Nebojša Antešević
Nebojša Antešević (1985), primary and secondary Technical school finished in Teslić (Bosnia and Herzegovina). Studies of architecture begins at the Faculty of Architecture at the Technical University of Delft, The Netherlands. Bachelor studies in Architecture and Master Studies of Science in Architecture ends at the Faculty of Architecture of the University of Belgrade. At the Faculty of Art and Design of the Megatrend University in Belgrade, finished Master studies of Applied Arts (Master of Fine Arts), major in theater and film scenography. He obtained the title of Doctor of Science in Art History at the Faculty of Philosophy, University of Belgrade (Department of Art History). Since September 2011, he is Teaching Associate, and since December 2014, Research Associate at the Faculty of Architecture in Belgrade, at the Master studies in the field of architectural and urban design.
Nebojša participates in national and international scientific conferences, workshops and gives lecturing, publishes scientific and research papers in national and international journals and conference proceedings. His fields of interests are history of recent Serbian and Yugoslav architecture, theory of architecture, study of architectural heritage and new approaches in the protection of cultural heritage, research of contemporary architectural practices, criticism of contemporary architecture and scenography, urban development and strategic frameworks of architectural policy.
He is a member of several professional and scientific organizations: Milan Zloković Foundation (research associate), Association of Belgrade Architects (board member), Do.co.mo.mo Serbia - national section of the International Working Group for Documentation and Conservation of Buildings, Sites and the whole of the modern movement in architecture (member).
Address: Belgrade, Serbia
Nebojša participates in national and international scientific conferences, workshops and gives lecturing, publishes scientific and research papers in national and international journals and conference proceedings. His fields of interests are history of recent Serbian and Yugoslav architecture, theory of architecture, study of architectural heritage and new approaches in the protection of cultural heritage, research of contemporary architectural practices, criticism of contemporary architecture and scenography, urban development and strategic frameworks of architectural policy.
He is a member of several professional and scientific organizations: Milan Zloković Foundation (research associate), Association of Belgrade Architects (board member), Do.co.mo.mo Serbia - national section of the International Working Group for Documentation and Conservation of Buildings, Sites and the whole of the modern movement in architecture (member).
Address: Belgrade, Serbia
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Papers by Nebojša Antešević
Ključne reči: stambena arhitektura, stambeni blok, transformabilan stan, kvalitet stanovanja, Novi Sad, nagrada „Borbe” za arhitekturu.
The article examines the architectural and urban characteristics of the residential building (type A–4), which was designed during the implementation of the Novo Naselje urban project in Novi Sad in the 1970s. The authors were architects Slavko Županski, Bora Radusinović and Radoje Cvetkov. Based on their project, three semi-open blocks of flats were built in the new urban settlement. This innovative multi-family housing project won the Vojvodina Borba Award for Architecture in 1979. Since the first Vojvodina Borba award in 1975, there have been nominations and awards for the construction of various typologies, confirming the importance of architecture for the community. The award-winning and nominated architecture in Vojvodina is represented by the unique design approach of each author, expressed in the structure and aesthetics of lowland modernism, where the culture of living and the culture of building are equally sublimated, developed in a positive relationship with the environment (urban and natural). In the area of Novo Naselje, the urban plan was intended to enable the improvement of living conditions by building better apartments (in terms of surface area and equipment) and improving the social cohesion of the population through different social groups. The architecture of the A–4 type housing studied is characterised by the development of the concept of the block in relation to the urban environment of the settlement and a study of the housing needs, which resulted in different possibilities for the organisation and use of the dwellings. The authors emphasised their intention to create houses that are lived in both inside and outside, with forms and environmental values that the tenants can identify with and live together. In all these processes, the authors sought a link between the collective housing architecture they were working on and traditional Pannonian houses.
Keywords: housing architecture, housing block, convertible apartment, housing quality, Novi Sad, Borba Award for architecture.
Кljučne reči: Nikola Dobrović; slobodoručni crtež; ilustrovanje knjiga; moderna arhitektura
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This paper investigates the attitude of the architect Nikola Dobrović (1897‒1967) towards the art of freehand drawing based on the available sources on the use of freehand drawing in Dobrović’s designs and his drawing contributions to the editions of the faculty journal „Crteži“ (1956‒1965). The monographs and university textbooks in the field of architectural historiography (architecture, urbanism and landscape architecture) that the architect Dobrović, as a professor at the Faculty of Architecture in Belgrade, published in the period from the early 1950s until his death in 1967, contain various drawings, maps and photographs. The recognizable graphic design of the front pages is an expression of Dobrović’s avant-garde and modernist tendencies. The choice of illustrations for these editions and their sources, mostly foreign literature, but also personal photographs, indicate the approach that Nikola Dobrović had in studying and presenting topics in the field of architectural historiography.
Keywords: Nikola Dobrović, freehand drawing, illustrating books, modern architecture
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Mountaineering as a social and cultural activity predated modern tourist endeavours. In Yugoslavia’s mountainous regions, tourism initially developed slowly due to a lack of necessary infrastructure. Mountaineering societies played a crucial role in promoting mountain tourism. In the 1930s, Serbian mountaineering societies became more involved in fostering tourism on Fruška Gora, constructing mountain houses and huts for accommodation. The societies themselves financed, designed and managed those facilities, enhancing accessibility and walk ability. This paper explores the 20th-century tourist architecture on Fruška Gora, showcasing the works of architects like Jan Dubovy, Milan Zloković, Đorđe Tabaković and Tatjana Vanjifatov Savić. The architecture during the interwar period combined modern elements with folkloric influences, while the latter half of the century embraced regionalism, preserving authentic environments and local traditions. This regional approach became a defining aspect of tourist architecture on Fruška Gora.
The paper explores the problems and challenges in the sustainable renewal and use of the tourist architecture heritage of the Yugoslav context. In order to provide tourist services, different types of tourist facilities intended for the accommodation of tourists were developed during the 20th century. In the Yugoslav architectural heritage, tourist facilities represent a specific architectural type whose design conceptions changed during the 20th century, ranging from the international leanings of modernism, over modest efforts during the period of social realism as well as the reconstruction of the buildings destroyed during World War II, followed by the dominance of functionalism, socialist aestheticism, structuralism, brutalism, late modernism and the search for the possibility of architectural regionalism, to new approaches with traces of postmodernism. Given the specific functional aspects of tourist facilities, which by their very nature should be adapted to the requirements of contemporary tourism, why tourist facilities are becoming increasingly obsolete in tourism, the restoration and protection of architectural tourist heritage with adequate valorization and categorization represents a special legal and technical challenge in order to conversions and devastations that violate the values of design have been prevented. Through several examples of the existing building condition of modern tourist facilities and characteristic case study of an implemented renovation, the architectural and design aspects of renovation and the possibility of adapting the space and contents of tourist – primarily hotel facilities, to new concepts of offer and services are discussed in the paper.
