Institute for philosophy and social theory

The main idea of this article is to discuss one of the most ambitious interwar architectural endeavors in the Kingdom of Serbs, Croats and Slovenians (since 1929 Kingdom of Yugoslavia) – the construction of Belgrade University Center in the third decade of the 20 th century. In order to illustrate the complex nature of the visual manifestation of the University Center architecture, history and contemporary public reception of Belgrade University will be considered. Next, the University Center would be discussed in regard to interwar Belgrade urban planning. Finally, the last part of the paper will focus on four University buildings constructed during the 1920s, on the Racecourse location.

Сажетак: Обележавајући архитектонске токове академског историзма Краљевине СХС/Југославије у периоду између два светска рата, Николај Петрович Краснов, академик архитектуре Петроградске академије наука, утиснуо је својом делатношћу препознатљив траг у формирање урбанистичког растера Београда. Завређујући својом свестраном уметничком продукцијом и плодним градитељским доприносима широко интересовање руских и српских историчара архитектуре, почев од деведесетих година прошлог века, Николај Краснов представља најчешћу тему изучавања архитектонске заоставштине руских емиграната на просторима бивше југословенске државе. Међутим, и поред значајних истраживачких помака, београдски опус Николаја Краснова релативно се споро изучава. Овај рад писан је с циљем обогаћивања историографског корпуса посвећеног београдској делатности истакнутог и цењеног руског градитеља, указујући на шест пројеката из Красновљевог престоничког опуса недовољно анализираних у досадашњој литератури -три нереализована идејна решења и три резиденцијално-пословна објекта, подигнута за приватне наручиоце.

Сажетак: Као решење које је обележило развој српске и југословенске архитектуре двадесетих и тридесетих година прошлог века, обликовано под утицајем комплексних политичко-идејних струјања међуратног периода, Дворски комплекс на Дедињу и данас представља једну од најрепрезентативнијих градитељских целина Београда и Србије. Овај рад, у којем ће бити изнета анализа архитек-туре пратећих грађевина Краљевског двора, писан је са идејом да се начини први корак ка слојевитијем изучавању поменутог, до сада релативно занемариваног проблемског питања, које завређује веће интересовање стручне јавности јер, поред чињенице да у формал-ном и функционалном погледу чини нераскидиви део архитектонског ткива значајне културно-историјске целине лоциране на најви-шем брежуљку Дедиња, она својим облицима елаборира одјеке еклектичке интерпретације богатог српско-византијског, ренесансног и античког градитељског наслеђа доминантне, централне грађевине комплекса и представља сведочанство сегмента ауторског рукописа још увек недовољно расветљеног архитекте Живојина Николића. Кључне речи: Дворски комплекс на Дедињу, Краљевски двор на Дедињу, архитектура, пратеће грађевине, међуратни период, архитекта Живојин Николић Abstract: As a design which marked the Serbian and Yugoslav architecture of the 1920s and 1930s and which was shaped under the impact of complex political and ideological developments in the interwar period, the Royal complex in Dedinje remains one of the most prestigious architectural ensembles in Belgrade and Serbia. This paper, which offers an architectural analysis of the ancillary buildings of the complex, is meant to encourage a more comprehensive study of an unduly neglected issue: apart from the fact that the ancillary buildings are, formally and functionally, an integral part of the complex, an important cultural and historic site situated on the highest of Dedinje hillocks, they elaborate the eclectic interpretation of the rich Serbo-Byzantine, renaissance and classical stylistic legacy of the dominant building of the complex, and reveal a piece of the original handwriting of the still insufficiently illuminated figure of architect Živojin Nikolić.

