,

- , , ,

, , ,
, ,
, Glasgow Caledonian University,
, Barcelona Strategic Urban Systems,
, ,
-, ,
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, ,

, ,

, ,
, , ,
- , , ,
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, Glasgow Caledonian University,
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- University College Dublin, School of Geography, Planning and
Environmental Policy,
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11000 , 73/II
: 011/ 3370-091, 3370-185, 3370-203, e-mail: mp@iaus.ac.rs

34
, 2012.
. .

3-13

....................................................................... ........................................................

T , -
.....................................................................................................

14-27

Expressionism as the radical creative tendency in architecture.......................................
,

28-41

-
..................................................... ,
,

42-65

:
Minimalism in architecture: architecture as a language of its identity.............................

66-71

..................

73-79

81-91

93-96
97-105
107-108

109-111

........................................................................

/:
................................ ,

:
001100,
: .................................................................

: , , , ,
, , ..........................

III


Ljiljana Blagojevis article published in this issue presents
a continuity of her previous papers dedicated to the work of
architect Milan Zlokovi. In her article, the author analyzes the
line of architectural sensibility that is somewhat neglected in the
previous researches, by analyzing the so far briefly interpreted
works, and in relation to the historical-cultural context and
architecture of Trieste at the turn of the 19th and 20th century. This
article extends the referential and interpretive field to a more
complex perception of modernist discourse in Serbia, in which
architect Zlokovi played a key role.
Theoretical discussions on art and architecture, as well as the
researches about the importance of contemporary art in publicpolitical urban space are the topics of the other two articles.
The first text presents a theoretical-critical discussion about
interrelations of esthetic categories of expression, expressiveness
and expressionism, and the reexamination of their positions
and roles in the system of visual expression in architecture. In
the second article, the authors base their researches on the
criteria evaluation and methods of selecting adequate locations
and works of contemporary art and their compatibility in the
formation of special ambients.

Editorial
Minimalism in architecture is the topic that has been dealt with
several times in this journal. In this issue, two articles talk about
an extremely topical subject. In the first article, the author tries
to find the solution to the question posed in the title of the work:
how the language of architecture represents its identity. By citing
numerous sources that research the relation between architecture
and language, the author introduces us to the complex relations
between architectural and linguistic signs. In the research
described in the article, the author proves that minimalism in
architecture through the inspired use of architectural ambients
assumes the greatest responsibility for giving an identity to an
object. The other text analyzes the architectural discourse formed
around the term minimalism in architecture. The author examines
the relevance of the official hypotheses. Writing the history of
minimalism in architecture, in its most intensive period
the nineties of the last century mainly took place in three
cities: London, Barcelona and Milan. The author analyzes the
ways in which each of these cities tried to show minimalism in
architecture as an authentic local creation.
The Plava Ptica nursery, by architects Milenija and Darko
Marui, surely is one of the most significant architectural
works constructed in Belgrade in 2011. Numerous awards, very
affirmative reviews, but, above all, the satisfaction of the children
who spend their time in this unique space, are a special topic of
this issue.

Mila Pucar

. ,
,
,
,
-
19. 20. .


.
,

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. -
,


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2011. . ,
,
,
.

UDK:72.071.1 .
ID BROJ: 192031500
, DOI: 10.5937/arhurb1234003B

*
: 2012, : 2012.

Transposition of the Ethos of ItalianMediterranean Architecture in the Early

Projects of Milan Zlokovi

(1898, 1965, )

,
. ,
,

,

,
.

,
,
.


-
19. 20. .
,


. ,

,


.
: ,
,
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,
Rundbogenstil

Abstract
The research of work of the architect Milan Zlokovi (1898,
Trieste 1965, Belgrade) so far has focused mostly towards
analysis of his projects which are key to the study of the
modern movement in architecture in Serbia and the region.
This paper, however, opens a line of inquiry which focuses on
another feature of his creative disposition, which has been
overlooked to some extent. It is argued that this sensibility,
which characterises his early projects of the 1920s, owes much
to his Mediterranean ancestry and upbringing in Italy. In his
projects this feature corresponds to a certain transhistorical
interpretation and transposition of cultural, artistic and tectonic
principles of the Italian-Mediterranean architecture. In the
architecture of the regions of Italy which were under the AustroHungarian rule until its break-up in WW1 and particularly in
Trieste, where the architect was born and lived until he left for
university studies, Central European and especially Viennese
cultural influences mix with those of Italian and Mediterranean
origin. The aim of this article is to examine this very feature of
Zlokovis designs in relation to historical and cultural context
of Trieste architecture at the turn of the 20th century. The
analysis of Zlokovis early projects is based on study of primary
sources, i. e., projects and photographic documentation from
the architects family archive, as well as on secondary sources
on Trieste architecture. In a more general sense, this article on
the polyvalent foundation of Belgrade modern movement aims
to expand the referential and interpretative field of research of
modernist discourse in which architect Zlokovi had a key role.
Key Words: Architect Milan Zlokovi, transhistorical interpretation, transposition of cultural, artistic and tectonic principles, architecture of Trieste, Mediterraneanized Rundbogenstil

* ,
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 /34/2012/ 3-13/T - .

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, 1921,

Fig. 1.
Milan Zlokovi, Competition
Entry for the Ministry of
Agriculture and Waters and
the Ministry of Forests and
Mines in Belgrade, 1921
(faade from Kneza Miloa
Street)

, . .
. 3. , , 31.
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2
Thtre des Champs-lyses 1913. ( [Antoine
Bourdelle] ), (Henry van de Velde). (19211923) e Acadmie de la Grande Chaumire,
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4
(1934) ex-aequo (1938).
5
: online http://www.rz.uni-karlsruhe.de/~saai/bestaende_huebsch_heinrich.html 10. 2012.
6
Sant Antonio Nuovo (1823-1849) Palazzo Costanzi, 1817.
3

 /34/2012/ 3-13/T - .

,
Rundbogenstil- (Morvanszky, 1998: 82, 86).
e
(
a gotico quadrato stile castelatto),

(Hans Christian Hansen7),
(1852-1856) Rundbogenstil-.
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(2006:
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Damjanovi, 2009, 68, 71.

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 /34/2012/ 3-13/T - .

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chiaro-scuro) .

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Fig. 2.
Zlokovi, Faade, Belgrade, 1924.

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Fig. 3.
Zlokovi, Faade of a Building for Mr. Kalajdi,
Belgrade, 1925.

 /34/2012/ 3-13/T - .

33,
1926-27, 19 : 1927. . (. 4)
a

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(1889-1934)9
(1897-1972),
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(, 2006: 332).

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33 ,
1925.
Fig. 4.
Zlokovi, Faade Design for the Building of Mr. Josif
ojat in Kralja Milutina Street, Belgrade, 1925.

,
19. ,

Rundbogenstil-
- fin de sicle.
, 10
, 11 (.
5),

,
. 1912-1936.
, Via del
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Riva dei Pescatori


. 5.
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Fig. 5.
Piazza Goldoni, Trieste, period postcard

40 , , (online): http://www.pavle-beljanski.museum/
prikaz-autora-pojedinacan.php?autor=17 25. 2012.
10
Palazzo Modello, Piazza Grande (Piazza dellUnit dItalia), Giuseppe Bruni, 1871-1873. : http://sguardoinsutrieste.webege.com/index.html
1. 2012.
11
Palazzina Parisi, Giorgio Polli, 1909. : http://www.viedeitorrenti.it/en/the-10-areas/piazza-goldoni 1. 2012.
12
II,
9

 /34/2012/ 3-13/T - .

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.

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, piano nobile

() , ,
e.13

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Andrea, 1823-1892), (Ruggero, 1854-1920)
(Arduino, 1880-1946),
(Marco Pozzetto, 1999).
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(1850),14

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(1906-1912) -
Scala dei Giganti (1905-1908) , ,
(Faro della Vittoria,
1919-1927).
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(Carlo Maciachini, 1861-1869).

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Rundbogenstil-. (Caterina Lettis),
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(Pozzetto, 1999: 43).


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1820- 183- , : Domenico Corti (1783-1834), Valentino Vale (1775-1850), Mateo Pertsch (1769-1834), Antonio Buttazzoni
(1800-1848) . : (2007).
14
Palazzo Gopcevich, Canal Grande
15
Palazzo Corner Spinelli, Mauro Codussi, 1510. Pozzetto, 1999: 32.
16
Lettis, : Pozzetto, 1999: 41.
17
: http://www.carbonaio.it/immagini%20trieste%20-%20citt%E0%2098.htm 1. 2012.
13

 /34/2012/ 3-13/T - .

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Giuseppina. O 1936.

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(lessico cinquecentesco)
,

1902.
1905. (Krekic e Messina, 2008: 32-35).
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, Via Benedetto Marcello 2 e 4,
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2008: 34). ,
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Fig. 6.
Zlokovi, Building of Mr. ojat, Belgrade, 1927.

18

. 7.
, .
, 1927.
Fig. 7.
Mladen Josi, Fresco on the faade of the
building of J. ojat, 1927.

1924. (, 1973). ,
.

 /34/2012/ 3-13/T - .

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Zlokovi, Competition
Entry for the State
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(perspective view)
19

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1927-28, 16, 1928-29 , 14, 1934-35.
: , 1976: 288.
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 /34/2012/ 3-13/T - .

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piano nobile.
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19. , ,
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 /34/2012/ 3-13/T - .