Ranko Radović (1935-2005) was a prominent Serbian, Montenegrin and Yugoslavian architect, urban planner and designer, professor and architecture historian and theorist. This paper explores the architectural concepts and urban characteristics of the craft and service centers he designed, which were built in Belgrade (1968-1972), Šabac (1982) and Ljig (1988), as well as his architectural-urban planning research proposal for the reconstruction and revitalization of the old market and the area under the bastion of the fortress in Novi Pazar (1986-1987). In addition to his notable designs for the Sutjeska Battle Memorial House (Bosnia and Herzegovina), the town hall in Aranđelovac, the Partizanka hotel, a post office and a bank in Vrnjačka Banja, and the reconstruction of the Atelje 212 theater in Belgrade (Serbia), Radović’s solutions for craft and service centers in Belgrade, Šabac and Ljig represent specific considerations of architecture and urbanity, in which the experiences of modernism, critical regionalism, and the influences of postmodernism are sublimated. He also produced a proposal, partly implemented, for the protection and revitalization of the old bazaar market in Novi Pazar, with a grouping of low-rise buildings for craft and service purposes and prefabricated-temporary structures based on the traditional scale. As a contribution to the study of Ranko Radović’s work, these specific micro-urban structures are analyzed in the context of his theoretical views on contemporary architecture, urbanism and tradition, and the aim of the work is to illuminate and document Radović’s contribution to the ideas of the development of modern architecture and cities in Serbia. Due to the architectural concepts and urbanistic values of craft-service centers expressed in the ideas of ephemerality and changeability, the paper provides an analytical overview and photo-documentation of their existing state, and the possibilities of their revitalization are discussed.
Кljučne reči: Zoran B. Petrović, Branislav V. Milenković, proučavanje i zaštita graditeljskog nasleđa, Prizren, Кosančićev venac u Beogradu.
Abstract: The paper analyzes and scientifically valorizes the methodological approach that was advocated and developed by architects Zoran B. Petrović (1925-2000) and Dr. Branislav V. Milenković (1926-2020) through their studies of architectural heritage during the 1950s and 1960s on the basis of two case studies of urban wholes in Serbia – the old city structure of Prizren and the spatial cultural and historical ensemble Kosančićev venac in Belgrade. Encouraged by the work of his professor and later associate, academician Branislav Kojić, and guided by new principles and guidelines in the protection of heritage established in the early fifties, architects Z. Petrović and B. Milenković were involved in the first research projects of authentic regions of Yugoslavia, and then other landscapes, places and historical wholes, which they explored in their own way, starting from the architectural and urban values and cultural identity of the built environment which were to be the basis for considering new interventions.
Keywords: Zoran B. Petrović, Branislav V. Milenković, study and protection of architec-tural heriage, city of Prizren, Kosančićev venac in Belgrade.
This chapter critically analyzes the aspects and domains of the architectural profession in the Kingdom of SHS/Yugoslavia, which until the Second World War developed incoherently, failing to fully profile according to the concepts of professionalism stemming from broader modernization flows. The basics for the modern architectural profession was the education of architects, which since 1919 has existed at three higher education institutions in the Kingdom – Belgrade, Zagreb and Ljubljana. In order to consolidate architectural and engineering activities for engineers and architects outside the civil service, in October 1924 the government issued a provisional decree establishing the same conditions for performing the activity, with the integration of acquired rights from the Austro-Hungarian Monarchy and the Kingdom of Serbia. Objective opportunities in the architectural scene during the 1930s, even in the case of more frequent design activities, did not support the profession of architecture. Modern regulatory solutions from 1937 and 1938 (Low of Authorized Engineers, with a set of by-laws) provided an adequate legislative framework to protect the architectural profession, but due to World War II, the application of these regulations did not produce the expected results, so the process of professionalization in the Kingdom of Yugoslavia remained unfinished.
Кljučne reči: časopis Crteži, arhitekti, slikari, slobodoručni crtež, likovno izražavanje, motivi likovnih radova
The paper analyzes the motives and artistic expressions of the fine art works of selected architects and painters – teachers and associates at the Faculty of Architecture in Belgrade, published in the faculty journal Crteži (Drawings), in the period from 1956 to 1965. By the classification of fine art works of the entire journal edition were established the represented motives, on the basis of which their characterization was given, and a comparative analysis was carried out in relation to the creative poetics and sensibilities of architects and painters, who contributed the most to the conceptionof the journal through the ten issues. Although originating from various initiatives and creative sensibilities of faculty members in the fields of architecture and fine art in a wider generation range, the fine art works of their choice for one-year issues of journal, among which the dominant place is free-hand drawing, testify to the high qualitative expression and the variety of represented motifs.
Keywords: journal Crteži, architects, painters, free-hand drawing, art expression, motifs of fine art works
Кljučne reči: Aleksandar Deroko, Arhitektonski fakultet Univerziteta u Beogradu, likovno izražavanje, slobodnoručni crtež, časopis Crteži
JOURNAL CRTEŽI – DRAWINGS (1956 – 1965): The Significance of Affirmation of Artistic Expression among the Teachers and Students of the Faculty of Architecture of the University in Belgrade
This paper examines the origin and the way of editing the journal “Crteži – Drawings”, founded in 1956 at the Faculty of Architecture, University of Belgrade, which, as a special fine art edition, was later added to the Annual of the Faculty of Architecture. During the decade between 1956 and 1965, ten issues of this unique artistic edition were published. The volume “Crteži – Drawings” was created on the initiative of Professor Aleksandar Deroko and three younger associates, Branislav Milenković, Zoran Petrović and Đorđe Petrović. They were also the founders of 'The Drawing Club', which influentially spreaded the ideas about the role and significance of drawings in wider architectural and artistic creation. This quartet was joined by a number of faculty teachers, including painters from the subjects Free Drawing and Watercolor, who complemented the concepts and contents of the editions with their contributions. When the publication included students' works, the Faculty declared the edition “Crteži – Drawings” a regular institutional edition. Based on the conceptual determination of this edition, authors were given freedom to choose the works, counting on their ethical attitude towards creativity and on the quality of the attached works. Pointing to the presence of various artistic sensibilities and visual expressions, the poetics of the six most represented authors among the architects is presented in this paper.