Originating from the fields of philosophy and history, the term historicism is often used by architectural historians. In historiography about 20th century architecture, the term historicism is most commonly associated with traditionalist pre-Second World War buildings, designed with the eclectic use of historical styles. Considered anachronistic and outdated, this architecture is widely neglected in architectural histories of the 20th century, most of which are focused on the Modern Movement, or other modernising tendencies leading toward it. However, in reality, modernising architecture constituted the minority of the overall building construction during the first four decades of the twentieth century. Inspired by architectural history, the traditionalist – or historicist, as numerous historians have dubbed it – architecture was the period’s mainstream. Aiming to contribute to the comprehensiveness of the histories of 20th-century architecture, this research addresses this issue. It is focused on the pre-Second World War architectural production inspired by principles, forms, and elements from history. The main commercial throughway of the New Zealand’s biggest city, Queen Street in Auckland, was selected as a case study. Attracting some of the largest public and private investments in the country, Queen Street architecture was designed by the most renowned architects of the period and widely appreciated by the public. Therefore, it is considered as a representative sample that reflects broader architectural tendencies in New Zealand.
To develop a theoretical framework for the analysis of historicism in the example of Queen Street architecture, the thesis explores the meaning of the concept in its native fields of philosophy and history. It continues by discussing the use of the term in the context of architectural historiography. The thesis answers the questions whether historicism can be applied in research of architecture, and, if so, what is its meaning in the context of architectural history? Attempting to understand the essence of traditionalist design methodology, the thesis seeks to find the motivation behind the eclectic use of forms from the architectural past. What were the sources of influence and the main principles that these architects were following?
This thesis shows that a clear distinction should be made between two topics from architectural history – (1) historicism and (2) the pre-Second World War traditionalist architecture of the 20th century. This thesis argues that an historicist outlook marked wider creative achievements of an epoch, and that architecture of the period approximately ranging from the 1750s to the 1950s did not evade its influence. In comparison, the topic of the traditionalist historicist architecture of the 20th century is a narrower one, exclusively focused on the pre-Second World War architectural production inspired by history, and developed on historicist principles. This thesis considers traditionalist architecture as but one of the many historicist modes.

This paper presents the uncharted territories of the Balkans’ architectural history. It examines an interwar criticism of the Modern Movement, formulated at about the same time when Lewis Mumford discussed the concept of regionalism, or decades before Kenneth Frampton wrote his Towards a Critical Regionalism: Six Points for an Architecture of Resistance. Yugoslav architect Aleksandar Deroko also had a unique reaction to the stifling uniformity of Modernism. Deroko developed his regionalist design theory learning from the vernacular. According to him, vernacular architecture was a response to region-specific functional imperatives, shaped by distinct geographical features. Deroko maintained that these highly functional structures, devoid of excess architectural ornament, should serve as architectural textbooks, firmly objecting to the Modernist insensitivity to the local conditions. The distance of the Balkans in a European context, and Deroko’s individualistic remoteness from the dominant architectural practices of the Kingdom of Yugoslavia resulted in the anonymity of his theory in the international historiographies of architecture. How did the distance of the Balkans from the European cultural centres – and, at the opposite end of the spectrum: the connections of shared heritage – influence the shaping of Deroko’s unique architectural theory? Analysing Deroko’s ideas within the context of critical regionalism, this paper will demonstrate that Europe is even more diverse than typically assumed.

Since its establishment in the last quarter of the seventeenth century, École Nationale Supérieure des Beaux-arts de Paris was regarded as the leading institution for the education of architects and artists. From the nineteenth century, Beaux-Arts principles and teaching methodology resonated in the English speaking world. Architectural schools in the United States, the United Kingdom, Canada and Australia employed the French system as the basis for the development of their individual curricula. When New Zealand got its first School of Architecture at Auckland University College in 1917, Beaux-Arts influences extended even further across the globe. This article focuses on the persistence of Beaux-Arts influences in New Zealand architectural education. To set the scene, the relevance of the French school as the model for New Zealand architectural education is examined first. The second part introduces the importance of historical study for the Beaux-Arts tradition. Finally, maintaining that they were the primary carriers of the Beaux-Arts influences in the School curriculum, the article focuses on the history and theory courses. Exploring the official reading lists for history and theory courses, the article traces the gradual transformation of the French tradition at the Auckland School through a period of forty years, from 1927 to 1969. Which books were architectural students encouraged to read? What knowledge was deemed necessary? To answer these questions the article makes particular use of book lists published the annual School Prospectus. The enquiry into the theoretical underpinning of the Auckland School programme confirms the longevity of the French principles in New Zealand architectural education.

