2018, br. 159, str. 115-127
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Nikola Dobrović 2017. godine
Nikola Dobrović 2017
Akademija arhitekture Srbije
Sažetak
Delo Nikole Dobrovića u današnjem trenutku može da deluje kao skoro jednako aktuelno koliko je bilo u prethodnim decenijama. Takav utisak, međutim, ukoliko taksativno razmotrimo fenomen, više ne odgovara realitetu u godini 2017. Raščlanjavanje opusa Nikole Dobrovića na njegove delove: građeni arhitektonski, urbanistički, pisani istoriografski, pedagoški, pisani teorijski rad, kao i na stanje po današnjim, novonastalim državama koje nominalno baštine njegovo delo, pokazaće bitno skeptičniju sliku od one koja je do nedavno vladala u našoj javnosti, u Srbiji. Sudbina Dobrovićevog glavnog arhitektonskog dela, nekadašnjeg kompleksa zgrada Generalštaba i Ministarstva odbrane u Beogradu, paradigmatična je za sudbinu ukupnog stanja Dobrovićevog dela danas. U tom smislu neophodno je razmotriti pojam 'aktivne baštine', kao antinomiju onome što bismo tretirali kao virtuelno 'sećanje na baštinu'. Sumrak urbanizma u Srbiji drugi je negativni fenomen koji je posredno zadesio Dobrovićevo nasleđe i njega samog kao pionira savremene urbanističke misli kod nas. Treća linija rada je razmatranje kako je struktura Dobrovićevog ukupnog opusa do sada inače bila vrednovana kod nas i da li su vrednosti bile objektivno međusobno pozicionirane, s posebnim osvrtom na posleratni period i ostvarena dela u Crnoj Gori i nerealizovane projekte u Beogradu.
Abstract
The opus of Nikola Dobrović may seem equally actual today as it used to be over the past few decades. However, if the phenomenon is considered in detail, this impression does not really correspond to the realities of 2017. By compartmentalizing his opus into construction works, architectural, urbanistic, written, historiographic, pedagogical or theoretical work, and by taking into consideration the current situations in the newly formed countries which nominally claim his heritage, we find a much more sceptical image than the one which has prevailed in the Serbian public until recently. The fate of his main architecture project - the former complex of the General Headquarters and the Ministry of Defence in Belgrade, is a paradigm of the fate of his entire production today. In this sense, it is necessary to reconsider the idea of 'active heritage' as an antinomy of what we would consider to be a virtual 'memory of heritage'. The twilight of urbanism in Serbia is another negative phenomenon which has indirectly influenced the heritage of Dobrović, as well as his personality as a pioneer of modern urbanistic thought in Serbia. The third segment of this study is consideration of how the structure of his entire opus has been valued so far in Serbia and if such values have been objectively juxtaposed, with a special regard to the period after the war, his project realized in Montenegro and the projects unrealized in Belgrade.
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