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Nasleđe
2009, br. 10, str. 91-102
jezik rada: srpski
vrsta rada: neklasifikovan

Kuća Marka Stojanovića, Pariska 15 u Beogradu
Afilijacija nije data

Sažetak

(ne postoji na srpskom)
The building at 15 Pariska Street in Belgrade, by virtue of being located away from major urban thoroughfares as centers of commercial activities belongs to a more intimate setting and, in accordance with it, was built as the family house of the lawyer and vice-governor of the National Bank, Marko Stojanović. It is in the immediate proximity to Stojanović's first house and forms an ambiance ensemble with it and the structure at 16 Pariska Street. Consequently, the house may be looked at as an individual architectural work as part of an urban block, and as part of a broader framework centered round the relationship between urban architectural and park landscape. The house was built in the late nineteenth century, at a time of the Serbian capital city's rapid growth. Thriving trade and economic development created a new stratum of well-to-do merchants keen on formalizing their material status through the prevailing academic architectural expression. Shortly upon his arrival in Serbia, Konstantin Jovanović made, in 1885, a design for the first house of Marko Stojanović, on Knez Mihalova Street, and fourteen years later in 1899, for the one at 15 Pariska Street. The ground-floor contains a lateral entrance vestibule with a stairway, and rooms intended for business purposes. The upper floor, which follows the piano nobile concept and contains living quarters, is accessed by a stairway in the lateral part of the court-facing section of the house. The treatment of façades is characteristic, showing the division into a rusticated ground-floor and a smooth-textured upper floor, a division additionally emphasized by a moulded cornice. In accordance with the aesthetic predilections of the architect Kosta Jovanović, the house was executed in the style of Italian Renaissance with only two neo-Baroque medallions, above the portal and the central window, adding an eclectic flavor. The aesthetic model from which Konstantin Jovanović drew inspiration was Semper's Oppenheim Palace. Viewed in isolation, the building is a splendid demonstration of academic principles. There are no overstatements, all compositional elements evoke a classical balance, but not at the expense of their expressively or the overall effect of unity. In that sense, the building displays a balanced detail-whole relationship. The architect's task in this case was not only to produce the impression of monumentality and decorativeness, but also to evoke the intimacy of a family home smoothly incorporated into its architectural surroundings. Monumentality had already been a feature of Marko Stojanović's first house and, therefore, taking a turn from Knez Mihalova Street, the city's commercial artery at the time, down into Pariska Street which directly communicates with Kalemegdan Park, by then already formed, it was necessary to create a calmer concept and bring it into harmony with the existing architecture-park matrix. Viewed in that context, primary is the ambience value of the building whose association with Stojanović's first house and the building at 16 Pariska Street constitutes a distinct ensemble in terms of style and date. The association was achieved not only through stylistic homogeneity but most of all through concord between certain architectural motifs common to both houses of Marko Stojanović. Of secondary but not inferior importance is the ambience ensemble comprising the entire block to which the house belongs, a block almost completely homogenous in style and date, as well as the relationship between the front of the block and Kalemegdan Park. Apart from Stojanović's first house, none of the buildings that make up the block depart from the concept of calm and harmonious façades without tending to place emphasis on monumentality.

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