Ključne reči: Nikola Dobrović, modernizam, turistička arhitektura, Jadransko primorje, turizam
Abstract | This paper is a research of the designing activities of the architect Nikola Dobrović (1897-1967) in the Adriatic Sea region in the 1940s, represented by his designs for competitions and tourist facilities architecture in Split and Dubrovnik. They were a great contribution to the development of the avant-garde thought and Modernism in architecture in between the two World Wars, as well as a stimulus for the development of modern tourist economy in the interwar Yugoslavia. In several designs of tourist facilities at the Adriatic Sea (public bathing sites, entertainment hall, hotel, tourist office), which showed high architectural and aesthetic value as examples of interwar modernism, Nikola Dobrović drew attention to the necessity of developing modern tourist structures designed according to the requirements of new tourist demand. Some of these designs have remained unrealized, because there was not enough understanding for them among the expert public and the wider social community, but they still are excellent expressions of Dobrović’s modernist ideas and his authentic architectural language so important for the Yugoslav architecture of the 1930s. The market aspects of tourism inspired the investors to plan construction of hotels that would follow new standards in the hospitality industry in order to meet the requirements of demanding guests who got used to the standards of high quality hotel services, visiting other European tourist resorts. Having applied modernist principles in the architecture of the Grand Hotel on Lopud, near Dubrovnik, as a unique example of modern hotel architecture in Yugoslavia, the architect has also pointed to the social aspect of the modern tourist industry oriented at a new profile of tourists.
Key words: Nikola Dobrović, modernism, tourist architecture, Adriatic Sea, tourism
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Designing the space for the needs of the local community of the village of Gošići, in the hinterland of the Tivat bay, the Montenegrin architectural studio AIM, with a simple design task, encompassed several spatial levels and cultural phenomena. The center of the local community, designed as a multipurpose space with an outer polygon as a public scene, in the agglomeration of a Mediterranean village with family houses of folk architecture, represents a kind of urban miniature, which, due to its position at a crossroads in the center of the village, gets the character of the Mediterranean square of harmonious proportions. This is how the author contributed in particular to the preservation of the Mediterranean architectural culture, creating a continuity that ideally follows the values of built space and architecture, identical in humanscale and in dialogue with the surrounding. The location for construction the center of the local community had at the same time several design advantages and spatial disadvantages that were skillfully sublimated in a unique design composition. On the three-side oriented plot, with the shape of a right triangle, the built spatial-shaped complex of the puristic approach of accentuated geometrization, it is embedded in the dimensions of the location with sloping terrain, in which the structural components of this assembly (form, space and structural elements) are aesthetically and functionally connected. Dematerialization of all external and internal surfaces are achieved by using white color, which discreetly corresponds with traditionally white window lids of surrounding houses. Apart from the fact that the whiteness of this project is applied as an aesthetic principle, for centuries present in the building tradition throughout the Mediterranean, and so way emphasizing the design of the indoor and outdoor spaces, it is above all an expression of the essentiality that came from the primordial architectonic of that region. The building of the Community Center, realized in the Montenegrin coastal village of Gošići, is an example of the missing socially engaged architecture, which in the last twenty years, due to the lack of adequate investments in public spaces and facilities, becomes a marginalized architectural activity. Common interest is expressed in favor of the local community, which should be an example for local government investments in projects that improve the value of the built environment and ensure the quality of public content.
Prije više od pet desetljeća započet je projekt istraživanja prirodnog i kulturnog naslijeđa otoka Hvara od strane Jugoslavenskog (Saveznog) instituta za zaštitu spomenika kulture i srodnih institucija s teritorija Republike Hrvatske. Iako projekt nije realiziran do kraja, kod nekoliko sudionika istraživača ostala je dosad neobjavljena građa koja svjedoči o karakteru i metodi istraživanja. Arhitekt Zoran B. Petrović (1925.-2000.), ugledni profesor Univerziteta u Beogradu, napravio je veći broj terenskih crteža tijekom triju sezona istraživanja (1963.-1965.) na otoku Hvaru i tijekom kraćih posjeta nakon toga. U ovome radu predstavljen je dio dokumentacije (arhivski izvori, terenski crteži, zapisi i fotografije), uz analizu znanstvenog doprinosa i kulturnog značenja istraživanja otoka Hvara.
Ključne reči
arhitekt Zoran B. Petrović (1925.-2000.); kulturno naslijeđe; otok Hvar; prostoručni crtež; vernakularna arhitektura
Abstract
More than five decades ago the Yugoslav Institute for the Protection of Cultural Monuments and related institutions from the Republic of Croatia launched a research project on nature and cultural heritage of Hvar island. A lthough the project has remained unfinished, its participants dispose of their unpublished documentation about the nature and methodology of the research. The architect Zoran B. Petrović (1925-2000), a renowned professor from the University of Belgrade, made a number of field drawings during three research stages (1963-1965) on Hvar island including some short visits afterwards. This article presents some of these documents (archival sources, field drawings, notes, photographs) with an analysis of the scientific contribution and cultural value of this research.
Key words
Architect Zoran B. Petrović (1925-2000); cultural heritage; Hvar island; freehand drawing; vernacular architecture
Ključne reći | Festival u Bajrojtu, Rihard Vagner, Prsten Nibelunga, opera, pozorište, Aleksandar Denić, scenografija, semantika scenskog dizajna.
Summary | This paper explores the scenographic project of Serbian set designer Aleksandar Denić for opera tetralogy “The Ring of the Nibelung” by Richard Wagner, directed by the controversial German director of postdramatic theater – Frank Castorf, premiered at the Bayreuth Festival in 2013, for the two hundredth anniversary of the composer's birth. Festival in Bayreuth has become one of the most important opera world events, a place that gathers the most eminent theatre and opera artists around Wagner's music, with the intention of remembrance of Wagner's opera heritage, but also inevitably to find new possibilities for artistic and theatrical interpretation. With the new postmodern and postdramatic interpretation of Wagner's Nibelungen saga, the deepest part of the history of European music, Castorf and Denić had created one of the most complex staging of the Ring, interspersed with the deconstruction of dramatic action and realism of stage architecture with a pronounced socio-ideological metaphor.
Director and set designer have experimentally approached Wagner's concept of music drama, with the drama of the opera thriller and scenographic atmosphere of the film character, they have united the theme of mythological stories in a unique journey through the geo-political history of the 20th century, based on ideological and globalizing influences of communism and neoliberal capitalism. The dramaturgical interpretation of the Ring is based on the idea that gold is black today, and it is oil. In the maelstrom of conflicting social values the profit is the connecting link between East and West, different ideologies and cultural patterns that go beyond the mythical which is an idealized representation of genuine national history and culture. The theme of the drama (opera) action is recognized on a global level, so that oil, as semantically light motive, becomes the connecting link between mythological stories, different ideological constellations and historical premise of the 20th century.
Directorial concept of conveying abstract themes of Norse mythology in contemporary historical and social context enabled the scenographer to detect numerous themes of social reality and its transfer to the scenic area of highlighted semantics and visual experience. Theatrical creative work of Frank Castorf and Aleksandar Denić is based on their maximal engagement of artistic-intuitive and critical-semantic expressions, unified in a unique theatrical approach, which is based on scenographic pulse on which the director based stage space and directing plays. Denić's scenography architecture should be seen as a construct of complex semantic narrative of historical and cultural identification, from which it has made dramaturgical interpretation and deconstruction. At the same time, scenography becomes a visual link that explicitly reveals the dramatic messages, because what in Castorf's direction has done as elusive or incomprehensible, Denić's scenographies showed as a real.