Albaneze, M. (2007): Srpske kue u Trstu, prevela Jana Tufegdi, u:

Mitrovi, ur. (2007), str. 116-193.
Blagojevi, Lj. (2003): Modernism in Serbia: The Elusive Margins of
Belgrade Architecture, 1919-1941. Cambridge, Mass.: MIT Press in
association with Harvard University Graduate School of Design.
Blagojevi, Lj. (1998): Raumplan u porodinim kuama Milana
Zlokovia, interpretacija i realizacija izvornog koncepta,
Arhitektura i urbanizam, 5, str. 43-55.
Blagojevi, Lj. (2010): Fervet Opus: Milan Zlokovi and Architecture
of the City, Serbian Architecture Journal, 1 (2), str. 7-18.
Blagojevi, Lj. (2011): Transkulturalni itinereri arhitekta Milana
Zlokovia, Arhitektura i urbanizam, 32, str. 3-15.
Bogdanovi, B. (1963): Povodom dodeljivanja nagrade za ivotno
delo Milanu Zlokoviu, Arhitektura urbanizam, 22-23, str. 105106.
Vladisavljevi, S. (1997): Zgrada Ministarstva poljoprivrede i voda i
Ministarstva uma i rudnika, Godinjak grada Beograda, XLIV, str.
207-219.
Damjanovi, D. (2009): Djelovanje Arhitekta Franje Kleina u
Varadinsko-urevakoj pukovniji (1851.-1859.), Prostor, 1[37]
17, str. 64-77.
urevi, M. (1997): Zgrada Hipotekarne banke u Sarajevu. Zbornik
za istoriju Bosne u Hercegovine, str. 297-303.
uri-Zamolo, D. (1981): Graditelji Beograda 1815-1914. Beograd:
Muzej grada Beograda.
Ignjatovi, A. (2004): Dve beogradske kue arhitekte Dragie
Braovana, Naslee, 5, str. 119-134.
Jovanovi, M. (2001): Francuski arhitekt Eksper i Ar-Deko u
Beogradu, Naslee, 3, str. 67-83.
Kadijevi, A. (1997): Jedan vek traenja nacionalnog stila u srpskoj
arhitekturi (sredina XIX-sredina XX veka). Beograd: Graevinska
knjiga.
Krekic, A. e Messina, M. (2008): Armeni a Trieste tra Settecento e
Novecento. Limpronta di una Nazione. Catalogo. Trieste: Comune
di Trieste Editore-Civici Musei di Storia ed Arte.
Manevi, Z. (1976): Zlokoviev put u modernizam, Godinjak grada
Beograda, XXIII, str. 287-297.

Manevi, Z. (1989): Zlokovi. Beograd: Institut za istoriju

umetnosti i Muzej savremene umetnosti.
Mitrovi, M. ur. (2007): Svetlost i senke. Kultura Srba u Trstu.
Beograd: Clio.
Morvanszky, . (1998): Competing Visions: Aesthetic Invention
and Social Imagination in Central European Architecture, 18671918. Cambridge, Mass.: MIT Press.
Nestorovi, B. (2006): Arhitektura Srbije u XIX veku. Beograd: Art
Press.
Pavlovi, K. (1973): Prilog za monografiju vajara ivojina Lukia,
Zbornik VII Narodnog muzeja, str. 89-103.
Pavlovi-Lonarski, V. (2007): Kua Riste i Bete Vukanovi (Kua sa
plavim perunikama), Naslee, 8, 51-60.
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Un secolo di architettura. Trieste: MSG Press.
Rossi, A. (1982): The Architecture of the City. Translated by Diane
Ghirardo and Joan Ockman. Cambridge, Mass.: MIT Press.
Roter-Blagojevi, M. (2006): Stambena arhitektura Beograda
u 19. i poetkom 20. veka. Beograd: Arhitektonski fakultet
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Architectural Historians, 47, no. 4: 351-373.

13

UDK:72.036.7
ID BROJ: 192032012
, DOI: 10.5937/arhurb1234014A

*
: 2012, : 2012.

Expressionism as the radical creative

tendency in architecture

,

.
,

. ,

XX
( ),

,
, . ,


.
,
,
,


- .
: , , ,
, ,

Summary
The concepts of expression, expressiveness and expressionism
present the key terms on which contemporary architectural
and artistic works are based. Although these are essential
esthetic categories, the explanations of these concepts are not
clearly defined in scientific and theoretical texts. When the
term expressionism is mentioned, it often implies the stylistic
direction in architecture and the arts, which was created and
lasted until the beginning of the XX century in northern Europe
(especially in Germany and the Netherlands), and in which the
artists have twisted the reality with exaggerated and energetic
strokes to express their inner visions, ideas or emotions.
However, contemporary theoretical discussions in the arts and
architecture point to the manifestation of expressionism in
other periods and contexts as well. The basic aim of the text is a
critical discourse of interrelations among esthetic categories of
expression, expressiveness and expressionism; reexamination
of their positions and roles in the system of visual expression,
as well as the examination of the starting hypothesis in
research, according to which expressionism in architecture is
a radical creative tendency with distinctive choleric-sanguine
characteristics.
Key words: expressionism, expression, expressiveness, visual
expression, architecture, art.

14

, ...
e-mail: djordje.alfirevic@gmail.com

 , 34/2012/ 14-27/

Introduction

XX
(Herbert Read)
,
. ,
,
,

(Read, 1957). .

.

,

, . .

By the mid-20th century, the art critic Herbert Read set the
thesis by which art is the emotional expression of certain states
of intuition, perception or emotion of an individual. By further
analyzing this thesis in his works, he makes a bold statement
by which realism, idealism and expressionism are not separate
movements in art, but represent constant basic factors in all
the arts (Read, 1957). The opinions of H. Read have enabled
the reexamination of previous interpretations of certain stylistic
directions and phenomena in architecture and the arts. To place
the phenomenon of expressionistic creativity into an appropriate
context and to understand its essence, it is necessary to analyze
beforehand the general esthetic categories to which it belongs,
i.e., expression and expressiveness.

Expression

.
: 1)
; 2) ,
.; 3) ,
.; 4)
; 5) , , , .
; 6)
. ,

. ,
,
.

(, 2004):

The main problem in the critical analysis of the theoretical

interpretations of the concept of expression lies in the fact that
the concept of expression is used in different ways in different
fields of science and art. Regarding the concept of expression,
the following interpretations can often be found: 1) an activity
or way of transforming an idea into words; 2) showing emotions,
feelings etc; 3) conveying emotions by way of music, images etc;
4) facial expression showing mood or emotion; 5) choice of words,
phrases, syntax, intonation etc., in communication; 6) a specific
phrase commonly used to express something etc. In the widest
sense, the concept of expression refers to the activity undertaken
with a specific intention. However, what is the aim of expressing
something will depend on the field in which the term is used. In
his article, gives an overview of the applications
of the concept of expression in different scientific and artistic
fields (, 2004.):

,
,
,
,

, , ...

, .
.
.
, , .
/ .
.

1.

Field of application

rendition / interpretation

architecture, visual arts and sculpture

literature, linguistics
theater, dance and film arts
esthetics, philosophy
psychology
genetics, medicine, biochemistry...

expressing thoughts and feelings with spatial, formative and visual means.
manner and form by which thoughts are expressed in words.
expressing emotional states by body gestures and facial mimics.
intensity of expressing emotional content, which is clear, striking and personal
verbal/non-verbal behavior caused by a specific emotion.
process in which information from genes is used in biochemistry.

Table 1.
Use of the concept expression in the field of science and arts.

15

 , 34/2012/ 14-27/

, . (Benedeto
Croce), . (Regina Wenninger), . .
(Robin George Collingwood) . (John Dilworth). .
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,

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(Julio Carlo Argan) 1770
19702000. ,
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,

, XIX XX
. ,
, ,
.
. (Jenefer Robinson)

, : 1) ,
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).
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16

1
2
3
4
5
6

. , . (1934)
Wenninger. Individual Style after the End of Art. (2005), p. 105-115.
Collingwood. The Principles of Art. (1958), p. 109-111.
Dilworth. Artistic Expression and Interpretation. (2004), p. 10-28.
. 1770-1970-2000. (1970). . 184.
Robinson. Expression and expressiveness in art. (2007), p. 19-41.

. 1.
.

Fig. 1.
Expressionistic manifestation by architect Daniel Libeskind
infusion of sharp-angled and tilted architectural forms.

 , 34/2012/ 14-27/

Speaking of expression in the fields of esthetics and art theory,

it is important to give the opinions of: Benedeto Croce, Regina
Wenninger, Robin George Collingwood, and John Dilworth.
Speaking of art, B. Croce makes no difference between expression
and art, but tells that in the basis of every artistic expression is
intuition as an authentic form of artistic knowledge. According
to him, it is impossible to separate intuition from expression in
the learning process. The former appears simultaneously with
the latter; in the same period and the same process, because
they are not two, but one.1 R. Wenninger believes that the artists
when expressing their way in which and how they observe the
world, they do it spontaneously and directly. A direct relation
between the artist and his style involves two aspects: firstly, style
is not something learnt; secondly, personal style is something to
which the artist is in some way blind or unaware of.2 For R.G.
Collingwood, expression is an unconscious artistic activity of
expressing for which there can be no technique.3 He believes that
when a person says that they are expressing an emotion, they are
conscious of their experiencing of emotion, but not conscious of
what kind of emotion is in question. This person is aware of the
excitement they are feeling, but not sure of its nature. While in
this state, all that they can tell of their emotions is: I feel, but
I do not know what I feel. They exit from this state by doing
something known to us as expressing. In criticizing Collingwoods
views, J. Dilworth offers a counter-thesis by which the concept of
expression is not adequate for the process of artistic creation. He
considers the key factor in the revival (considering the concept of
expression) to be the substitution of the concept expression with
the concept interpretation. What artists really do is interpreting,
not expressing their original emotions and they do it in creative
ways that can by far exceed their initial impulses.4
From the viewpoint of visual arts, in his book
1770-1970-2000, Julio Carlo Argan presents his
opinion, according to which expression is that opposite to
impression. Impression moves from the outer towards the
inner world; reality (object) is imprinted into the consciousness
(subject). Expression moves into the opposite direction, from
the inner towards the outer world, the subject supersedes the
object.5 Argans interpretation points to the artists activity, which
is undertaken in an action towards the surroundings, with a free
expression of thought, will or emotion during the creation of a
work of art. In Argans formulation, the emphasis is primarily on
the antithesis of the concepts of expression and impression, which
is at the same time one of the main differences, when comparing
the artistic movements of Impressionism and Expressionism
at the end of XIX and the beginning of XX century. The relation
subject versus objectis also in question, as an activity, not
as a characteristic, which can be understood as an expressive
propertyof the object.

