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Nasleđe
2009, br. 10, str. 41-64
jezik rada: srpski
vrsta rada: neklasifikovan
Tranzitivni oblikovni koncepti na primerima arhitekture Beograda
Afilijacija nije data

Sažetak

(ne postoji na srpskom)
In contrast to recognizable periods in the history of architecture, there are times when new ideas have not yet crystallized (e.g. proto-Romanesque Mannerism) but which produce noteworthy structures nonetheless. Such intermediate periods are characterized by the transition of form. Transitional concepts arise as a reflection of the community's progress and as such differ from eclecticism which freely combines different historical styles and in that way manifests its decadence. In the twentieth century transition swayed between two poles, two diametrically opposed principles of constructing form: classical and modern. 'Modernized academism', an updated variant of academies, reflected in the best possible way the spirit of an age of transition, from the particular to the general, from the national and traditional to the supranational and modern. Similarly to its interwar counterpart, postmodernism also reflected an age of transition, but this time moving in the opposite direction: from the modern and supranational to the more traditional and national-oriented. Transitional architectures in Serbia have often remedied the consequences of earlier periods: interwar architecture substituted for the chaotic Oriental legacy, and postmodern alleviated aggressive modern interpolations. Buildings in the modernized (and standard) academic and postmodern styles have conferred upon Belgrade the appearance of a consistent urban whole in the classical sense of the word with blocks, streets, squares. Transitional concepts are products of a compromise resulting from the conflicting dichotomies autonomous heteronomous and contextual/acontextual as an architectural design issue. 'Modernized academism' and postmodernism, as concepts, succeeded in making a bridge from the avant-guard towards a wider circle of users. Transitional design concepts point to a new, middle way in thinking about form, but they also reveal a tendency towards an evolutionary synthesis of knowledge and the limited achievement of revolutionary approaches to architectural design. They certainly point to the perpetual necessity of building a humane space, an environment that communicates with its users.

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