Key words | Bayreuth Festival, Richard Wagner, The Ring of the Nibelung, opera, theatre, Aleksandar Denić, scenography, semantics of set design.
Ključne reči I Beograd, Jugoslavija, 20. vek, modernizacija, hrvatski arhitekti, arhitektonski konkursi, moderna arhitektura
Summary I This paper studies the architectural practice of Croatian architects in Belgrade during the 20th century, from participating in public competitions to the realizations of significantly city buildings. During the last century, Belgrade is transformed into a European metropolis, and as a decades-long capital of Yugoslavia, was an important administrative, cultural and economic center. The rapid spread of Belgrade in the first half of the last century has led to a more frequent attendance and involvement of foreign experts, which in Belgrade at that time was not enough. Croatian architects operating in Belgrade since the twenties, especially during the fourth decade, when modernist architects of their competition designs and realizations achieved significant contribution to Belgrade's architectural scene. After this fruitful period of Croatian architects in Belgrade, instigated by the idea of integral Yugoslav identity and current modern architectural trends, in the period after The Second World War and during the new political and social circumstances, participation of Croatian architects was gradually reduced, when they are replaced by numerous experts profiled in the Belgrade School of Architecture. The paper gives an review of the historical and social context, and cultural opportunities in Yugoslavia during the 20th century, a conditions and the establishment of cooperation between Belgrade and Zagreb, as well as the impact of the Zagreb School of Architecture, with an overview of the most important Croatian architects and their works in Belgrade.
Key words I Belgrade, Yugoslavia, 20th century, modernization, Croatian architects, architectural competitions, modern architecture
Ključne reči: stambena arhitektura, stambeni blok, transformabilan stan, kvalitet stanovanja, Novi Sad, nagrada „Borbe” za arhitekturu.
The article examines the architectural and urban characteristics of the residential building (type A–4), which was designed during the implementation of the Novo Naselje urban project in Novi Sad in the 1970s. The authors were architects Slavko Županski, Bora Radusinović and Radoje Cvetkov. Based on their project, three semi-open blocks of flats were built in the new urban settlement. This innovative multi-family housing project won the Vojvodina Borba Award for Architecture in 1979. Since the first Vojvodina Borba award in 1975, there have been nominations and awards for the construction of various typologies, confirming the importance of architecture for the community. The award-winning and nominated architecture in Vojvodina is represented by the unique design approach of each author, expressed in the structure and aesthetics of lowland modernism, where the culture of living and the culture of building are equally sublimated, developed in a positive relationship with the environment (urban and natural). In the area of Novo Naselje, the urban plan was intended to enable the improvement of living conditions by building better apartments (in terms of surface area and equipment) and improving the social cohesion of the population through different social groups. The architecture of the A–4 type housing studied is characterised by the development of the concept of the block in relation to the urban environment of the settlement and a study of the housing needs, which resulted in different possibilities for the organisation and use of the dwellings. The authors emphasised their intention to create houses that are lived in both inside and outside, with forms and environmental values that the tenants can identify with and live together. In all these processes, the authors sought a link between the collective housing architecture they were working on and traditional Pannonian houses.
Keywords: housing architecture, housing block, convertible apartment, housing quality, Novi Sad, Borba Award for architecture.
Кljučne reči: Nikola Dobrović; slobodoručni crtež; ilustrovanje knjiga; moderna arhitektura
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This paper investigates the attitude of the architect Nikola Dobrović (1897‒1967) towards the art of freehand drawing based on the available sources on the use of freehand drawing in Dobrović’s designs and his drawing contributions to the editions of the faculty journal „Crteži“ (1956‒1965). The monographs and university textbooks in the field of architectural historiography (architecture, urbanism and landscape architecture) that the architect Dobrović, as a professor at the Faculty of Architecture in Belgrade, published in the period from the early 1950s until his death in 1967, contain various drawings, maps and photographs. The recognizable graphic design of the front pages is an expression of Dobrović’s avant-garde and modernist tendencies. The choice of illustrations for these editions and their sources, mostly foreign literature, but also personal photographs, indicate the approach that Nikola Dobrović had in studying and presenting topics in the field of architectural historiography.
Keywords: Nikola Dobrović, freehand drawing, illustrating books, modern architecture
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Mountaineering as a social and cultural activity predated modern tourist endeavours. In Yugoslavia’s mountainous regions, tourism initially developed slowly due to a lack of necessary infrastructure. Mountaineering societies played a crucial role in promoting mountain tourism. In the 1930s, Serbian mountaineering societies became more involved in fostering tourism on Fruška Gora, constructing mountain houses and huts for accommodation. The societies themselves financed, designed and managed those facilities, enhancing accessibility and walk ability. This paper explores the 20th-century tourist architecture on Fruška Gora, showcasing the works of architects like Jan Dubovy, Milan Zloković, Đorđe Tabaković and Tatjana Vanjifatov Savić. The architecture during the interwar period combined modern elements with folkloric influences, while the latter half of the century embraced regionalism, preserving authentic environments and local traditions. This regional approach became a defining aspect of tourist architecture on Fruška Gora.
The paper explores the problems and challenges in the sustainable renewal and use of the tourist architecture heritage of the Yugoslav context. In order to provide tourist services, different types of tourist facilities intended for the accommodation of tourists were developed during the 20th century. In the Yugoslav architectural heritage, tourist facilities represent a specific architectural type whose design conceptions changed during the 20th century, ranging from the international leanings of modernism, over modest efforts during the period of social realism as well as the reconstruction of the buildings destroyed during World War II, followed by the dominance of functionalism, socialist aestheticism, structuralism, brutalism, late modernism and the search for the possibility of architectural regionalism, to new approaches with traces of postmodernism. Given the specific functional aspects of tourist facilities, which by their very nature should be adapted to the requirements of contemporary tourism, why tourist facilities are becoming increasingly obsolete in tourism, the restoration and protection of architectural tourist heritage with adequate valorization and categorization represents a special legal and technical challenge in order to conversions and devastations that violate the values of design have been prevented. Through several examples of the existing building condition of modern tourist facilities and characteristic case study of an implemented renovation, the architectural and design aspects of renovation and the possibility of adapting the space and contents of tourist – primarily hotel facilities, to new concepts of offer and services are discussed in the paper.