Jenefer Robinson, in the article xpression and expressiveness in

art, states that expression is a form of behavior, which: 1)refers
to someone who is experiencing emotions, and 2)manifesting
or revealing emotions in a way that others can notice their
emotions in their behavior. Expression is basically something
which protagonists or imaginary protagonists (having in mind
artists, narrators or characters) do (or what is imagined that they
do). Artists may not be able to know beforehand which emotion
their finished work will express, but they usually know that they
are writing a poem or creating a picture that will express their
emotions in the best possible way. Their intention is also to
express emotions that will be visible or that can be heard in the
artistic work itself.6 Although this is a general interpretation of
the concept, the author realizes the duality of expression, as an
activity that can be consciously and unconsciously taking place,
i.e., with a specific aim of conveying emotions further towards the
surroundings, or without any tendencies in making any kind of
interaction with the surroundings.
With a critical evaluation of opinions from the above-mentioned
statements, it can be concluded that expression is a general
esthetic category that implies a conscious and unconscious
activity of the artist and it takes place with the aim of a clear and
authentic expression of thought, emotion or feelings towards
the objects in the surroundings. Thereby, expression represents
a unique, recognizable pattern of expressing thought, emotion
and feeling, which needs to be repeated several times in order to
be called a personal expression of one artist. Among well-known
global artists, who have a formed personal expression (authentic
expression), can be listed: F..Gehry, D. Libeskind, Z. Hadid, .
Botta, S. Calatrava, T. Ando, team SANAA and others.

17

1
2
3
4
5
6

. , . (1934)
Wenninger. Individual Style after the End of Art. (2005), p.105-115.
Collingwood. The Principles of Art. (1958), p.109-111.
Dilworth. Artistic Expression and Interpretation. (2004), p.10-28.
. 1770-1970-2000. (1970). .184.
Robinson. Expression and expressiveness in art. (2007), p.19-41.

 , 34/2012/ 14-27/

.
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. , ,
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).7 ,
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18

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Fig. 2.
Expression and expressiveness
- Subject (artist)
- Object (art work)
- Observer (percipient)

.
,
,
, 7 . . (2004),
. 25-61.
.
8
, Robinson. Expression and
expressiveness in art. (2007), p. 19-41.
. ,
9
Tolstoy.
What is art?. (1955), p. 506.
, ,
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/Visual Exspression in

Architecture. (2011), . 3-15.

 , 34/2012/ 14-27/

Expressiveness
The concept of expressiveness is very often identified with the
concept of expression. If the concept of expression is primarily
understood as an activity or pattern, then the concept of
expressiveness would imply the property of the object. In his
article Expressiveness, B. Toovi defines expressiveness as
a category of stylistics, linguistics, literature, art, esthetics,
logic, psychology and genetics, which on the linguistic level
includes formal, semantic, functional and categorical units in
their homogenous and heterogeneous relations that reflect
and express a unique subjective, emotional and/or esthetisized
relation between A (sender, author, speaker) and B (addressee,
recipient) or C (subject, message content).7 By the concept of
expressiveness he means the property or group of qualities, which
reflect a specific relation between the sender and the recipient
or object. Jenefer Robinson arrives at a similar conclusion when
she makes an absolute distinction between the concepts of
expression and expressiveness. In her opinion, expression is the
relation between an art work (expression) and a person who is
expressing oneself, who is an author or an imaginary protagonist,
narrator or character (character from a work of art). Contrary to
this, expressiveness is a relation between expression and the
public with whom it communicates.8
Leo Tolstoy, in his article What is Art? gives a simplified
interpretation of expressiveness when he says that art is a human
activity reflected in the fact that an individual consciously, by
means of specific external signs, conveys to the others the feelings
he/she has experienced, so that they are infected by these feelings
and they experience them.9 Criticizing Tolstoys stance, Gordon
Graham gives his opinion on expressionism, as a viewpoint
according to which art works resonate emotions, but are not a
real expression of emotion. He says that for every work of art it
can be claimed that: 1) the catalyst for the creation of an art work
is any kind of emotional experience, 2) its reception has created
an emotion with the public, and thereby, 3) still, it is untrue that
the emotion was contained in the mentioned work of art. The
expressionist theory in art emphasizes that if a certain feeling can
be ascribed to one work of art, then that work is an expression of
that feeling, and understanding that work amounts to a specific
recognition of the feeling in question.10

G. Grahams view points to the main difference between

expression as a unique pattern by which the psychological
structure of the artist is externalized, and expressiveness as a
group of characteristics of an artists individual creations, which
can be experienced and understood in different ways; the works
do not have to be in any direct relation with the psyche and
temperament of the artist. Whether one architectural work will
be experienced and characterized in a certain way, i.e., what kind
of traits will be attributed to it during its experience, will greatly
depend on the psycho-physical state, perception and affinity of
the observer, which primarily belongs to the field of research of
art psychology.
Significant results in the empirical research of expressiveness in
architecture have been achieved in the researches by S.Markovi
and Dj. Alfirevi,11 where it was concluded that there are four
basic categories of expressiveness, and most of the examinees
polarize into two diametrically different visual categories,
which have been named in the research as choleric-sanguine
and phlegmatic-melancholic expressiveness.12 Results of this
research are significant because they show that there is a high
level of consent between the examinees in their perception
and critical evaluation in experiencing the expressiveness of
architectural objects, and that there are generally two antipodes
in architectural creation the expressionistic and minimalist
tendency. On one hand, there is a group of architectural creations
with a distinctly energetic and aggressive character (mainly
expressionistic and deconstructive objects); while on the other
hand there are reduced and ultimately abstracted solutions
(examples of modernism and minimalism).
Summarizing the given conclusions regarding expressiveness, it
can be said that expressiveness in architecture is a property or
group of attributes of one architectural work, which establish a
specific relation between architectural expression and the users,
i.e., the public with whom the work communicates. It is necessary
to emphasize that expressiveness is not only characteristic of
architectural and art works, but it is in direct relation with natural
forms and other phenomena that can be perceived and which,
by their nature, initiate certain states of emotional alertness and
responses to experienced conditions.

19

. . (2004), .25-61.
Robinson. Expression and expressiveness in art. (2007), p.19-41.
9
Tolstoy. What is art?. (1955), p. 506.
10
. : . (2000), .42.
11
, .
. (2012), . 23.
12
. /Visual Expression in Architecture.
7
8

 , 34/2012/ 14-27/

. 3.
13
Fig. 3.
Polarization of expressive categories in architecture13

,

.

(
),
(
).
,

,

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,

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20

,
.
, .

, XX ,
,
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. . (James
Stevens Curl), . (Alan Higgins), . (Jonathan

Harris), . . (Giulio Carlo Argan), K. (Kim Sohee)

. ,
,
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1905. XX .
1850.
Taits Edinburgh Magazine,
.14
XX ,

.
,
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, :
( , 1934) :
( , 1957),
( , 1962),
( , 1966),
(, 1969),
( , 1973),
(, 1975), (, 1978),
- ( , 1978),
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(, 2002).


,
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, , a
.15

. : XXI (2008),
. (2011), O svestlosti u arhitekturi minimalizma (2010).
14
Palmier. . (1995). . 14.
15
Pehnt. Expressionist Architecture. (1973), p. 8.

13

 , 34/2012/ 14-27/

Expressionism
Analyzing theoretical approaches in understanding the concept
of expressionism, two basic interpretations of this phenomenon
can be singled out. The differences that appear between them,
based on the width of its understanding, i.e., on whether
expressionism is observed as a stylistic direction in architecture,
which appeared and lasted until the beginning of the XX century,
or represents a permanent, basic factor of all stylistic directions
and all the periods.
The first and, at the same time, the most common interpretation
in scientific and professional literature is advocated by critics
such as James Stevens Curl, Alan Higgins, Jonathan Harris, Giulio
Carlo Argan, Kim Sohee and others. The interpretation is based
on the opinion that expressionism, in its most narrow sense, is
an art movement originating in northern Europe (especially in
Germany and the Netherlands) around 1905, and that it lasted
until the end of the third decade of the XX century. The earliest use
of the concept expressionism is linked to the year 1850 and the
dictionary of art criticism Taits Edinburgh Magazine, where the
term is used for new trends in modern painting.14After a pause
of 25 years, expressionism in architecture has reappeared in its
neo-variant in the mid-60s of the XX century, as a reaction to the
already widespread modernism in the world.
Since the birth of the movement, many authors have dealt with
this topic. Among the most important texts and studies on the
subject of expressionism that can be listed are: an essay by Georg
Lukacs (xpressionism Its Significance and Decline, 1934) and
books Peter Selz (German Expressionist Painting, 1957), Pierre
Garnier (German Expressionism, 1962), Dennis Sharp (odern
Architecture and Expressionism, 1966), Bill Groman (xpressionists,
1969), Wolfgang Pehnt (xpressionist Architecture, 1973), Tim
Benton (xpressionism, 1975), John Willet (xpressionism, 1978)
Jean-Michelle Palmier (xpressionism as Rebellion, 1978), Vittorio
Gregotti (xpressionism, 1986), Donald Gordon (xpressionism
Art and Idea, 1987) and Elger Dietmar (xpressionism, 2002).
In art, the concept of expressionism referred to the artists activity
who distorted reality through exaggeration, energetic and visible
brush strokes and loud colors, with the aim of expressing artistic
ideas or emotions. In architecture, expressionists did not deal
with emphasizing function, but with creating free, powerful,
sculptural forms, often crystal-like, and sometimes with sharp
angles and in the form of stalactites. 15
Like expressionist painters, expressionist architects were not
organized into groups, with unique programs and activities.
Most of the architects, who entered the field of expressionism,
have created in such a way only during a short period of their

