Papers by Milica Madjanovic
Filozofija I Drustvo, 2022
Originating from the fields of philosophy and history, the term historicism is often used by arch... more 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. 1 This article was realized with the support of the Ministry of Education, Science and Technological Development of the Republic of Serbia, according to the Agreement on the realization and financing of scientific research.
Proceedings of the Society of Architectural Historians, Australia and New Zealand.
In response to the third thematic sub-stream of the 38th Annual SAHANZ Conference, this paper wil... more In response to the third thematic sub-stream of the 38th Annual SAHANZ Conference, this paper will discuss the role of architectural research in the architecture of Gummer and Ford, the Auckland-based practice, often described as one of the most prolific bureaus in interwar New Zealand. The paper is a fraction of a three-staged project, “Gummer and Ford,” developed by a team of researchers from the Unitec Institute of Technology in response to an event recognised as a milestone in the New Zealand architectural calendar – the 2023 centenary of the firm’s establishment. This paper explores the design principles of William Gummer, the principal designer of the firm. From 1914 to 1935, Gummer consistently published his view that the goal of the architect was to cater to humanity’s highest instincts. He was unwavering but vague on how this is achieved; through composition, unity, contrast, proportion and scale, appropriate use of materials is all needed to produce buildings of good chara...
Philosophy and Society, 2022
Originating from the fields of philosophy and history, the term historicism is often used by arch... more 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.
Positions and Polarities Beyond Crisis. Proceedings of the Society of Architectural Historians, Australia and New Zealand (SAHANZ) Volume 38, 2022
In response to the third thematic sub-stream of the 38th Annual
SAHANZ Conference, this paper wil... more In response to the third thematic sub-stream of the 38th Annual
SAHANZ Conference, this paper will discuss the role of architectural
research in the architecture of Gummer and Ford, the Auckland-based
practice, often described as one of the most prolific bureaus in interwar
New Zealand. The paper is a fraction of a three-staged project, “Gummer
and Ford,” developed by a team of researchers from the Unitec Institute
of Technology in response to an event recognised as a milestone in the
New Zealand architectural calendar – the 2023 centenary of the firm’s
establishment.
This paper explores the design principles of William Gummer, the
principal designer of the firm. From 1914 to 1935, Gummer consistently
published his view that the goal of the architect was to cater to
humanity’s highest instincts. He was unwavering but vague on how this
is achieved; through composition, unity, contrast, proportion and scale,
appropriate use of materials is all needed to produce buildings of good
character. But what did he really mean by this? A close reading of three
books Gummer considered invaluable to architectural students – The
Essentials of Composition as Applied to Art by John Vredenburgh Van
Pelt, Architectural Composition by Nathaniel Cortlandt Curtis, and The
Mistress Art by Reginald Bloomfield – offers a direct insight into the
influences behind his thinking about architecture and his architectural
production. Directly traceable to Gummer, the three titles include
clear, precise instructions on both the functional and artistic nature of
architectural design.
Interestingly, this paper employs a method not dissimilar to Gummer’s
design method. These books taken together, along with Gummer’s own
writing, a study of renderings and construction drawings, and close
observation of the buildings, an architectural analysis of Gummer’s
work becomes possible – it is what Gummer himself referred to as
Architectural Research. This historically focused study will bring a new
perspective to understanding the value and contribution of traditional
architects, not only in New Zealand but other English-speaking
countries.
Tūāpapa Rangahau, the Research and Enterprise Office at Unitec Institute of Technology, focuses o... more Tūāpapa Rangahau, the Research and Enterprise Office at Unitec Institute of Technology, focuses on opportunities, challenges and problems in a wide variety of subjects. In 2020, the authors proposed a research project devoted to Gummer and Ford – an architectural firm founded in 1923 in Auckland by William Henry Gummer (1884–1966) and Charles Reginald Ford (1880–1972). Although one of the most prominent practices in New Zealand architectural history, which designed numerous iconic buildings, the firm remains strikingly under-researched in New Zealand architectural historiography, as do their 1920s–40s traditionalist contemporaries. Marking the centenary of Gummer and Ford’s establishment, 2023 is recognised as a milestone in New Zealand’s architectural calendar. The paper reflects on the three stages of the Unitec research project devoted to Gummer and Ford (2020–23) that is envisaged to build up to this date. The project aims to test and create links between historical research, architectural education, design practice and the New Zealand community
Interstices: Journal of Architecture and Related Arts, 2018
Dis-moi ce que tu lis, je te dirai qui tu es," il est vrai, mais je te connaîtrai mieux si tu me ... more Dis-moi ce que tu lis, je te dirai qui tu es," il est vrai, mais je te connaîtrai mieux si tu me dis ce que tu relis. (Mauriac 1959: 138) ["Tell me what you read and I'll tell you who you are," is true enough, but I would know you better if you told me what you re-read].
Journal of Art Historiography, 2020
This paper explores critical regionalism in the work of the Yugoslav architect Aleksandar Deroko,... more This paper explores critical regionalism in the work of the Yugoslav architect Aleksandar Deroko, examining an interwar alternative to the Modern Movement. It shows that a specific borderline cultural position of Yugoslavia, caught between the West and the East, influenced the shaping of Deroko's unique architectural theory. Similarly to Lewis Mumford, whose architectural ideas gained international recognition, Deroko reacted 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 paper argues that Deroko's work can be considered as a part of a wider internatio...