Ranko Radović (1935-2005) was a prominent Serbian, Montenegrin and Yugoslavian architect, urban planner and designer, professor and architecture historian and theorist. This paper explores the architectural concepts and urban characteristics of the craft and service centers he designed, which were built in Belgrade (1968-1972), Šabac (1982) and Ljig (1988), as well as his architectural-urban planning research proposal for the reconstruction and revitalization of the old market and the area under the bastion of the fortress in Novi Pazar (1986-1987). In addition to his notable designs for the Sutjeska Battle Memorial House (Bosnia and Herzegovina), the town hall in Aranđelovac, the Partizanka hotel, a post office and a bank in Vrnjačka Banja, and the reconstruction of the Atelje 212 theater in Belgrade (Serbia), Radović’s solutions for craft and service centers in Belgrade, Šabac and Ljig represent specific considerations of architecture and urbanity, in which the experiences of modernism, critical regionalism, and the influences of postmodernism are sublimated. He also produced a proposal, partly implemented, for the protection and revitalization of the old bazaar market in Novi Pazar, with a grouping of low-rise buildings for craft and service purposes and prefabricated-temporary structures based on the traditional scale. As a contribution to the study of Ranko Radović’s work, these specific micro-urban structures are analyzed in the context of his theoretical views on contemporary architecture, urbanism and tradition, and the aim of the work is to illuminate and document Radović’s contribution to the ideas of the development of modern architecture and cities in Serbia. Due to the architectural concepts and urbanistic values of craft-service centers expressed in the ideas of ephemerality and changeability, the paper provides an analytical overview and photo-documentation of their existing state, and the possibilities of their revitalization are discussed.
Кljučne reči: Zoran B. Petrović, Branislav V. Milenković, proučavanje i zaštita graditeljskog nasleđa, Prizren, Кosančićev venac u Beogradu.
Abstract: The paper analyzes and scientifically valorizes the methodological approach that was advocated and developed by architects Zoran B. Petrović (1925-2000) and Dr. Branislav V. Milenković (1926-2020) through their studies of architectural heritage during the 1950s and 1960s on the basis of two case studies of urban wholes in Serbia – the old city structure of Prizren and the spatial cultural and historical ensemble Kosančićev venac in Belgrade. Encouraged by the work of his professor and later associate, academician Branislav Kojić, and guided by new principles and guidelines in the protection of heritage established in the early fifties, architects Z. Petrović and B. Milenković were involved in the first research projects of authentic regions of Yugoslavia, and then other landscapes, places and historical wholes, which they explored in their own way, starting from the architectural and urban values and cultural identity of the built environment which were to be the basis for considering new interventions.
Keywords: Zoran B. Petrović, Branislav V. Milenković, study and protection of architec-tural heriage, city of Prizren, Kosančićev venac in Belgrade.
This chapter critically analyzes the aspects and domains of the architectural profession in the Kingdom of SHS/Yugoslavia, which until the Second World War developed incoherently, failing to fully profile according to the concepts of professionalism stemming from broader modernization flows. The basics for the modern architectural profession was the education of architects, which since 1919 has existed at three higher education institutions in the Kingdom – Belgrade, Zagreb and Ljubljana. In order to consolidate architectural and engineering activities for engineers and architects outside the civil service, in October 1924 the government issued a provisional decree establishing the same conditions for performing the activity, with the integration of acquired rights from the Austro-Hungarian Monarchy and the Kingdom of Serbia. Objective opportunities in the architectural scene during the 1930s, even in the case of more frequent design activities, did not support the profession of architecture. Modern regulatory solutions from 1937 and 1938 (Low of Authorized Engineers, with a set of by-laws) provided an adequate legislative framework to protect the architectural profession, but due to World War II, the application of these regulations did not produce the expected results, so the process of professionalization in the Kingdom of Yugoslavia remained unfinished.
Кljučne reči: časopis Crteži, arhitekti, slikari, slobodoručni crtež, likovno izražavanje, motivi likovnih radova
The paper analyzes the motives and artistic expressions of the fine art works of selected architects and painters – teachers and associates at the Faculty of Architecture in Belgrade, published in the faculty journal Crteži (Drawings), in the period from 1956 to 1965. By the classification of fine art works of the entire journal edition were established the represented motives, on the basis of which their characterization was given, and a comparative analysis was carried out in relation to the creative poetics and sensibilities of architects and painters, who contributed the most to the conceptionof the journal through the ten issues. Although originating from various initiatives and creative sensibilities of faculty members in the fields of architecture and fine art in a wider generation range, the fine art works of their choice for one-year issues of journal, among which the dominant place is free-hand drawing, testify to the high qualitative expression and the variety of represented motifs.
Keywords: journal Crteži, architects, painters, free-hand drawing, art expression, motifs of fine art works
Кljučne reči: Aleksandar Deroko, Arhitektonski fakultet Univerziteta u Beogradu, likovno izražavanje, slobodnoručni crtež, časopis Crteži
JOURNAL CRTEŽI – DRAWINGS (1956 – 1965): The Significance of Affirmation of Artistic Expression among the Teachers and Students of the Faculty of Architecture of the University in Belgrade
This paper examines the origin and the way of editing the journal “Crteži – Drawings”, founded in 1956 at the Faculty of Architecture, University of Belgrade, which, as a special fine art edition, was later added to the Annual of the Faculty of Architecture. During the decade between 1956 and 1965, ten issues of this unique artistic edition were published. The volume “Crteži – Drawings” was created on the initiative of Professor Aleksandar Deroko and three younger associates, Branislav Milenković, Zoran Petrović and Đorđe Petrović. They were also the founders of 'The Drawing Club', which influentially spreaded the ideas about the role and significance of drawings in wider architectural and artistic creation. This quartet was joined by a number of faculty teachers, including painters from the subjects Free Drawing and Watercolor, who complemented the concepts and contents of the editions with their contributions. When the publication included students' works, the Faculty declared the edition “Crteži – Drawings” a regular institutional edition. Based on the conceptual determination of this edition, authors were given freedom to choose the works, counting on their ethical attitude towards creativity and on the quality of the attached works. Pointing to the presence of various artistic sensibilities and visual expressions, the poetics of the six most represented authors among the architects is presented in this paper.
Ključne reči: Nikola Dobrović, modernizam, turistička arhitektura, Jadransko primorje, turizam
Abstract | This paper is a research of the designing activities of the architect Nikola Dobrović (1897-1967) in the Adriatic Sea region in the 1940s, represented by his designs for competitions and tourist facilities architecture in Split and Dubrovnik. They were a great contribution to the development of the avant-garde thought and Modernism in architecture in between the two World Wars, as well as a stimulus for the development of modern tourist economy in the interwar Yugoslavia. In several designs of tourist facilities at the Adriatic Sea (public bathing sites, entertainment hall, hotel, tourist office), which showed high architectural and aesthetic value as examples of interwar modernism, Nikola Dobrović drew attention to the necessity of developing modern tourist structures designed according to the requirements of new tourist demand. Some of these designs have remained unrealized, because there was not enough understanding for them among the expert public and the wider social community, but they still are excellent expressions of Dobrović’s modernist ideas and his authentic architectural language so important for the Yugoslav architecture of the 1930s. The market aspects of tourism inspired the investors to plan construction of hotels that would follow new standards in the hospitality industry in order to meet the requirements of demanding guests who got used to the standards of high quality hotel services, visiting other European tourist resorts. Having applied modernist principles in the architecture of the Grand Hotel on Lopud, near Dubrovnik, as a unique example of modern hotel architecture in Yugoslavia, the architect has also pointed to the social aspect of the modern tourist industry oriented at a new profile of tourists.