development, although it often proved to be the highlight of their

careers.16 Expressionism was a radical form of art, completely
different from the previous forms of artistic expression. It is linked
to extreme emotional states of the mind like agitation, agony and
anxiety. One of the most characteristic aspects of Expressionism
is destroying artistic borders in art. Expressionists approach art in
such a way as to activate emotional states in observers.17
Douglas Kellner, points to the fact that the forerunners of
German expressionism come from various countries, and that
expressionism in art has had a strong influence throughout
Europe and USA. Not only did Germans turn to the irrational and
primitive in art. However, in addition to the fact that he thinks
expressionism should be observed as an international artistic
tendency, for him expressionism was primarily linked to German
tradition.18
Such opinions indicate the existence of expressionism as an
artistic movement in architecture and other arts, which appeared
and lasted during a brief period and was characterized by clearly
determined stylistic characteristics. According to them, all art
and architectural works created in the period at the beginning
of the XX century, and which possess stylistic characteristics
of expressionism, can be called expressionistic. However, the
disadvantage of such an interpretation is the impossibility of
interpreting all those works created before and after this period
and with expressionistic characteristics. 19
Adolf Behne has already hinted at the possibility of a timeless
interpretation of expressionism in his introductory lecture
during the opening of the exhibition New Strum Exhibition
held in 1914. Then, he stated that artists of our time, meaning
expressionists from the beginning of XX century, do not see their
models for creative work in the art works of earlier artists. Not
even a trace of archaicness exists in their art. Still, they recognize
Gothics as the real forerunners. What unites them is their love of
expression. Nothing else is implied under expressionism. Builders,
sculptures, painters, and Gothic masters are expressionists, like
Egyptians or Ancient Greeks had been in earlier times. However, this
also refers to the work of contemporary architects such as: . Gaudi
(Casa Mila, Casa Batllo, Park Guell etc.), F. Shevalla (Ideal palace),
H. Scharoun (Berlin Philharmonic Hall), E.Sarinena (TWA Terminal
JFK Airport), Le Corbusier (Notre Dame du Haut, Philips Pavilion),
Hundertwasser (Hundertwasser house, Waldspirale), F. Gehry
(Guggenheim museum, Nationale Nederlanden Building) etc.
Elger Dietmar and Jean-Michel Palmier believe that, in the field
of visual arts, there are certain obscurities and incompleteness
regarding the term expressionism, because it can be understood
on several different levels and it still has not been precisely
defined.20

See the works by .: XXI (2008.),

- . (2011.), O svestlosti u arhitekturi minimalizma (2010.).
14
Palmier; . (1995). p.14.
15
Pehnt. Expressionist Architecture. (1973), pp.8.
16
Gregotti. Expressionism. (1986), p. 92-95.
17
Sohee. The Study of the Relationship between Arnold Schoenberg and Wassily Kandinsky During Schoenbergs Expressionist Period. (2010), p.2.
18
Kellner, Douglas. Expressionism and Rebellion. (1983), p.3-39.
19
Pehnt. Expressionist Architecture. (1973)
20
Dietmar. Expressionism. A Revolution in German Art. (2002). p. 7
13

21

 , 34/2012/ 14-27/

,
,
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,
,
.16
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.

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New Strum Exhibition
1914. .,
.
, XX
,
.
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.
.
. , ,
,
. ,
: . (Casa
Mila, Casa Batllo, Park Guell .), . (Ideal palace), .
(Berlin Philharmonic Hall), . (TWA Terminal
JFK Airport), (Notre Dame du Haut, Philips Pavilion),
(Hundertwasser house, Waldspirale), .
(Guggenheim museum, Nationale Nederlanden Building) .
. (Elger Dietmar) . . (Jean-Michel
Palmier)

,
.20

,
.


, , .21

22

Gregotti. Expressionism. (1986), pp. 92-95.

Sohee. The Study of the Relationship between Arnold Schoenberg and
Wassily Kandinsky During Schoenberg's Expressionist Period. (2010), p. 2.
18
Kellner. Expressionism and Rebellion. (1983), pp. 3-39.
19
Pehnt. Expressionist Architecture. (1973).
20
Dietmar. Expressionism. A Revolution in German Art. (2002). p. 7.
21
Palmier. . (1995). . 13.
16
17

. 4.
(A.
Gaudi Casa Batllo, Hundertwasser Hundertwasser
house, F. Gehry National bank, H. Scharoun Berlin
Philharmonic Hall, Le Corbiseur Notre Dame du Haut)

 , 34/2012/ 14-27/

For Palmier, expressionism is not only an art movement, but a sensibility and global
vision with hopes, dreams and hatreds. It has marked all forms of art, and broken them
in order to unite them again into odd artistic creations where the fact that someone
is an expressionist is ultimately more important than the fact that they are painters,
sculptures or playwrights.21
The most radical and broadest interpretation of the concept of expressionism is given by
the critic Herbert Read, who in his books22 has established a thesis that expressionism can
be considered as a steady, basic factor in all the arts that have over time brought it to the
surface. According to Read, the term expressionism is used in defining art works in which
the reality is distorted in order to express artistic emotions or inner visions. For example, in
painting, the emotional influence is emphasized by the use of intensive colors, distortion
of shape etc.23 Read finds that the concept of expressionism is of primary significance,
such as the concepts of idealism and realism, and not of secondary importance like
the word impressionism; as well as that it defines one of the basic ways of perception
and representation of the world around us. He also states that depending on the sociopolitical, cultural-historical and other circumstances, the expressionistic elements occur
from time to time in other styles, such as: cubism, fauvism, abstract expressionism,
informel etc.
Like Read, the theoretician Gill Perry finds that the term expressionism as a stylistic
definition was often used in art to implicitly define the quality/level of distortion or
exaggeration in form, in the works of any artist from any period.24 The opinions of H. Read,
D. Kellner and G. Perry are significant because they indicate the existence of expressionism
as a permanent, basic factor in all styles and all periods; it allows the possibility of
explaining also the appearances that have the elements of expressionism, and which
do not belong exclusively to the expressionistic movement from the beginning of the XX
century.
Similarly to Read and Perrys thoughts on art, in his books, Charles Jencks also points to
the existence of cyclical appearances in architecture as well. According to Jencks, three
basic groups of architectural tendencies are evident; they occasionally appear in courses
of history: traditionalist, rationalistic and creative.25
Under creative (intuitive) tendencies, Jenkcs means examples of: art-deco, expressionism,
secessionism, fantastic architecture, organic architecture, neo-expressionism,
deconstructivism etc.

23

Figu. 4.
Expressionism in other stylistic trends (A.Gaudi - Casa
Batllo, Hundertwasser - Hundertwasser house, F.Gehry
- National bank, H.Scharoun - Berlin Philharmonic Hall,
Le Corbiseur - Notre Dame du Haut)

21

Palmier. . (1995). p.13.

Read. Art Now. (1933) in Education Through Art. (1954).
23
Read. The Thames and Hudson Dictionary of Art and Artists. (ed. 1966, 1985 and
1994), p.128.
22

 , 34/2012/ 14-27/

. , 22
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(Taut), (Mendelsohn)
(Poelzig)).
XX , ,

Read. Art Now. (1933) Education Through Art. (1954).
Read. The Thames and Hudson Dictionary of Art and Artists. (ed. 1966, 1985
and 1994), p. 128.
24
Perry. Primitivism, Cubism, Abstraction: The Early Twentieth Century.
Primitivism and the Modern. (1993). p. 62-81.

, .26
, , ,

.
,
XX :
(Hans Scharoun), (Hugo Haring)
(Erih Mendelsohn).

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. . (1986), . 75.
27
Jencks. The New Expressionism, in Architecture Today. (1993), p. 222-229.
28
Higgins. Architectural Movements of the Recent Past. (2010).

22

25

23

26

 , 34/2012/ 14-27/

When he speaks of expressionism, Jenkcs states that it is a utopian movement from the early 20s, which had clearly adopted
specific anarchist ideals, behind which the great expressionist architects were lining up. However, the realization of these ideas in
practice did not go very far, that is why there are very few expressionistic buildings that had actually been constructed (except for
the works of Taut, Mendelsohn, Poelzig and Haring). Jenkcs feels
that when expressionism reappeared in the 60s of the XX century, in the form of fantastic architecture, its earlier political and
ideological roots have already been dissolved, and then it represented just one of the significant movements in the history of
architecture.26 On the other hand, new expressionism according
to Jenkcs, started appearing in architecture in the late 70s, simultaneously with similar movements in the art world. In both cases,
the inspiration came from the works created in the 20s of the XX
century: in the architecture of Hans Scharoun, Hugo Haring and
Erih Mendelsohn. Behind the concept new expressionism is the
perception of architecture as a naturally expressive medium, freed
of conventional codes. Its central idea is that there is a primitive,
unconscious language available to everyone who makes an effort
to feel the power of pure form, light and conventional materials.27
Similarities between interpretations show that there is a general
consensus on what basically represents the essence of the concept of expressionism. All the authors agree that it is a radical
form of architecture and art, whose aim is authentic expression
of the inner world - vision, emotion, thought and feeling. Differences in interpretation indicate that there is a serious conflict
of opinions regarding the understanding of the broad interpretation of the concept; because ever since the first promotion of the
concept of expressionism until the present, there has been a lot
of controversy about its interpretation. It is indisputable that expressionism in architecture is a creative tendency whose aim is to
express the emotion, thought and vision of the artist in a radical
and authentic way, by means of an extreme approach to architectural formation and articulation. However, a question is raised,
what are the creative principles of expressionism in architecture,
i.e., based on which criteria it can be said that an architectural
work is expressionistic?

4)emphasis on constructive elements, 5)distortion of form for

purely emotional reasons, 6)deviation from functional qualities
due to stylistic expression, 7)fragmented lines and 8)absence of
symmetry.28
The above-mentioned principles still represent only one part of
the manifestive side of expressionism. When the phenomenon of
expressionism is analyzed in greater detail, it can be concluded
that there are two manifestive categories spontaneous and
conditioned expressionism. Spontaneous expressionism is
created by the externalization of the artists psychological structure
towards his/her work, regardless of the surrounding conditions
(context). Spontaneous expressionistic art works are very similar
by their manifestation (examples of the works of architecture Z.
Hadid, F. Gehry and D. Libeskind), which brings them to a close
relation with the category of expression, to which they belong
as well. On the other hand, the conditioned expressionism is
created when conditions are made for its manifestation, i.e.,
when the art work is not a direct externalization of the artists
character, but it is conditioned by the surrounding influences.
Contextual reaction to certain surroundings can be completely
expressionistic (example of objects built on acute-angled lots and
which are regardless of stylistic determiners of architecture, by
their character expressionistic, because the very location leads to
architecture of sharp angles).
Therefore, it is very important to stress that there are architectural
works that can be filed under the concept of expressionism,
even though they are not a direct product of expressionistic
creativity. Examples of such art works belong to the category
of expressiveness, because they appear as individual creations
of architects, who were motivated in specific moments and in
certain locations to make a unique expressionistic work of art.

