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Summary: ALEKSANDAR KADIJEVI

EXPRESSIONISM IN BELGRADE ARCHITECTURE (19181941)
A multitude of inspired but mostly unexecuted designs in the first quarter of the 20th century helped shape expressionism into a recognizable movement in European architecture. Viewed critically from a historical distance, it emerges as
an amalgamation of inconsistent programmes and short-lived phases in the work of fantasy-prone architects, emotionally
responding to considerable contradictions of a turbulent age. Apart from Germany, the Netherlands and Austria, where it
produced the best architectural outcomes, it also developed in Czechoslovakia, Hungary, Poland, Denmark, Norway, Finland, Switzerland, Italy, Turkey, and the Kingdom of Serbs, Croats and Slovenes (Yugoslavia from 1929). For a long time
considered retrograde because of its exponents wild subjectivism, expressionism has over the last few decades been looked
upon more objectively and on an equal footing with more consistent architectural pursuits.
Expressionism in Serbia, adopted from central Europe spontaneously and without much theoretical preparation (slightly later than in Croatia and Slovenia), was primarily recognizable in exterior compositional emphases, much less in spatial
structures of some complexity. Expressionist ideas found their way into Serbia circuitously, through emulating examples
from international architectural periodicals, rather than through analyzing central-European landmark examples in situ.
Moreover, unlike their Croatian contemporaries, Serbian architects maintained no personal or professional contact with
the authoritative leading figures of central-European expressionism, which is why the latters methods were not productively elaborated in their architectural practice. Without being thematized in the architectural curriculum or in architectural
criticism, expressionism amounted to an idiom amenable to being adapted to the local situation. Yet, the merit of some
expressionism-inspired works and their concurrence with colour-based expressionism in Serbian painting and similar trends
in avant-garde literature and music shows that the style found its embodiment, to no small extent, on the Serbian cultural
scene.
The Serbian architects opting for creative interpretation of contemporary styles and their adaptation to the local taste
(which treated almost every new building as unique and prestigious), and carried by powerful emotions, founded two
varieties of national expressionism. Avoiding the pure monostylistic architectural language in favour of a syncretistic
multilayered one, romanticists accepted it wholeheartedly as a means for stressing the outline of imaginative compositions,
combining it with post-sezessionist and national-style patterns, while modernists used it fruitfully for accentuating angles
and plastically breaking up their sprawling structures.
In most executed and unexecuted designs, for the most part created in Belgrade, Ni and Novi Sad (to an extent also
in Leskovac and abac), expressionism is primarily observable in form, less in the organization of space, interior design
and construction. Even though it only rarely manifested itself in a pure or complete form, it did, along with Czech cubism,
central-European functionalism, and French purism and art deco, play a significant part in the linguistic crystallization of
Serbian modernism. It may also be observed in pre-modernist phases in the work of the founders of Serbian modernism,
and in the oeuvre of consistent proponents of the national style.

76

 (19181941)
Present in a more or less developed form in interwar Belgrade architecture, expressionism was obviously retreating
before the rush of eclectic late-modernist and monumentalist academic concepts in the last pre-war years. It was not revived
until several decades later, by the creative wing of the Belgrade school of modern architecture, and in the work of todays
neo-modernists.
The overview of the most important works of interwar Belgrade expressionism has shown a diversity of ways in
which its repertoire was used. The movements innovative style and seductive symbolism had an appeal to leading and less
prominent architects alike, whose work remains insufficiently studied. Hence the meticulous recording of as yet unexplored
examples emerges as an important objective of historical studies in the future.

ILLUSTRATIONS
Fig. 1 Momir Korunovi: Sketch for a memorial

Fig. 12 Otto Bartning: Evangelical church

Fig. 2 Momir Korunovi: Gate of Victorious umadija People, sketch

Fig. 13 Branislav Koji: 6 Zadarska Street

Fig. 3 Momir Korunovi: Ministry of Posts and Telegraphs

Fig. 14 Aleksandar Pop: First Danube Steamship Company

Fig. 4 Momir Korunovi: Post Office 2

Fig. 15 Josif Najman: National Mint, Topider, printing facility, interior

Fig. 5 Momir Korunovi: Memorial at Zabrnjak near Kumanovo

Fig. 16 Josif Najman: National Mint, Topider

Fig. 6 Djurdje Bokovi: National Museum, design

Fig. 7 Petar & Branko Krsti: Church of St Sava in Vraar, competition
entry
Fig. 8 Milan Zlokovi & Andrej Papkov: Church of St Sava in Vraar,
competition entry

Fig. 17 Duan Babi: Building of the Association of Yugoslav Engineers

and Architects, competition entry
Fig. 18 Josip Piman & Andreja Baranji: Post Office 1
Fig. 19 Dragan Gudovi: Bobsleigh Club
Fig. 20 Petar & Branko Krsti: House of Stijepo Kobasica

Fig. 9 Duan Babi: Church of St Sava in Vraar, competition entry

Fig. 21 Dobrivoje Petrovi: Fire Alarm headquarters

Fig. 10 Branislav Marinkovi: Soldiers House, competition entry

Fig. 22 Dragia Braovan: Air Force Command building, Zemun

Fig. 11 Aleksandar Deroko & Petar Anagnosti: Faculty of Theology

Residence Hall

Fig. 24 Valeriy Stashevsky: 8183 Kralja Aleksandra Blvd.

77

Fig. 23 Milan Zlokovi: Albania Palace