Key words: Nikola Dobrović, modernism, tourist architecture, Adriatic Sea, tourism
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Designing the space for the needs of the local community of the village of Gošići, in the hinterland of the Tivat bay, the Montenegrin architectural studio AIM, with a simple design task, encompassed several spatial levels and cultural phenomena. The center of the local community, designed as a multipurpose space with an outer polygon as a public scene, in the agglomeration of a Mediterranean village with family houses of folk architecture, represents a kind of urban miniature, which, due to its position at a crossroads in the center of the village, gets the character of the Mediterranean square of harmonious proportions. This is how the author contributed in particular to the preservation of the Mediterranean architectural culture, creating a continuity that ideally follows the values of built space and architecture, identical in humanscale and in dialogue with the surrounding. The location for construction the center of the local community had at the same time several design advantages and spatial disadvantages that were skillfully sublimated in a unique design composition. On the three-side oriented plot, with the shape of a right triangle, the built spatial-shaped complex of the puristic approach of accentuated geometrization, it is embedded in the dimensions of the location with sloping terrain, in which the structural components of this assembly (form, space and structural elements) are aesthetically and functionally connected. Dematerialization of all external and internal surfaces are achieved by using white color, which discreetly corresponds with traditionally white window lids of surrounding houses. Apart from the fact that the whiteness of this project is applied as an aesthetic principle, for centuries present in the building tradition throughout the Mediterranean, and so way emphasizing the design of the indoor and outdoor spaces, it is above all an expression of the essentiality that came from the primordial architectonic of that region. The building of the Community Center, realized in the Montenegrin coastal village of Gošići, is an example of the missing socially engaged architecture, which in the last twenty years, due to the lack of adequate investments in public spaces and facilities, becomes a marginalized architectural activity. Common interest is expressed in favor of the local community, which should be an example for local government investments in projects that improve the value of the built environment and ensure the quality of public content.
Prije više od pet desetljeća započet je projekt istraživanja prirodnog i kulturnog naslijeđa otoka Hvara od strane Jugoslavenskog (Saveznog) instituta za zaštitu spomenika kulture i srodnih institucija s teritorija Republike Hrvatske. Iako projekt nije realiziran do kraja, kod nekoliko sudionika istraživača ostala je dosad neobjavljena građa koja svjedoči o karakteru i metodi istraživanja. Arhitekt Zoran B. Petrović (1925.-2000.), ugledni profesor Univerziteta u Beogradu, napravio je veći broj terenskih crteža tijekom triju sezona istraživanja (1963.-1965.) na otoku Hvaru i tijekom kraćih posjeta nakon toga. U ovome radu predstavljen je dio dokumentacije (arhivski izvori, terenski crteži, zapisi i fotografije), uz analizu znanstvenog doprinosa i kulturnog značenja istraživanja otoka Hvara.
Ključne reči
arhitekt Zoran B. Petrović (1925.-2000.); kulturno naslijeđe; otok Hvar; prostoručni crtež; vernakularna arhitektura
Abstract
More than five decades ago the Yugoslav Institute for the Protection of Cultural Monuments and related institutions from the Republic of Croatia launched a research project on nature and cultural heritage of Hvar island. A lthough the project has remained unfinished, its participants dispose of their unpublished documentation about the nature and methodology of the research. The architect Zoran B. Petrović (1925-2000), a renowned professor from the University of Belgrade, made a number of field drawings during three research stages (1963-1965) on Hvar island including some short visits afterwards. This article presents some of these documents (archival sources, field drawings, notes, photographs) with an analysis of the scientific contribution and cultural value of this research.
Key words
Architect Zoran B. Petrović (1925-2000); cultural heritage; Hvar island; freehand drawing; vernacular architecture
Ključne reći | Festival u Bajrojtu, Rihard Vagner, Prsten Nibelunga, opera, pozorište, Aleksandar Denić, scenografija, semantika scenskog dizajna.
Summary | This paper explores the scenographic project of Serbian set designer Aleksandar Denić for opera tetralogy “The Ring of the Nibelung” by Richard Wagner, directed by the controversial German director of postdramatic theater – Frank Castorf, premiered at the Bayreuth Festival in 2013, for the two hundredth anniversary of the composer's birth. Festival in Bayreuth has become one of the most important opera world events, a place that gathers the most eminent theatre and opera artists around Wagner's music, with the intention of remembrance of Wagner's opera heritage, but also inevitably to find new possibilities for artistic and theatrical interpretation. With the new postmodern and postdramatic interpretation of Wagner's Nibelungen saga, the deepest part of the history of European music, Castorf and Denić had created one of the most complex staging of the Ring, interspersed with the deconstruction of dramatic action and realism of stage architecture with a pronounced socio-ideological metaphor.
Director and set designer have experimentally approached Wagner's concept of music drama, with the drama of the opera thriller and scenographic atmosphere of the film character, they have united the theme of mythological stories in a unique journey through the geo-political history of the 20th century, based on ideological and globalizing influences of communism and neoliberal capitalism. The dramaturgical interpretation of the Ring is based on the idea that gold is black today, and it is oil. In the maelstrom of conflicting social values the profit is the connecting link between East and West, different ideologies and cultural patterns that go beyond the mythical which is an idealized representation of genuine national history and culture. The theme of the drama (opera) action is recognized on a global level, so that oil, as semantically light motive, becomes the connecting link between mythological stories, different ideological constellations and historical premise of the 20th century.
Directorial concept of conveying abstract themes of Norse mythology in contemporary historical and social context enabled the scenographer to detect numerous themes of social reality and its transfer to the scenic area of highlighted semantics and visual experience. Theatrical creative work of Frank Castorf and Aleksandar Denić is based on their maximal engagement of artistic-intuitive and critical-semantic expressions, unified in a unique theatrical approach, which is based on scenographic pulse on which the director based stage space and directing plays. Denić's scenography architecture should be seen as a construct of complex semantic narrative of historical and cultural identification, from which it has made dramaturgical interpretation and deconstruction. At the same time, scenography becomes a visual link that explicitly reveals the dramatic messages, because what in Castorf's direction has done as elusive or incomprehensible, Denić's scenographies showed as a real.
Key words | Bayreuth Festival, Richard Wagner, The Ring of the Nibelung, opera, theatre, Aleksandar Denić, scenography, semantics of set design.