Few historians of architecture and art have dealt with the analysis
of expressionistic principles. Still, there are certain opinions
about what makes one architectural work expressionistic. Alan
Higgins s opinion is significant, and according to it, the primary
aspects of an expressionistic work in architecture are: 1) curved/
angular concrete and/or brick walls, 2) dramatic, irregular
forms and a tendency to avoid the rectangular shape and right
angle, 3)attitude towards architecture as if it were a sculpture,

Perry. "Primitivism, Cubism, Abstraction: The Early Twentieth Century. Primitivism and the Modern (1993), p.62-81.
Jencks. . (1986).
26
Jencks. . (1986), .75.
27
Jencks. The New Expressionism, in Architecture Today. (1993), p.222-229.
28
Higgins. Architectural Movements of the Recent Past, (2010).
24
25

25

 , 34/2012/ 14-27/

. 5.
(Jewish
museum, Berlin D. Libeskind (), Chilehaus,
Hamburg Fritz Hger ())

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26

Fig. 6.
Attitude of expressionism towards expression
and expressiveness

 , 34/2012/ 14-27/

Fig. 5 .
Spontaneous and conditioned expressionism
(Jewish museum, Berlin D.Libeskind (left),
Chilehaus, Hamburg Fritz Hger (right)

Conclusion
The concept of expressionism is very close to the concept of expression. Both concepts
reflect expression of thought, vision and emotional content by means of a specific artistic
medium. The difference lies in the fact that the idea of expressionism refers to only one
part of the field of expression, which is radical and aggressive (choleric-sanguine). Besides
expressionism, expression includes all those examples of artistic expression, which are
extreme, but reduced and non-violent (phlegmatic-melancholic) by their character
(minimalism). Expressionism is a radical creative tendency in architecture, whose aim
is authentic expression of thought, emotion or feeling of the artist by means of an
architectural work, which as a medium establishes a specific relation between architectural
expression and the public (users) with which the work of art (architect) communicates.
Expressionism possesses the characteristics of expression and expressiveness, and appears
in two manifestive categories - spontaneous and conditioned expressionism.

/Literature
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Arhitektura i urbanizam 31, 3-15.
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27

UDK: 7.038.5:711.4
ID BROJ: 192032524
, DOI: 10.5937/arhurb1234028D

*, **
: 2012, : 2012.

CONTEMPORARY ART IN PUBLIC-POLITIC URBAN SPACE

[]
,
. 1 (Rosalyn Deutsche)

,
,
,

,
.

.

,
.
, ,
.

,

.

, 2008.
, 10

,
.

28

bstract
()The discourse about public art is itself a political site a
site, that is, of contests over the meaning of democracy and,
importantly, the meaning of the political. Rosalyn Deutsche
The text is researching the significance of art compositions that
are presented in unconventional way, outside of museums and
galleries, displayed in the urban public spaces and specially
dealing with criterias for evaluation and final election of
appropriate locations and modern art masterpieces, their
compatibility and forming special and unrepeatable ambients.
Analize is about the most suitable public spaces, which deserve
or need art interventions. It gives overview of different critique
attitudes connected with choise of art peaces, interpretation
of their value and symbolism, as reaction of the citizens. No
matter if their character is permanent or temporary art subjects
can fundamentally change appereance and nature of space,
give it new dimension, or design it in the different manner. The
fact is that the public space is actually the politic realm, so all
interventions require certan steps, from iniciatives to decisions
making and realization. As case study of procedures is stated
example of work of Commission for sculptures of Belgrades
City Assemble, that started in 2008, with a task to elect 10 art
compositions and to opt for becomingly exibition locations, with
verification of all urbanistic or technical possibilities.
Key words: public space/realm, art, urban design, criteria,
political procedures, citizens

: , , ,
, ,
* , . . .,
natasa.danilovic@urbel.com
** , . . .,
marta.vukotic@urbel.com
1
,
.

 , , 34/2012/ 28-41/ -

,
(Public Art)
(Street Art) ,
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1980). ,
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.

. 1.

(2. 2008)
Fig. 1.
Masterpieces of Goya, passing by on truck, on
streets of Madrid (2nd May 2008)

. 2.

2 , (. Dos de Mayo),
,
1808. .
(Francisco Goya 2. 1808. ,
, 3. 1808. ,
),
1814. , .
, .

3 ( 4. 07. 30. 09. 2011), 33

18. 19. ,
20. .
,
, ,
, ,
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.

29

 , , 34/2012/ 28-41/ -

. 3.
, (Joan
Mir), ,
(, 2007)
Fig. 3.
Intervention in pavings, author Joan Mir, La
Rambla, Barcelona (reconstruction, 2007)

,
.
,
,
, ,
, ,
(Roberts, 1998).

,
, 4
-
(Boudrrillard, 1985).

PUBLIC ART

30

( )
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(, , , ),
. Public art
,
,

,
( , 2000).

,
,
.
, (Sharon
Zukin)

. 4.

(Louise Bourgeois
(Guggenheim),
Fig. 4.
Sculpture Maman author Louise Bourgeois,
infront the Guggenheim Museum, Bilbao

(Zukin, 2004).

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et al, 2003):
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31

. 5.
,
. ,
(Viktor Hulk), 1997,
Fig. 5.
Inspired by people and their professions/dedications, habits
or blemishes. Ingenious and unexpected observer form street
shaft, author Viktor Hulk, 1997, Bratislava.

 , , 34/2012/ 28-41/ -
. 6.
,
, (Juraj
Meli),
Fig. 6.
Scultupe of Napoleon, resting on the bench, onsquare infront
French Embassy, author Juraj Meli, Bratislava.

, ,
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.

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. 8.
, (Flix
Hernando), 2001,
Fig. 8.
Street cleaner, author Flix Hernando, 2001, drid.

32

. 7.
, (Radko Mauha),
.
.
Fig. 7.
Paparrazo photographer, author Radko Mauha, Bratislava. These
sculptures , because its human scale and accessibility are favorable
among citizens and tourists.

. 9.
(WE) (Jaume Plensa),
7. 30. 2009.
Fig. 9.
WE, author Jaume Plensa, displayed in Prague

 , , 34/2012/ 28-41/ -

. 10.
,
(Jonathan Borofsky), 1997, ,
.
.
Fig. 10.
Molecular man, uthor Jonathan Borofsky,
1997, Berlin, on Spree River. Both sculptures are
inspired by human body and usings light efect.

,
,
.
- ,
, ()
,
5 (, 2011).

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.

. 11.
(Puppy),
(Jeffrey Koons), 1997,
, . ,
,

Fig. 11.
Flower sculpture Puppy, author Jeffrey Koons,
1997, infront the Guggenheim Museum, Bilbao.
Unussual, oversized, different interpretation
and materialization

33

5 1991.
,
, 1945. .
70
, .

 , , 34/2012/ 28-41/ -
. 12.
(Fish) , .
(Frank Gehry), 1992, ,

Fig. 12.
Fish, construction, Arch. Frank Gehry, 1992,
Olimpic port, Barcelona.

. 13.
(Gambrinus, La Gamba)
(Javier Mariscal),
.
Fig. 13.
Gambrinus, La Gamba, author Javier
Mariscal, Barcelona.

. 14.
. ,
(David ern), 1999, ,
Fig. 14.
St Venceslas riding dead horse, author David
ern, 1999, pedestrian corridor, Prague.

34

,
.
.

, .
. ,
, . (
) ,
. , ,

 , , 34/2012/ 28-41/ -
. 15.
,
. (Peter
Eisenman), 2005,
Fig. 15.
Holocaust Memorial, Arch.
Peter Eisenman, 2005, Berlin.

. 16.
(
),
(Brigitte Matschinsky-Denninghoff,
Martin Matschinsky), 1987.


.
Fig. 16.
Sculpture Berlin, authors Brigitte
Matschinsky-Denninghoff and Martin
Matschinsky, 1987. Symbolized the life
of divided city, befor the fall of the Wall
and unification of two Germanies.

. 17.
,
(Wolfgang Mattheuer), 1999, ,
XX /
/.
Fig. 17.
Century step, author Wolfgang Mattheuer,
1999, in commercial-pedestrian street in l
Leipzig, symbolizing fatal ideologies of 20th
century fashism/nacism and communism/
Stalinism.

,
(Macphee, 2002). ,
,
, .
,
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,
(Duque, 2001).
,
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. ,
, . ,
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.

35

 , , 34/2012/ 28-41/ -
. 18.
( ),
. (Carl Fredrik Reuterswrd), ,
1999, , .
1980.
, ,

, , , ,
, , .
Fg. 18.
Non violance (or knotted gun), author Carl Fredrik
Reuterswrd, replic, 1999, cape Town, South Africa.
Original monument was erected in 1980 infront building
of United Nations in New York, as present of Government
Luxembourg, and rest two originals are in Malme and
Luxembourg, and coppies in Berlin, Liverpool, Kae,
Lousane, Maimi, Stochlom and Gethebourg.

36

. 19.

(Yitzhaka Rabina) 4.
11.1995. .
16

.
Fig. 19.
Monument on place of assassination of Israeli
Prime Minister Yitzhaka Rabina, 4.11.1995.
in tel Aviv. Uneven stone panels 16 bazalt
peaces from Golan Heights, represent political
earthquake as consequence of assassination.

. 20.
(
)
.
, 1937.

(Reina Sofia) .
Fig. 20.
Replica of the painting (wall mosaic
made by ceramic tiles), Gernica by Pablo
Picasso, in the town of the same name.
Original, from 1937 is displayed in Nationa
Museum of Reina Sofia, Madrid.

 , , 34/2012/ 28-41/ -

,
. , ,

, : 27. 1941, 1968,
1991, 1992,
1996, 1997.
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(, 2000;
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VI,
Fig. 21.
"Plod VI", author Olga Jani

38

. 22.
,

Fig. 22.
"Model urbane sklupture",
author Kosta Bogdanovi

. 23.
,
Fig. 23.
Rende, author Vladimir Peri

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 , , 34/2012/ 28-41/ -

. 24.
Monumentua Rubiali,
(Casto Solano),
2001,
Fig. 24.
Monumentua Rubiali, author
Casto Solano, 2001, Bilbao.