Architectural design method from the tradition of the École Nationale Supérieure des Beaux-arts de Paris, considered one of the most prestigious educational institutions since its establishment in the 17 century, flourished until the Second World War across the countries aligned with the culture of the West. Though it marked the majority of buildings designed and constructed during the first four decades of the 20th century, pre-Second World War Beaux-Arts architecture remains under-researched within the inter¬national historiography. Exploring a lesser known design principle from the Beaux-Arts tradition – the quality of fitness in architecture – this paper aims to contribute to a better under¬standing of the topic. By the 20th century, Beaux-Arts architects – though, indeed, ever aware of the aesthetic potentials of architecture – approached design pragmatically. Beaux-Arts tradition insisted on functional designs, sensitive towards the local context and the use of the cutting-edge building technologies. Exploring an example from New Zealand architectural history, this paper will show that Beaux-Arts methodology was more practical than what has been generally proposed by the historians of architecture.

Сажетак: Као решење које је обележило развој српске и југословенске архитектуре двадесетих и тридесетих година прошлог века, обликовано под утицајем комплексних политичко-идејних струјања међуратног периода, Дворски комплекс на Дедињу и данас представља једну од најрепрезентативнијих градитељских целина Београда и Србије. Овај рад, у којем ће бити изнета анализа архитектуре пратећих грађевина Краљевског двора, писан је са идејом да се начини први корак ка слојевитијем изучавању поменутог, до сада релативно занемариваног проблемског питања, које завређује веће интересовање стручне јавности јер, поред чињенице да у формалном и функционалном погледу чини нераскидиви део архитектонског ткива значајне културно-историјске целине лоциране на највишем брежуљку Дедиња, она својим облицима елаборира одјеке еклектичке интерпретације богатог српско-византијског, ренесансног и античког градитељског наслеђа доминантне, централне грађевине комплекса и представља сведочанство сегмента ауторског рукописа још увек недовољно расветљеног архитекте Живојина Николића.

Almost half a century after Romanticist fervor dwindled, a highly distinguished Serbian architect and architectural historian, Aleksandar Deroko, infused it with new life in his theoretical and design oeuvre. Significantly contributing to the history of 20th century architecture in former Yugoslavia, Deroko merged romanticist deep appreciation of history with the rationality of modern design methodology. Rastko Petrovic, a Serbian poet, diplomat, and art critic was Deroko’s faithful companion during his theoretical wanderings and ventures to the remote parts of the Balkans. The architect and the poet were both children of their own age. They personally knew Guillaume Apollinaire, James Joyce, Picasso, and were close to the Parisian Dadaist circle. On the other side, their approach to the study of the past deeply resonated with a romantic sentiment. Deroko’s particular methodological approach to architectural history and design was based on the deep understanding of tradition and on ...

Originating from the fields of philosophy and history, the term historicism is often used by architectural historians. Aiming to contribute to the theoretical framework for the analysis of architectural historicism, the paper first explores the meaning of the concept in its native field of philosophy of history. The paper is aligned with the recent scholarship which interprets historicism as a worldview and deduces three historicist principles-principles of holism, individuality, and development. This paper argues that an historicist outlook marked wider creative achievements of an epoch, and that architecture of the period approximately ranging from the 1750s to the 1950s did not evade its influence. Finally, the paper illustrates the three principles in the idea of building for the age which haunted architects of the Western civilisation for almost two centuries.

Over the past decades, minority languages and processes of language shift/maintenance have become an important scholarly concern. This paper aims to describe in brief the sociolinguistic situation of the Serbian minority language in Hungary with special attention paid to the relation between language ideology and processes of language shift/maintenance. The first section of this paper presents the current socio-political framework for protection of minority languages in Hungary. The second paper’s section provides an overview of the main sociolinguistic surveys of the minority languages in Hungary that have had many centuries of contact with Serbian, i.e. German, Romanian, Bulgarian, and Croatian. Finally, the paper provides a quick recapitulation of the Serbian language research in Hungary, and depicts the current sociolinguistic situation of Serbian.