Ključne reči I Beograd, Jugoslavija, 20. vek, modernizacija, hrvatski arhitekti, arhitektonski konkursi, moderna arhitektura
Summary I This paper studies the architectural practice of Croatian architects in Belgrade during the 20th century, from participating in public competitions to the realizations of significantly city buildings. During the last century, Belgrade is transformed into a European metropolis, and as a decades-long capital of Yugoslavia, was an important administrative, cultural and economic center. The rapid spread of Belgrade in the first half of the last century has led to a more frequent attendance and involvement of foreign experts, which in Belgrade at that time was not enough. Croatian architects operating in Belgrade since the twenties, especially during the fourth decade, when modernist architects of their competition designs and realizations achieved significant contribution to Belgrade's architectural scene. After this fruitful period of Croatian architects in Belgrade, instigated by the idea of integral Yugoslav identity and current modern architectural trends, in the period after The Second World War and during the new political and social circumstances, participation of Croatian architects was gradually reduced, when they are replaced by numerous experts profiled in the Belgrade School of Architecture. The paper gives an review of the historical and social context, and cultural opportunities in Yugoslavia during the 20th century, a conditions and the establishment of cooperation between Belgrade and Zagreb, as well as the impact of the Zagreb School of Architecture, with an overview of the most important Croatian architects and their works in Belgrade.
Key words I Belgrade, Yugoslavia, 20th century, modernization, Croatian architects, architectural competitions, modern architecture
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The exhibition “The Architect Milan Zloković and Vojvodina: Unrealized Projects from 1928 to 1960” was organized to mark an anniversary – 125 years since the birth of the illustrious Serbian architect, pedagogue, and scientist. Through the systematization of the extensive legacy of the architect Milan Zloković, which consists of several thousand units of different materials created during his several decades-long career (sketches and drawings, technical documentation, watercolors, photographs, notes, studies and analyses, correspondence, etc.), the completed materials for several projects for cities and towns in Vojvodina were also found. The works exhibited were not the subject of research in architectural historiography nor were they analyzed or publicized so far – the National Theater in Novi Sad (1928/1929, competition proposal), the Danube Banovina Palace in Novi Sad (1930, competition proposal), the Business Building of the Joint-Stock Company for the Construction of Houses – the “Habag” Palace (1930/1931, competition proposal), the Nikola Tanurdžić Building – “Silezija” in Novi Sad (1931, competition proposal), the Tourist Home on Iriški venac (1932, competition proposal), the Sokol Home in Vrbas (1933, concept design), the Stevan (István) Szemző Foundation Hospital in Sombor (1934, detailed design), the Home of Yugoslav Teachers’ Association in Novi Sad (1934, competition proposal), the Home of Slobodan Dragutinović in Karaš (1936, concept design), the Monument to the Fallen Soldiers in Subotica (1946, competition proposal), the Building of the People’s Committee of the Pančevo District and the People’s Committee of the Pančevo Municipality with the square design (1957, competition proposal) and the Technological Faculty in Novi Sad (1960, competition proposal). Although scientific historiography typically includes unrealized projects within the analysis of an architect’s oeuvre, certain typologies and architecture of a particular period or area, their analysis is indispensable in the context of calls for design proposals for the construction of certain buildings, but also for a more complete overview of the work of architects who took part in architectural competitions often in their careers, as was the case with Milan Zloković. Milan Zloković, a distinguished architect of modernist worldviews, was not afforded the opportunity to build any projects in Vojvodina, even though he regularly took part in all significant competitions.
Tokom četiri i po decenije aktivnog projektantskog rada arhitekt Zloković je izradio oko dve stotine i šezdeset projekata, od kojih je šezdesetak realizovano, najviše u Beogradu, među kojima se ističu antologijska dela srpskog međuratnog modernizma – porodična kuća na Neimaru, hotel „Žiča“ u Mataruškoj Banji, škola u Jagodini, porodične vile Prendić i Šterić, Univerzitetska dečja klinika i zgrada „FIAT“ u Beogradu. Na ovoj izložbi su prikazane fotografije njegovih devetnaest beogradskih realizacija (trinaest stambenih zgrada, tri vile, po jedan obrazovni, zdravstveni i poslovni objekat i dva enterijera).
The exhibition Architect Milan Zloković and Photography: Belgrade Buildings from 1924 to 1941, organized on the occasion of marking 125 years from the birth of the famous architect, features a selection of photographs of architectural works in Belgrade taken at the time of their construction by architect Milan Zloković (1898-1965), who took on the role of a photographer that used photography to expand the interpretative and aesthetic explications of architectural discourse. Starting from his very first designs realized in Belgrade, Zloković, a devotee of photography and photographic technique, the contemporary medium embraced by modernist architects, photographed and thus made a permanent record of the construction and original appearance of his own creations, which belong to the body of works of Belgrade interwar architecture and classic pieces of Serbian interwar modernism. Such an approach, as well as the number of photographs taken and preserved, distinguishes the work and figure of Milan Zloković among Serbian architects of the interwar period, seeing as this kind of relationship to his own architecture and the way he perceived it made him an all the more typical representative of the modernist tendencies he advocated. For modern architecture, the question of its consistent presentation and, by extension, its broader perception, was primarily reflected in adequate instruments and means of communication, photography being a logical and indispensable part of architecture’s discursiveness.
Over the course of four and a half decades of active work in architectural design, Zloković produced around 260 designs, of which 60 were realized, mostly in Belgrade, some of the outstanding examples being classic works of Serbian interwar modernism – the family house in Neimar, „Žiča“ Hotel in Mataruška Banja, a school in Jagodina, Prendić and Šterić family villas, the University Children’s Clinic and the „FIAT“ building in Belgrade. This exhibition features photographs of 19 of his designs realized in Belgrade (thirteen residential buildings, three villas, an educational facility, a health facility, a business facility, and two interiors).
Being avant-garde which put a human being in the center of the action, Anton Pavlovich Chehov’s plays recognize the role of a human being as individual, his destiny and his efforts to take the desired position in the society and to create and act. The comedy “Seagull” tells a story about
theatre, love and human’s destinies, and it represents a testing field for understanding of Chehov’s work and its importance for the history of modern drama and theatre. The special part is the central motive of the drama, and that’s the conflict between the traditional theatre and new treatre forms and tendencies which are severely but awkwardy represented by the young Konstantin Trepljev, who is devided between his experimental ideas and failures in his life, lack of confidence and search for love. Basic motives of the Chehov’s work, deeply emerged in the unique soul of the world and the principles of experimental art, led only by the position of man and his activity in the society, make the basic concept of scenography which comes from the way of understanding of the mentioned principles from the angle of present times, contemporary context and today’s understanding of Chehov’s characters, their problems, desires and expectations. Besides this thematic frame, the project of scenography has aim to test forms and structures, observing scenography not as a form of describing and defining but first and foremost as a way of exploring and expressing.