. 25.
(Barcelona Head)
-
(Roy
Lichtenstein), 1992,

Fig. 25.
Barcelona Head,
author pop-art artist
Roy Lichtenstein, 1992.

,
.
Public Art, .
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. 26.
(Face),
(Rick Kirby),
2007, ,
.
, 4.6 ,
Fig. 26.
Face, author Rick Kirby,
2007, Lincoln, UK. Metal
sculpture, 4.6 , on facade

. 27.
(The Traffic Light tree),
(Pierre Vivant),

(Public Art Commissions Agency),
1998.
(Canary Warf), .
.
Fig. 27.
The Traffic Light tree, uthor Pierre Vivant,
winner of the competition of Public Art Commissions Agency, 1998. Traffic roundabout
in bussines zone of Canary Warf, London.
Temporarily removed.

.
,
, .
8.
,
. ,

39

 , , 34/2012/ 28-41/ -

40

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, .

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. 28. 29.
? ? (Where are
you going? Where have you been?),
, 2004,
(Brayford
Waterfront), ,
Fig. 28. and 29.
Where are you going? Where have you
been?, intervention on the bridge, 2004,
Brayford Waterfront, Lincoln, UK

 , , 34/2012/ 28-41/ -

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urbanizam 31, str. 3-15.
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Boudrrillard, J. (1985): Sumrak znakova u Dizajn i kultura, Beograd,
SIC, str. 183.
Carmona, M., S. Tiesdell, (ed.) (2007): Urban Design Reader,
London, Architectural Press
Danilovi Hristi, N. (2010): Urbanistiko-arhitektonski elementi za
obezbeenje vieg stepena bezbednosti na javnim gradskim
prostorima, Neobjavljena doktorska disertacija, odbranjena na
Arhitektonskom fakultetu Univerziteta u Beogradu 25.11.2010.
Denegri, J. (1998): Jedna mogua istorija moderne umetnosti,
Beograd, Drutvo istoriara umetnosti
Dragievi-ei, M. (ed) (2000): Urbani spektakl, Beograd, Clio, str.
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Dragievi-ei, M. (1992): Umetnost i alternativa, Beograd,
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Duque, F. (2001): Arte pblico y espacio poltico, Madrid, Ediciones
Akal, SA
orevi, ., G. Vuji, (2010): Visual illusion of the change of
the size of architectural and urban objects observed upon
change of observers distance: parameters that influence it
phenomenologically, SPATIUM International Review 22, pp. 3846.
Eko, U. (2004): Istorija lepote, Beograd, Plato
Fajf, N. (ed.)( 2002): Prizori ulice, Beograd, Clio
Gehl, J. (2006): Life Between Buildings, Using Public Space,
Kbenhavn, The Danish Architectural Press
Irvin, K. (2000): Posmoderni trg /plaza, u: Urbani spektakl, Beograd,
Clio, str. 49-60.
Kostof, S. (1999): The City Assembled, The Elements of Urban Form
Through History, London, Thames & Hudson
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Through History, London, Thames & Hudson
Krier, R. (1991): Gradski prostor, u teoriji i praksi, Beograd,
Graevinska knjiga

Macphee, G. (2002): The Architecture of the Visible, Technology and

Urban Visual Culture, London, Continium
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Beograd, Orion art
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(2003): Gua de diseo urbano, Madrid, Ministerio de Fomento,
Direccon General de la vivienda, la arquitectura y el urbanismo
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futures, London, Routledge
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Beograd, Graevinska knjiga
Odluka o podizanju i odravanju spomenika i skulpturalnih dela
na teritoriji grada Beograda (Slubeni list grada Beograda,
3/2000), http://www.podaci.net/ , 17.02. 2012.
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02. 2012.
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(ed.): Introducing Urban Design, Interventions and Responses,
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41

* - ,
, ,
20082010. .
** , .
, .

UDK: 72.038.42
ID BROJ: 192033036
, DOI: 10.5937/arhurb1234042V

*
: 2012, : 2012.

Minimalism in architecture:
architecture as a language of its identity

,
. ,
,
()
, ,
.
, XXI
,
.
( ),
,
,
.

.
.
: , , ,
, , , , ,

Abstract
Every architectural work is created on the principle that includes
the meaning, and then this work is read like an artifact of the
particular meaning. Resources by which the meaning is built
primarily, susceptible to transformation, as well as routing of
understanding (decoding) messages carried by a work of
architecture, are subject of semiotics and communication
theories, which have played significant role for the architecture
and the architect.
Minimalism in architecture, as a paradigm of the XXI century
architecture, means searching for essence located in the
irreducible minimum. Inspired use of architectural units
(archetypical elements), trough the fatasm of simplicity,
assumes the primary responsibility for providing the object
identity, because it participates in language formation and
therefore in its reading. Volume is form by clean language that
builds the expression of the fluid areas liberated of recharge
needs. Reduced architectural language is appropriating to the
age marked by electronic communications.
Keywords: language, semiotics, architecture, minimalism,
expression, archetypical elements, wall, window, stairs

42

* , ...


dvasilski@fgm.edu.rs
dragana.vasilski@gmail.com

 , 34/2012/ 42-64/ :

. ,
. . (, 1977:78).
, XXI
,
,
, .

.
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.
[...] ,
. (, 1999:151)

. :

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2. , ,
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,
(Martin Hidegger): ,
. ,


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(, 1999:52).

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(, , ).

,
.
,

:

(Clarke, Crossley, 2000:11).

Introduction
Our age every day confirms its style. It is there infront our eyes.
Infront the eyes that can not see. (Le Korbizije, 1977:78)
Minimalism in architecture, as a paradigm of the XXI century
architecture, uses his sensibility in search for the essence and
made balance between material and spiritual, between physical
quality and abstraction, between the ordinary and the absolute.
Search for essence leads to irreducible minimum that represents
that essence. Where does one get the request to reach the
essence of things? This request he can only get from there where
it receives. He receives it from the language he speaks ... our
language-correct us and then again at the end points us to the
essence of things (Hajdeger, 1999:151).
Research in the direction of the relationship of architecture and
language, impose at the beginning many questions. For example:
how to define the architecture as a language or meaning of the
architectural language? Or, what is it that architecture can say,
and how she does it? The first and obvious identification between
architecture and language lies in their joint of semiotic1 and
semantic power2. But the architecture as a system of
communication and expression is characterized by blured images
and forms, as compared to the clarity of verbal discourse means
that the architectural significance will never have the semantic
accuracy of words - spoken or written, or, as Heidegger says: The
Language of us - at first and then again at Finally - refers to the
substance of things. However, this never means that our language
in any arbitrarily taken verbal meaning - directly and finally
supply us with the transparent substance of things, such that this
essence is subject being ready for use (Hajdeger, 1999:152).
In order to clarify the intricate relationships between architectural
and linguistic signs, we can start with a clear distinction between
language, which is a way of communication, and text that
represent content and meaning. The text consists of semantics,
the content understandable to everyone in the community, and
pragmatic implications arising from the more educational
awareness of the text. This research is related to the establishment
of analogies between the basic elements of architecture
(materials, ornaments, some other parts) and the basic linguistic
units (words, vocabulary, etc.).
A simple language of minimalism is the language witch semantics
everyone can recognize, but there are dialects within the
language that are holders of special social significance for users.
Another obvious, and much quoted, the identification between
architecture and language are located in areas diametrically
different from the semantic or semiotic power of language: the
structural and non-mimetic character of both discourses.

1 (. semeiotike) .
,
(, 1980 : 832). ,
(), ,
, (zoosemiotika)
.
2 (. semantikos) , (,
1980 : 832).

1 Semiotics (Greek semeiotike) fil.teaching of epicurean Filodemos in which

words are not images but only signs, signs of our ideas (Vujaklija, 1980: 832).
As a science that studies signs, it is widespread in the literature (semiology),
in spirituality, in arts, in the animal world (zoosemiotics) and as a medical
semiotics.
2 Semantics (Greek semantikos) indicating, that mean (Vujaklija, 1980: 832).

43

 , 34/2012/ 42-65/ :

44

()
, ,
.
.
[...] .
,
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[...]
,
(, 1985 : 192, 193).
,
.

, , , ,
, (, 1985: 190206).
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.
(Frank Lloyd
Wright).
, ,
. ,
,

( : ).
, ,
.
,
.
(Vitruvius)
(Horaces ut pictura poesis),
(Poetics)
(Simonides of Ceos) (Clarke, Crossley, 2000
:8).

,

.
,
,
.
, ,
, ,
(Bottero, 1967: 66).
,
,
(De Fusco, 1973:9,21).
, ,
, (Belcher,
1912 :42).

.

(lArchitecture parlante)
XVIII (Clod-Nikola Ledu).

