the sporadic competition activities on the Sava and Danube river banks. At the same time, the attention of the city's institutions is necessarily directed to the interests of private companies as the holders of new capital. In majority of cases, this relates to the preparation of locations on the Belgrade waterfront, actually the preparation of territories for the future potential developers. The analysed examples were realized with the support and participation of the professional architectural and urban associations. The documentation and chronological analysis reveal the partial sporadic competition practices which give hope that certain waterfront parts will be solved through the contemporary concepts. The new mechanisms affect the launch of architectural competitions as a check of a potential of certain territory, but in Serbia they no longer represent an obligation in the realization. Such practice will leave far-reaching consequences on the urban landscape of waterfront zones.

In the European context, the region of the Western Balkans is seen as one significantly affected by the actual climate changes. Using experiences from numerous European cities that are already adapting to their changing climates, the capital cities of the Western Balkans countries are starting to develop strategies of adaptation to actual and expected climate conditions. In this article we give an overview of the document titled Climate Change Adaptation Action Plan with Vulnerability Assessment issued by the City of Belgrade, Secretariat for Environmental Protection. After giving a brief introduction on the document creation within the project Climate Change Adaptation in the Western Balkans and the methodology applied, a structure of the document has been presented highlighting proposed adaptation actions. The paper continues with a critique of the document, main point of which is a lack of indication of financial sources for the proposed actions, as well as interlinking with national adaptation strategies and disaster risk reduction for the parts of the city particularly affected with the floods in 2014.

Urban competitiveness in post-industrial society largely depends on the strength of city's creative economy. It is represented by its position in global urban hierarchies, as an indicator of its importance and attractiveness for people and companies. Creative clusters present a way to stimulate creative economy in the city because the spatial concentration of creative companies and people additionally stimulates exchange of ideas and knowledge. Article explores complex dynamic between creative economy, cities and global hierarchies. The focus is on the role of creative clusters in the process of global positioning, especially in the case of Belgrade. The city has significantly improved its position in the global urban hierarchy - from a non-existing node in 2000, to the 'beta' level of global cities in 2008 (according to GaWC global urban hierarchy). Furthermore, in just four years (2008-2012), Belgrade improved its rank for three positions. This period overlaps with several interesting events - e.g. the initial phase of the largest regional creative festival and the development of a creative cluster in Savamala. Consequently, the article will emphasize the importance of this district in the global repositioning of Belgrade.

Despite the absence of a defined social housing system, several programs of social housing, mainly including the organization of public architecture and urban planning competitions, have been implemented over the last decade in Serbia. This paper presents the competition practice in the field of social and non-profit housing, realized by the City of Belgrade and through Association of Belgrade Architects (DAB) in the period from 2003 to 2014, with special emphasis on the best placed and realized designs. The analysis of the results and the quality of the current design and construction practice aims to improve the knowledge about the complex issue of social housing, identifying local specificities and limitations, as well as the potentials and applicability of the winning designs. The importance of the institution of public architecture and urban planning competition in promoting sustainable and innovative social housing is pointed out in the concluding considerations.

This paper emphasizes the importance of city branding for its development. We analyze the role of architecture of Moderna in creating the image of Belgrade. The first part of the paper points out the characteristics of Modernism and its specific traits in Belgrade. More attention has been payed to planning and construction of New Belgrade during the socialist period, because at that time Modernism was dominant. Afterwards, we analyze the documents which should direct future development of the city.