In this way in the contemporary theatre (or out of the theatre building and stage because the project tries to find out the posibilities of getting out of the object, and explore the stage as a part of urban area an instant theatre, experimental scene) scenography becomes more and more a visual form of revealed essence, instead of the mean of descriptive narration, scenography becames a part of discovering opinion and thinking. Accent is also on the whole space, an ambiental and sensual experience (ambient and location are included in dramaturgical space, where watching/looking is changed in personal revealing act or cognition, aiming human thought to the object which is watched. Creation of the space, not as a space which is defined referring to its character and description, but as a space of ambiguous materialisation of all which is visible and hidden - is what is recognized as human destiny in Chehov ‘s work. Assessing of contemporary artistic approach to the design of scenography, it is important to find and establish its basic role, where it must not have the function of decoration which imitate, describe or forge the space, but scenography which feature the space fully only during the proces of acting - during performance. It is for sure the way Chehov himself had in mind when he created his “Seagull”- as a pure “human” story, without any word that was too many, or move or effect... new reality, powerfull, convinsing and hard as life itself.
Key words:
Chekhov’s work; Seagull; Stanislavsky; avant-garde; man; directing; contemporary theater; space - scene; light; atmosphere; experience; instant theater; experimental scene
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The impact of tourism on architecture, urbanism and design in the 20 th century was reinforced by the increasing construction of tourist facilities. In order to provide tourism services, new approaches to space planning were formed and different types of tourist facilities intended for the accommodation of tourists were developed. The design concepts of tourist facilities changed through time, ranging from the international leanings of modernism, over modest efforts during the period of social realism as well as the reconstruction of the buildings destroyed during World War II, followed by the dominance of functionalism, socialist aestheticism, structuralism, brutalism, late modernism and the search for the possibility of architectural regionalism, to new approaches with traces of postmodernism. Architectural characteristics of hotels (spa hotels, town-, seaside- and mountain hotels) and other tourist facilities (weekend towns or resorts, public bathing areas) were considered through the five suggested chronological phases of development of modern tourism architecture in Yugoslavia. In the context of tourism development in Yugoslavia, architecture intended for relaxation and entertainment of tourists went through several phases, constantly changing and adjusting to the needs and standards of tourism within the framework of contemporary architectural endeavours. Aside from architecture, the rise of tourism also influenced the adoption of strategies of spatial development of tourist regions, the formation of new approaches to spatial and urban planning, the use of new technical and technological solutions in the contruction and the furnishing of facilities, as well as significantly higher standards in the area of interior design. The research is based upon a crtitical interpretative analysis of relevant social occurrences and phenomena which influenced the processes of planning and the direction of tourist construction. The architectural diversity of tourist facilities was also conditioned by social and economic factors expressed in the phenomenon of the tourist market sustainability. The typological stratification of tourist architecture, whose construction was narrowly tied to the needs and strategic orientation of tourism, was not encompassed in synthetic research, so certain types of tourist facilities are not subject to a detailed interpretation and critical review. Typological and social characteristics of Yugoslav tourist architecture were explained through the introduction of key occurrences and processes, interpretation of specific phenomena, critical observations and contextualizing the praxis of modernist architecture design. The synthetic approach allowed for a critical overview of the construction of tourist facilities and their architectural format in light of new and extensive sources.
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Osim navedenih tehničkih škola, u Zagrebu se pri Akademiji likovnih umjetnosti 1926. godine osniva Arhitektonski odjel, na čijem čelu je bio arhitekta Drago Ibler. U tadašnjem miljeu školovanje arhitekata na umetničkoj akademiji nije nailazilo na šire razumevanje, naročito od strane arhitekata iz tradicionalnije provenijencije, pa tako arhitekta Vladimir Šterk smatra da „savremenog arhitektu može da odgoji samo ono tlo na kojem je savremena arhitektura nikla, a to je – tehnika” i da arhitekturi „nema mjesta na Umjetničkoj akademiji” jer „arhitektura nije likovna umejtnost”. Pravilnikom o delokrugu apsolvenata umetničke akademije arhitektonske struke, koji je doneo ministar građevina oktobra 1938. godine, onemogućava se osobama koje su stekle obrazovanje iz delokruga arhitekture na umetničkoj akademiji da koriste titulu arhitekta i državni grb na ličnom pečatu ovlašćenja.
U cilju konsolidovanja arhitektonske i inženjerske delatnosti, za inženjere i arhitekte izvan državne službe, kraljevska vlada je oktobra 1924. godine, na predlog Ministarstva građevina, donela Privremenu uredbu o ovlašćenim inženjerima i arhitektima u Kraljevini Srba, Hrvata i Slovenaca, kojom se uvode isti uslovi za obavljanje delatnosti i integrišu stečena prava iz Austro-Ugarske monarhije i Kraljevine Srbije; a na zahtev Udruženja jugoslovenskih inženjera i arhitekata, i Privremenu uredbu o osnivanju Inženjerskih Komora u Kraljevini Srba, Hrvata i Slovenaca, kako bi se prevazišle različite tradicije strukovnog udruživanja u svim delovima Kraljevine. Privremenom uredbom o ovlašćenim inženjerima i arhitektima započet je proces profesionalizacije, posebno značajan za nove generacije arhitekata obrazovanih na tehničkim školama nakon 1919. godine, premda je pojam arhitekta između dva svetska rata, kako ističe Branislav Kojić, bio neodređen, maglovit i promenljiv, zbog čega su poslove arhitekte često obavljali građevinski inženjeri. U pogledu zaštite arhitektonske profesije, naročito u pogledu obavljanja stručnih poslova, Udruženje jugoslovenskih inženjera i arhitekata nije imalo razvijene odgovarajuće mehanizme. Objektivne prilike na arhitektonskoj sceni, čak i u slučaju češćih projektantskih aktivnosti, nisu išle u prilog arhitektonskoj profesiji, dok je sam arhitekta, kako će to kasnije okarakterisati arhitekta Milorad Macura, ostao „naviknut da se sa poslodavcem bori i sporazumeva, očekujući da bude izigran ali i želeći da se za to naplati, čineći kompromise i ustupke”.
Savremena regulatorna rešenja obuhvaćena Zakonom o ovlašćenim inženjerima iz 1937. godine, kao i setom podzakonskih akata donetih na osnovu njega (pravilnik o poslovanju disciplinskih sudova inženjerskih komora, pravilnik o polaganju stručnog ispita za arhitekte i inženjere, pravilnik o konkursima), dala su adekvatan zakonodavni okvir za zaštitu arhitektonske profesije, ali zbog Drugog svetskog rata primena ovih propisa nije dala očekivane rezultate, tako da proces profesionalizacije u Kraljevini Jugoslaviji ostaje nezavršen.