, , ,
. ,
, (, 1991:
100). , (Etienne-Louis Boullee), ,
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, :

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(Chipperfield,
2009:102).
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, (Henry
Russell Hitchcock), (Mies van der Rohe).
(MOMA) , 1975.
(The
Architecture of the Beaux Arts),

 , 34/2012/ 42-65/ :

MOVEMENTS (style) and architectural language

Closely with words, spacious in mind, as Gorky said about
Chekhov
Architecture started emerging as every letter. She was firstly an
alphabet ... Later words was made. People piled up stones on
each other, connected those granite syllables and thus creating
the first word .... Eventually they began to write books ... And so
during the first six thousand years in the world history architecture
... represented the major letter thatserved the human race ... its
page has not only every religious symbol, but every human
thought (Hugo, 1985.:192,193). In the book Notre Dame in Paris
, Victor Hugo has a chapter titled This will kill that, in following
The book will kill the building.The writer insists that architecture
has always been a powerful carrier of messages and signs,
religious, spiritual, social, and that with the appearance of the
book, the architecture will disappear. (Hugo, 1985: 190-206.).
This is one of the best essays on architecture ever written, a sort of
melancholyc fear for the position of architecture in the new
civilizations. It is known that this text with undoubtedly spiritual
beauty exercised an huge influence on Frank Lloyd Wright.
The style is a distinctive mode of expression, the style is
expression, resulting that style is the language. In architecture,
historical styles, often bear a name that describes them, the
architectural style is sometimes identified as a potential symbol
of national identity (eg manuelan style in Portugal ....). So, when
we speak about style in architecture, we talk about the language
found in architecture.
The analogy between architecture and language is very old
but also new. It is essentially as old as Vitruvius, as Horaces
comparison between poetry and painting (Horaces ut pictura
poesis), and goes back to Aristotles poetics (Poetics) and
according to Plutarch to Simonide from Ceos. Renaissance
humanists were formed analogy, in which the quest for the canon
of architectural rules were associated with a literal imitation of
Latin artists, which are considered to be a central principle of
architectural theory.
System of communication which is complex due to the internal
relations of forming elements, represents the system of
architectural associations. Architecture talk and communicate, it
is a form of primary activities, such as the language is, on witch is
based the human society, as argued by Botero (Bottero, 1967: 66).
De Fusko brings historical studies of the relationship languagearchitecture, pointing on difference that the other arts produce
paintings, but architecture produce things (De Fusco, 1973: 9,21).
Each architectural object should tell us something, thought
Belcher, but the task remains to find out what and how, by what
means and with what effect. His idea of talking architecture
is based on the fact that the architectural details and forms are
words that should express thoughts.
The architecture that speaks (lArchitecture parlante) is a
technical term by the great eighteenth century French architect
Clod-Nikola Ledu. Ledu has claimed in his writings and in their
buildings, trying to show that every building represents a voice,
text, story, statement. Funding of this speech are of course
different sometimes clear and simplified, sometimes covert
and complex (Radovi, 1991:100). Etienne-Louis Boullee,
architect and member of the French Academy, acknowledges

the supremacy of geometry and in the Cenotaph for the English

physicist, mathematician and astronomer Isaac Newton, he
applied analogy in the symbol of a globe, the sphere itself was
the most appropriate means of expressing the Absolute with the
language of architecture (Fig. 1).
In his essay, Principles of Construction (1898) Adolf Loos wrote
that the real vocabulary of architecture lies in the materials
themselves, and that the building should remain stupid from
the outside. Radical manifesto of the modern movement involves
the rejection of 19th century obsession with the revival of
historical styles and the generation of architectural language that
was honest in its time and purpose, which reflected the
ideological and technological spirit of the early 20th century.
Wright said that every great architect is an poet at the same time,
because he must be an original interpreter of his time and his
generation. With abandonment of historical styles and forms, the
architecture had to invent a new language, a language which no
longer showed the handwork of the craftsmen, in order the
language had to show the slick world of machines, languages
that no longer reflect the limitations of design and technique, but
rather demonstrated a new technical freedom. This freedom is
portrayed not only on the facades, which stood tensely to
demonstrate their modernity, but in essence, reflecting the new
opportunities that was more suitable for the modern life. The
canonical work of Constructivist was a project of Vladimir Tatljin
for a monument to 3rd Internationale (1920), a design project that
was inspired, and the whole movement of constructivism, with
the triumph of modern technology, which what the author called
other artists to follow his example to project new structures for
everyday life (Modernism, 2006:42).
In the sixties of the XX century the energy of the modern
movement was lost. Articulating popular sentiments at that time,
Norman Mailer, in dealing with rare architectural critic, wrote
that: In a period of thirty years, the aesthetic movement can be
moved by the force that opens the possibility of closing one of
them (Chipperfield, 2009: 102). This dissatisfaction with modern
architecture and modern movement grew. Long live the history,
exclaimed Philip Johnson in 1960, one of the coauthors of the
International style, alongside Henry Russell Hitchcock, and Mies
van der Rohe. The Museum of Modern Art (MOMA) in New York,
held a 1975 exhibition Architecture of Fine Arts (The
Architecture of the Beaux Arts), as a celebration of another view
of the architecture. In the new esseys is highlighted the renewed
interest in history (Jenks, 1977) (Rowe, Koeter, 1978). Everything
changes and everything stays the same or: a new line has become
the old and the old order became new. The postmodern movement
much of its program based on the concept of architecture as
language, sort of computer system of signs. The main Henry
Lefebvre (Lefebvre, 1974.) question is: Is the language logic,
epistemologycal or general spoken - preceding, accompaniing or
following the space like it is? To which extent can space be read or
decoded, deciphered? Following Lefevre analysis of space, it is
necessary to look at the concept of architecture as a language,
meaning as semiotic dimension of architecture - the theory which
was set up Charles Jencks (Jenchs, 1977/ Denks, 1985.).

45

 , 34/2012/ 42-65/ :

46

.
(Jenks, 1977; Rowe, Koeter, 1978).
:
.
,
. (Henri
Lefebvre) (Lefebvre, 1974) :
,
, ?
, ?.
,
.
(Jenchs,
1977/Denks, 1985.). ,

, ,

(Jenchs, 1977/Denks, 1985; Venturi, 2003).
,
(,
1973:15). , ,

(Clarke, Crossley,
2000:9). (Bruno Zevi)
(antirules)
(Le Corbusier), (Walter Gropius), .
,
, ,

(Zevi,
1978).


( ,
),



.

(Tafuri, 1977:406408).

.


, (Bernard
Tschumi). (Parc de
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.
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.
(Jaques Derrida)

, ,

. ,
,
.
, ,
(Steven Holl)3, ,
,
.
(Herman Hertzberger)
,
,
(Hertzberger, 1999).
(Christopher Alexander)

(pattern languages) (
) (patterns of events),
(the quality without a name)
(timeless way of
building) .
,
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nimium probat, nihil probat (
.)

,
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3 Steven Holl: A black swan theory ( ) Princeton

Architectural Press, 2007.
Steven Holl: Architecture spoken ( ), Rizzoli, 2007.

 , 34/2012/ 42-65/ :

He advocates, for postmodernist architecture as a sign is much

more important than the architecture as a function, which is
further elaborated by Robert Venturi (Venturi, 2003.), pointing to
the necessity of the communication function of architecture.
Umberto Eco, negating the Structure, confirming the structures
(Eko, 1973:15) specially retaines on visual communication and
architecture. The architectural language, he wrote, is an
authentic linguistic system that respects the same rules that
govern the articulation of natural languages (Clarke, Crossley,
2000:9). Bruno Zevi provides seven principles (antirules) for the
codification of language architecture of Le Corbusier, Walter
Gropius and Mies van der Rohe and Wright. Instead of the classical
language used in school of fine arts, with a focus on abstract
principles of order, proportion and symmetry, it is an alternative
system of communication that features a free interpretation of
contents and functions (Zevi, 1978.).
As the focus of research in the architecture from the sixties was
the detection of a number of posts of the architectural works (and
their relationships, levels of meaning, used codes), so since the
late seventies emerged a number of architects who wanted the
architectural language free of any speech obligation and to
deprive it of any expression desire. They believed that form in
the architecture has the right to meditate and to express the one
and only itself (Tafuri, 1977: 406-408). Definitions of architecture
today insist that the architectural work post meaning at several
levels and that the value of this part increases with the number of
codes.
Architecture as a cultural facility that emphasizes the power of
communication, and which gives the privilege as a form of
linguistic expression and narration, can be found as the part of
Bernard Tschumis famous project for the Parc de la Villette in
Paris, he expresses the view of the socio-shaped forms of language
as a key to understanding the general architecture. While Lefebvre
and Jencks used linguistics and semantics for decoding space,
Tschumi turns to philosophical resources to work out an poetic
reading of architecture. In this Tschumis work Jaques Derrida
deconstructionism philosophy is translated as inability to have
meaning in text, or language in general, thanks to the
deconstruction of language in its grounds, where you can discover
multiple meanings. But unlike his contemporaries, Tschumis
reference to deconstructionism are going to be on mostly formal
level.
Tschumis work, by the texts of Derrida, as well Steven Holl3,
translating the philosophy of phenomenology, it was not based
on a literal application of the idea, but on a serious philosophical
translating the language of architecture.
Famous Dutch architect Herman Hertzberger showed very high
awareness of the language of space, not only in his facilities, but
also through his writings (Hertzberger, 1999). As well as his
lectures.

3
Steven Holl: A black swan theory , Princeton Architectural Press, 2007.
Steven Holl: Architecture spoken, Rizzoli, 2007.

Christopher Alexander developed the theory of associative

correspondence between language as patterns (pattern
languages) in the architecture (which he considered part of
nature) and patterns of events , leading to values with no name
(the quality without a name) in which his timeless way of building
achieves fulfillment. Exposing the conceptual and language skills
in confusing manner, he makes statements about the architecture
which, thanks to their great generality, have some value, but that
can hardly be linked to practical matters. Anything that is
defended without being called with lot of arguments is dubious
eo ipso (the same thing). Qui nimium probat, nihil probat (Who
proves too much - proves nothing).
Minimalist architectural language - the
language of silence
In the famous dialogue with Phaedrus, Socrates asks about the
characteristics of a good speech, and concludes that the speech is
soul guidance with the logos. If language and thought develop in
mutual unity, in minimalism will matter the relationship of
linguistic and its expressive power (the term), defined by the
study of what we call the language of silence. The message as a
part of the architecture can be shown through different aspects of
the architecture, which become the means of communication.
This is a set of intentions that are realized in the totality of
experience as something in the air, as the latent tensions,
poetics, purposefulness, spirituality, identity, refinement. The
expressiveness of the language of silence we are talking about is
not possible to express with normative exactness (as a ratio), but
it is more subject to assessment of sharpened sensibility,
developed on the basis of taste for the culture (Fig. 2). Sensitivity
is a philosophical category related to issues of meaning, a sort of
spiritual instrument with which we feel world as a kind of specific
flavors of existence. These criterias are designed, and are
sophisticated sensibility indicators, as they determine the quality
of wine, tea flavor or odor of perfume. Quality of space is expressed
through formed vacuum and expressive silence, to form an
expression that tends to be the architecture of simplicity (ie, her
fantasies) reveals a harmony of simplicity of life itself.
Given the different types of sensibility, the world can be
experienced selective, sensation of the world pass through a filter
that protects us, omitting that which corresponds to our
assumption about the world, our world picture. Therefore certain
things are clear, and for some we are blind (Eyes that do not see,
Le Corbusier), so that is why creativity can be born from
autonomous segment of the spiritual component of human,
which seeks the production of the peoples world and its shapes by
the extent of different pictures of the world. But that intention is
in juxtaposition, as with the existing culture and the organizational
tendency for standardization of such things, and determining
their per aeternam (eternal). Or, as Carl Andre said: Art is what
we do. Culture is what is done to us. V. Cerami writes: The
language of silence is not always perfectly expressed with spoken
language. Instead, language is always suppressed, reduced,
because it is based on previous cultures that are often difficult to

47

 , 34/2012/ 42-65/ :

. 1 .
:
Fig. 1.
Etienne-Louis Boullee: Cenotaphu for Isaac Newton

48

,
(. )
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,
,
,
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),

,
. , ,


per eternam (). ,
(Carl Andre):
. (Art is what we
do. Culture is what is done to us). (V. Cerami) :
.
, , ,


, (Cerami 1998 :15).

