11/14/2023 0 Comments Moma concrete utopia yugoslaviaPart two: Global Networks, investigates the architecture that developed from the country’s independent foreign policy and its leadership in the post-colonial Non-Aligned Movement: architectural imports and exports, as well as the infrastructure of international tourism on the Adriatic coast. Projects like the Moša Pijade Workers’ University, designed by Radovan Nikšić and Ninoslav Kučan in 1955 as a higher education institution for the working class, provided the progressive social agenda with a spacious, modernist building. The facilities for these services offered many opportunities for experimentation with architectural typologies such as Contemporary Art Museums, kindergartens, and hospitals. Concrete was also widely applied in elevating the quality of quotidian life it was adopted for the material language of institutions that served the welfare state of Yugoslav socialist modernity. The rapid modernization of Yugoslavia’s building industry also engendered significant advances in construction technologies like reinforced concrete, which was widely used by the mid-1950s and celebrated for its pragmatic advantages and expressive, sculptural qualities. Developed on the site of former marshlands on the banks of the rivers Danube and Sava, the city was the most ambitious urban project in postwar Europe, comparable to much better-known examples of modernist planning like Brazil’s new capital Brasilia and Chandigarh in India. New Belgrade was an exemplary urban project for its scale and functionalist principles. In part because the Yugoslavia suffered extensive physical destruction and one of the highest population losses in Europe during World War II, the cities were rebuilt or constructed anew in the immediate aftermath of war. Part one: Modernization, explores the rapid transformation of the previously underdeveloped, largely rural country: the processes of urbanization, experiments with building technologies, and the new infrastructure of social life. The exhibition is organized into four main sections, each of which addresses a specific aspect of Yugoslav architecture culture as a distinct arena of design and spatial production. In addition to architectural work, the exhibition also includes three video installations by Mila Turajlić, newly commissioned photographs by Valentin Jeck, and contemporary artworks by Jasmina Cibic and David Maljković. The exhibition investigates architecture’s capacity to produce a shared civic space and common history in a highly diverse, multiethnic society ( Part I).įeaturing work by architects, including: Bogdan Bogdanović, Juraj Neidhardt, Svetlana Kana Radević, Edvard Ravnikar, Vjenceslav Richter, and Milica Šterić, the exhibition “Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980” examines the unique range of forms and modes of production in Yugoslav architecture and its distinct yet multifaceted character. Through more than 400 drawings, models, photographs, and film reels culled from an array of municipal archives, family-held Collections, and Museums the exhibition “Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980” studies the body of architectural work from Yugoslavia that sparked international interest during the 45 years of the country’s existence.
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