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Nasleđe
2007, br. 8, str. 95-118
jezik rada: srpski
vrsta rada: neklasifikovan

O socrealizmu u arhitekturi i njegovoj pojavi u Srbiji
Afilijacija nije data

Sažetak

(ne postoji na srpskom)
Buildings erected for state officials have always possessed the ability to visualize authority, virtue and success through the articulation of forms and a specific architectural vocabulary. The impression they leave on the observer has been powerful and clearly unambiguous. The military and political conditions that affected the development of Yugoslavia in the early post-war period brought models from the U.S.S.R. which were appropriated as a form of artistic expression. The realized examples and proposals were primarily related to paintings and sculptures. The next step was an attempt to define the style that would reflect the architecture fit for the prosperous future of a socialist society. The rhetoric of forms, the sculptures and emblems implemented in some examples of the Soviet socialist realism showed how architecture could become a medium of propaganda. The architecture of the Soviet socialist realism was monumental, effective and expensive architecture, and its purpose was a loud glorification of the ruler and his ideas. Although all architects were working on residential buildings and although a number of eminent architects took part in competitions for public buildings, only a small number of concepts really followed the Soviet models in architecture. These concepts were mostly left unrealized and were not known to the public; they stayed in the form of designs. Their discovery and presentation should be the next task for Serbian experts in the history of architecture. These designs reflect the dilemmas of Serbian architects influenced mostly by a powerful impact of the ideologically conditioned architectural criticism, which did not have a uniform attitude towards the architecture of the future. Younger Serbian architects applied their experience of pre-war modernism, particularly to residential architecture but owing to inadequate funding - the persistent characteristic of the times - they were frequently unjustly and colloquially called socialist realists. The influence of Le Corbusier and Mies van der Roe will be felt much stronger in the 1950s, and the return of individualism will revive Serbian architecture. And, finally, the works of architects Mihajlo Janković and Bogan Bogdanović will more effectively implement the ideology of the social order that was supposed to glorify the heroes of war and work, more loquaciously than the rare examples of a reduced reception of socialist realism in architecture in Serbia. When one observes the entire architectural production, competitions, public buildings, residential buildings and the circumstances that prescribed the style, it would be more appropriate, when talking about the development of Serbian post-war architecture, to use terms like culture of socialism and architecture of the epoch of socialist realism than to imitate the language of visual arts criticism on paintings and sculptures, and insist on - socialist realism in Serbian architecture.

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