From the 19th century uprising period to the present day, Serbia has witnessed a controlled militarization of urban areas as part of its defense policy, with the army showcasing its fighting spirit ...and emphasizing its crucial role in the public security system. During peacetime, this process unfolds gradually and inconspicuously as 'peacetime protective' measures, but escalates during political crises and wars. The devastating war conflicts, resulting from geopolitical and regional crises that often spilled into Serbia's territory over the last two centuries, have had adverse effects on both military and civil infrastructure. Beyond architecture, which holds significant communicative importance, this militarization has also impacted other aspects of visual culture. Military facilities, as a means of controlling public spaces, have assumed a prominent position in Serbian cities' symbolic topographies, often occupying main squares. Their construction is coordinated with the strategies of the Ministry of the Army's (or Defense) strategies, general urban plans and Serbia's spatial development. However, conflicts between architects and military institution managers often arose during implementation, with architects striving for adherence to planned solutions and artistic visions, while clients sought adaptation to current security needs. Despite developing in a more modest form compared to major world powers, Serbia's militarization of public spaces continues to merit critical examination. Beyond the architecturally-urban perspective dominant in scientific historiography, military complexes warrant a more comprehensive analysis from a security standpoint and as a legacy of a distinct military visual culture, influenced by military hierarchy dynamics and the country's changing geopolitical position. Thus, increased openness of military institutions to research their architectural past and improved collaboration between architectural and military historians could effectively address existing knowledge gaps.
U radu se analizira djelatnost znamenitoga jugoslavenskog arhitekta Milana Zlokovića (1898.-1965.) na prostoru Hrvatske u razdoblju između svjetskih ratova (1918.-1941.). Inspiriran mediteranstvom i ...modernizmom, ostavio je nekoliko natječajnih i nerealiziranih projekata, kao i dvije izvedbe u Orebiću, od kojih svi zaslužuju podrobniji historiografski osvrt. Dokumentacija koja svjedoči o Zlokovićevu radu, odnedavno dostupna u digitaliziranom obliku, pomoći će u valorizaciji njegova djela i u drugim dijelovima bivše Jugoslavije.
This paper focuses on the architectural work of Milan Zloković, the renowned Yugoslav architect (1898-1965) who worked in Croatia between the two world wars (1918-1941). Inspired by the Mediterranean style and Modernism, he left a legacy of several competition and unbuilt projects as well as two realized projects in Orebić. They deserve to be thoroughly examined from a historiographical perspective. The archives about Zloković’s work, now available in digital format, will help to evaluate his work in other parts of former Yugoslavia as well.
As a state architect in the Kingdom of Serbs, Croats and Slovenes (since 1929 the Kingdom of Yugoslavia), who built about ninety buildings of various purposes on the territory, Momir Korunović ...(1883-1969) has left a tangible creative mark in Croatia. Besides one built and one unstructured Orthodox Church in continental Croatia, he designed four public buildings on the Adriatic coast, in the areas that belonged to the Savska and Primorska Banovina, out of which two were realized. Modestly adjusted to the architectural tradition and climate, his works in the Adriatic area did not differ significantly from the work he completed in other parts of the multinational state. Anti-modern and conservative, they contain elements of the Yugoslav unitary style (projects of the Main Post Office in Split and Student Dormitory in Šibenik), and the national style of the Orthodox churches on Vis and Sušak. For a more significant architectural result on the Croatian Adriatic coast, Korunović obviously needed to go one step further and more fully adapt to local conditions and cultural tradition. However, he was not ready for that, because in his creative consciousness he fixed a conservative matrix of neo-medieval style in the early twenties and enriched with deposits of post-secession and expressionism, which from 1928-1929 affected the promotion of integral Yugoslav ideology.
Članak analizira podružnicu Narodne banke izgrađenu 1935.-1936. na dubrovačkim Pilama. Promatra se u kontekstu međuratne arhitekture Dubrovnika, Jugoslavije i opusa Bogdana Nestorovića za Narodnu ...banku. Povremeno komentirana u znanstvenoj historiografiji, ova reprezentativna palača zaslužuje podrobniji monografski osvrt.
This paper is dedicated to the branch of the National Bank built between 1935 and 1936 in Dubrovnik. It is analyzed in the context of Dubrovnik architecture between the wars, Yugoslavia and Bogdan Nestorović’s opus for the National Bank. So far, this representative palace has been occasionally mentioned in the scientific historiography.
U pregledu arhitektonske djelatnosti emigranata iz Rusije ovom se prilikom aktualizira rad graditelja iz drugih jugoslavenskih sredina u hrvatskim gradovima, kao i doprinos zagrebačkih diplomanata ...arhitekture ostvaren izvan granica Hrvatske. Unutar prve skupine graditelja izdvojili su se Andrej Papkov, Andrej Ševcov, Viktor Zelinski i Valerij Staševski, dok su se u drugoj afirmirali Vsevolod Tatarinov, Leonid Makšejev, Viktor Zalevski, Irina Nepokojčickaja i Fedor Wenzler.
This paper presents an overview of the professional work of two groups of Russian immigrant architects: those coming from other parts of Yugoslavia who used to work in Croatian cities (Andrej Papkov, Andrej Ševcov, Viktor Zelinski and Valerij Staševski) and those who, as Zagreb University graduates in architecture, contributed to the architectural scene outside Croatia (Vsevolod Tatarinov, Leonid Makšejev, Viktor Zalevski, Irina Nepokojčickaja and Fedor Wenzler).
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