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EXHIBITION OF NEW GERMAN ARCHITECTURE IN BELGRADE, 1940

Among architectural exhibitions that marked the interwar period of Serbian architecture, the exhibition of new German architecture held in Belgrade in October 1940 attracted great attention. It was the first exhibition of German national socialist architecture abroad. Top members of Yugoslav government took part in the organizational activities, with Prince Pavle as a patron. The exhibition was prepared by architect Albert Speer who was a public works inspector for the Reich capital, and according to the directives of the Foreign Minister Ribbentrop and propaganda minister Goebbels. The exhibition attracted a great deal of attention from both high-profile and wide public, and was reported widely by the daily press. It has interpreted the social, cultural and political aspects of German architecture and its reception in Serbian and Yugoslav architecture.

ON BELGRADE’S FILM FESTIVALS

UNREALIZED DESIGNS BY DOBROVIĆ, OF THE POLITICAL/SPORTS STADIUM AND A RECREATION BELT

Even before the Second World War, sports had a significant role in the popular culture of Belgrade. 1940s were also marked by ambitious ideas for construction of a representative stadium. However, social and political circumstances have equally prevented some monumental designer ideas from coming to fruition. Although the end of the Second World War brought about some fundamental changes in the Yugoslav society, the rise of the Communist Party of Yugoslavia to power did not mean a total separation from the architecture of earlier periods. One of the examples that confirms a continuity and a dialogue with pre-War urbanistic ideas in the field of sports architecture, are the designs of Nikola Dobrović from 1946 for the political/sports stadium near the Belgrade Fortress and the recreation belt from Autokomanda to Banjica. Since these unrealized designs were not subject of detailed historiographical studies, they need to be revisited with more attention in order to determine a potential connection with the pre-War design solutions for similar purposes. Also, it is important to clarify possible reasons for which these designs remained just on paper.

CONSTRUCTION PROJECTS OF THE ARCHITECT NIKOLA DOBROVIĆ IN PRAGUE (1922–1933)

Beginnings of the history of construction projects of the architect Nikola Dobrović can and should be observed as an integral part of the complete production of this Yugoslav architect. Still, his earliest or the “Prague” period carries unique historiographic value in the studies of any and all syntagmas of the later works of Dobrović, which emitted clear massages of the early purist space shaping, extensive aesthetics of the façade canvasses and expressionist moments in shaping such a specific artistic language. His construction works immediately after his studies in Prague and special studies in Paris, which have not yet been fully researched up to this date, are revealed to us in less known archive documents and in relatively well researched technical sources from the period 1922–1933. It is indicative that, in this period, his most important construction projects of the early artistic phase, like the Yugoslav Home of King Aleksandar Karađorđević (1929–1933), have always caused intense attention of the expert and scientific public, both national and international, and especially of the contemporary Check historiographic school of thought. In the context of period studies, open issues impose themselves about the authorization and intensity of professional engagement in designing and about the realization of several buildings within the medical complex of the Masaryk home in Kerch near Prague, which was also topic of some Dobrović’s commentaries.

TABLE MANNERS IN BELGRADE

ISLAM IN BEOGRAD

BELGRADE TEKIAS

A RESEARCH ON BELGRADE’S IDENTITY

Истраживање о идентитету Београда организовано је током пролећа 2006. године и у њему су учествовали становници Београда, туристи из Србије и иностранства и представници организација и институција из домена културе, образовања, представници градске и републичке власти, запослени у медијима, маркетиншким агенцијама и уметници. Питања су била везана за колективно сећање, просторни идентитет града, однос садашњости, прошлости и будућности града, досадашњу промоцију и њене могућности у будућности и социодемографске карактеристике испитаника. Резултати истраживања указују на то да су слике Београда недовољно развијене и да је идентитет Београда био до сада углавном површно представљан, а да постоје различите карактеристике на којима је потребно градити идентитет Београда.