Almost half a century after Romanticist fervor dwindled, a highly distinguished Serbian architect... more 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 ...
Nasledje, 2015
Сажетак: Обележавајући архитектонске токове академског историзма Краљевине СХС/Југославије у пери... more 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.
Nasledje, 2014
Сажетак: Као решење које је обележило развој српске и југословенске архитектуре двадесетих и трид... more 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.
Actual Problems of Theory and History of Art
SAJ - Serbian Architectural Journal (Vol.11 No.1)), 2019
S s e r b i a n a r c h i t e c t u r a l j o u r n a l J A volume 11 _2019 N o _1 ALEKSANDAR DER... more S s e r b i a n a r c h i t e c t u r a l j o u r n a l J A volume 11 _2019 N o _1 ALEKSANDAR DEROKO _2019_1_ s e r b i a n a r c h i t e c t u r a l j o u r n a l Vladan Djokić
Journal of Art Historiography (Vol. 22), 2020
Matica srpska journal for fine arts, 2020
Architectural design method from the tradition of the École Nationale Supérieure des Beaux-arts d... more 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.
Interstices Journal of Architecture and Related Arts, 2018
Since its establishment in the last quarter of the seventeenth century, École Nationale Supérieur... more 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.
Journal of Art Historiography Number , 2020
This paper presents the uncharted territories of the Balkans’ architectural history. It examines ... more 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.
Сажетак: Као решење које је обележило развој српске и југословенске архитектуре двадесетих и трид... more 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.
Сажетак: Обележавајући архитектонске токове академског историзма Краљевине СХС/Југославије у пери... more 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.
The main idea of this article is to discuss one of the most ambitious interwar architectural ende... more 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.
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Papers by Milica Madjanovic
SAHANZ Conference, this paper will discuss the role of architectural
research in the architecture of Gummer and Ford, the Auckland-based
practice, often described as one of the most prolific bureaus in interwar
New Zealand. The paper is a fraction of a three-staged project, “Gummer
and Ford,” developed by a team of researchers from the Unitec Institute
of Technology in response to an event recognised as a milestone in the
New Zealand architectural calendar – the 2023 centenary of the firm’s
establishment.
This paper explores the design principles of William Gummer, the
principal designer of the firm. From 1914 to 1935, Gummer consistently
published his view that the goal of the architect was to cater to
humanity’s highest instincts. He was unwavering but vague on how this
is achieved; through composition, unity, contrast, proportion and scale,
appropriate use of materials is all needed to produce buildings of good
character. But what did he really mean by this? A close reading of three
books Gummer considered invaluable to architectural students – The
Essentials of Composition as Applied to Art by John Vredenburgh Van
Pelt, Architectural Composition by Nathaniel Cortlandt Curtis, and The
Mistress Art by Reginald Bloomfield – offers a direct insight into the
influences behind his thinking about architecture and his architectural
production. Directly traceable to Gummer, the three titles include
clear, precise instructions on both the functional and artistic nature of
architectural design.
Interestingly, this paper employs a method not dissimilar to Gummer’s
design method. These books taken together, along with Gummer’s own
writing, a study of renderings and construction drawings, and close
observation of the buildings, an architectural analysis of Gummer’s
work becomes possible – it is what Gummer himself referred to as
Architectural Research. This historically focused study will bring a new
perspective to understanding the value and contribution of traditional
architects, not only in New Zealand but other English-speaking
countries.
SAHANZ Conference, this paper will discuss the role of architectural
research in the architecture of Gummer and Ford, the Auckland-based
practice, often described as one of the most prolific bureaus in interwar
New Zealand. The paper is a fraction of a three-staged project, “Gummer
and Ford,” developed by a team of researchers from the Unitec Institute
of Technology in response to an event recognised as a milestone in the
New Zealand architectural calendar – the 2023 centenary of the firm’s
establishment.
This paper explores the design principles of William Gummer, the
principal designer of the firm. From 1914 to 1935, Gummer consistently
published his view that the goal of the architect was to cater to
humanity’s highest instincts. He was unwavering but vague on how this
is achieved; through composition, unity, contrast, proportion and scale,
appropriate use of materials is all needed to produce buildings of good
character. But what did he really mean by this? A close reading of three
books Gummer considered invaluable to architectural students – The
Essentials of Composition as Applied to Art by John Vredenburgh Van
Pelt, Architectural Composition by Nathaniel Cortlandt Curtis, and The
Mistress Art by Reginald Bloomfield – offers a direct insight into the
influences behind his thinking about architecture and his architectural
production. Directly traceable to Gummer, the three titles include
clear, precise instructions on both the functional and artistic nature of
architectural design.
Interestingly, this paper employs a method not dissimilar to Gummer’s
design method. These books taken together, along with Gummer’s own
writing, a study of renderings and construction drawings, and close
observation of the buildings, an architectural analysis of Gummer’s
work becomes possible – it is what Gummer himself referred to as
Architectural Research. This historically focused study will bring a new
perspective to understanding the value and contribution of traditional
architects, not only in New Zealand but other English-speaking
countries.
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.