. 2.
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Fig. 2.
Cistercian Monastery de Santa Maria de
Alcobaa, Portugal

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(Derida, 1989:59).
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 , 34/2012/ 42-65/ :

condition the process of codification of thought ... the culture

suppress thought, innocently (Cerami 1998:15).
If architecture is a means of communication, in order to read it,
there must be an expression. Derrida would say: The term is a
manifestation. Expression in some sense outside imprints the
meaning firstly in the sense inside (Derrida, 1989: 59). Minimalist
expression, in a certain way the whole modernist style, contains
image of deceptive simplicity. This phantasm is realized through
the stopped language that is known in Japan under the term
satori - in Western languages as
well as intuition. Satori is an
intuitive insight into the essence of things, as opposed to their
rational understanding. Implies the introduction of a new world
which was not observed to the moment of satori. For those who
have reached the satori, the world is no longer the old world as it
once was, and from that moment in their lives they find result of
shifting that opens the mind for deeper and wider world. Satori,
so, for mans moral and spiritual life has a sublime effect.
Satori, the highest expression of Zen, is present in the root of
Japanese culture as the bearer of its existence and authenticity
(Vasilski, 2010), as a satori opens the heart and mind for a broader
and deeper insight, various Zen arts are just different expressions
of that experience. In painting, the sumi, which contains only
hints of the characters (the man has been incorporated into the
landscape and nature). The tea ceremony is dominated by the
desire for detachment from profanity. In the calligraphy is all in
one streak, presenting a moment of eternity, there is no repetition.
In the arrangement of the landscape, the relationship with nature
and pristine imbued with respect for life as a unity in all things,
because the elements that embody the essence of the garden,
there is no water fountain (water flows naturally downwards, not
upwards). No-drama addresses the need for man to symbolically
ascend to higher dimensions, higher states of consciousness, in
order to be included in the deeper levels of life.
On this same principle is based the aesthetic of haiku poetry,
where, seizing all that is superfluous, there is a distinctive shape
that is opposed to the symbolic meaning. Haiku poem has five
lines, 20 words, 80 letters of pervasive emotion, that evoke a
thought, experiential resonance. Haiku is a direct expression of
the poets experience, while in it is not involved the thinking or
reasoning. The beauty of haiku is its authenticity, immediacy, and
especially in the fact that man has experienced something already
known but in a new way - cleaner, stronger, deeper. The time in
which the haiku occurs almost exclusively is the present: haiku
poetry is here and now.
Minimalism is the spatial haiku. Pure expression can occur only
when the communication is stopped (Derrida, 1989: 62). This is a
spatial language of reduced syntax, and composed of refined
metaphor. It is a persistent quest for purity, the search for the
dignity of silence as a presence, for the density of space, for
borderless space where silence speaks for itself. The sharpness of
the primary elements: lines, edges, surfaces on one side and use
the subtleties of light, devoid of complex permeation, grade
expression of the fluidal space freed from need to recharge. The
emptiness of space is equivalent to the emptiness of spirit as a
state that does not cling to anything in which we live fully in the

present moment. This is a reduced language that expresses the

essence of architecture and corresponding to an age marked by
electronic communications.
Belief in the concentrated essence of architecture that speaks
their language and can be clearly distinguished from what is
architecture, underlying the work of Peter Zumthor: I believe that
architecture today needs to be reflected in certain jobs and
opportunities that are exclusively and only bonded with
architecture. Architecture is not a vehicle or a symbol for things
that do not belong to its essence. In a society that welcomes
irrelevant, architecture can resist, thus preventing loss of form
and meaning, through the speech with his own language
(Zumthor, 1998:22).
language materials - Archetypal building
elements
I do not work in architecture. Im working on it as the language,
and I think you need grammar. The language must be alive, must
be changeble, thus changing the grammar. When you learn to
adapt to changes and grammar, then you can use it, you have
knowledge about or normal work, and you speak in prose. If
youre good at it, you use beautiful prose, and if youre really good
you can be a poet. But it is the same language, it is characteristic.
The poet does not produce a different language for each song. It is
not necessary, he use the same language, even use the same
words. I think its the same in architecture David Chipperfield
(Chipperfild, 2009).
Architectural language, through term represents the
communication of essential features, quality and meaning.
Functionality, technical, aesthetic and visual identity of the
architecture
is with expressiveness transformed into an
architectural work of art that has a purpose and place in space.
Architectural elements, components and parts, are developed in
wide circles of relations, based on many aspects of architecture. In
a good building, each unit, no matter how much quality is present,
in fact is only part of the building and as such must always be
evaluated. Thoughts of Donald Judd just confirmed to us that the
whole is what produces the expression: Yes, the whole is what
matters. Maintain the sense of unity, always represents a big
problem.
If we accept the primary geometry as the primary means of
expression in minimalism, then it is expressed through the
archetypal elements: walls, windows (doors), and stairs. Wall
represents border between the inside and outside, breakthrough
this border is done through the window (door) and stairs, which
open up the inside to the outside, setting up the interaction and
reconciliation and create volume which is an expression of its
identity.

49

 , 34/2012/ 42-65/ :

,

( , ).
-
, ,
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(Zumthor, 1998:22).

50

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(Theo van Doesburg), (Gerrit Rietveld) (,
1968:31).

 , 34/2012/ 42-65/ :

WALL
In a world of symbols, according to tradition, the wall is protective
barrier that encloses a world and it prevents the damaging effects
of penetrating the low caste born influance. The problem is that
the area enclosed is also bounded around ... (Gerbran, evalije,
2009: 1093). The walls are pictures of very beginning of the
civilization, ideas and frameworks guiding the spatial patterns,
mirrors of development or fall of ideologies. From the famous
White Wall, which separated the Upper and Lower Egypt, through
the Great Wall of China (Fig. 3), monumental and protective, or
through the wall of five stories Hawa Mahal (Jaipur, India, 1799)
(Fig. 4), laced and transparent, the Berlin Wall in the twentieth
century, the wall is always represented a reflection of the reality
of real life. The history of architecture is the history of the wall, a
history of wall is the history of the meaning of physical sacrifice by
a wall (Brki, 1992:18).
The comeback of the wall in modern architecture, the vitality of
this element, the constant transformation of the wall, not only
what tolerate but also causes, confirm its value, perfectly
independent of style, fashion and personal taste (Radovi, 1998:
376). This thought is confirmed by numerous examples, where
the wall was in addition to their structural features, still the
holder of certain ideas. Rationalists of the eighteenth century the
wall used as a legitimate means for the formation of primary
geometric bodies. Boullee and Ledu are the sovereign rulers of the
walls. ... Boullee, which liked continuous walls, looked with
askance at what can openings do bad to the outer shell of
buildings (, 1990:197). Wall of the 19th century has been
burdened with ornaments, to discover the aesthetic values of
pure land, whose expressive power has been lost since Egyptian
time (Gidion, 1968:31) in terms of concepts of space and time,
began after 1920 by Theo van Doesburg, Gerrit Rietveld and Mies
van der Rohe.
Frank Lloyd Wright emphasized the strength of the wall in one of
his most famous works - Larkin building (Fig. 5), for which he
said: Almost all the technological innovations that are used today
were proposed in 1904 at Larkin building. Amsterdam School in
Oud based work on the wall, using bricks, and has made rich
forms of modern morphology. Berlages Stock Exchange in
Amsterdam built in 1903 is one of the first buildings in Europe
which had the facade of which is treated as a smooth wall surface.
Adolf Loos manipulate with freedom with the masses of the wall,
connecting true with aesthetic. Alvar Aalto has placed the wall in
the center of the modern architecture. In his Finnish Pavilion (Fig.
6), shown at the world exhibition in New York in 1939, was
without doubt the most spirited architectural work (Gidion,
1968:384) shown in this exhibition. His curved walls surrounds in
free space three-storey height building, not vertical but tilted
forward in space. His House of Culture in Sturenkatu, Helsinki,
Finland (Fig. 7) is a facility in which was developed the wedgeshaped brick for making wave formed outer wall.
"Graceful form of a brick wall represents Aldos ambition to attain
organic architecture rich in nuanced form (Lahti, 2004:74). Le
Corbusier set up a wall in the center of the story about architecture
(his second point relates to the functional independence of the

skeleton and the wall). Louis Kahn has posted a new way to set
the expressiveness of the wall, for example, walls in Ahmedabad
(Institute of Public Administration, at Ahmedabad, India, 1963.)
(Fig. 8), so it is quite understandable why the builders was
amased bz Kahns work. Louis Kahns laboratory in Philadelphia
were the sensations of America building in 1960, which are, as we
believe, very closely related Larkin Building (Giedion, 1969: 271).
Wall as a motive culminates with the third generation. In one text
Charles Jencks believes that the third generation is fascinated by a
wall, so he even the modern architectural movement call
wallism (Sharp,1978: 225). Daniel Libeskind develops the wall
theme in architectural structures, initiated the idea of the
wall,
lifting it to a higher cognitive level (Fig. 9).
In minimalism, the wall is very differently used, its expression can
be compared with all said, but always through the language of
silence. If we remember Khan's question What building wants to
be? we have to ask the question, What wall wants to be ? If it is
... the something where the modernists were the best: abstract
wall handling... (Traktenberg, Hajman: 2006:507), the
lightmotive in minimalism, in terms of searching for the essence,
then the wall is the embodiment of authorial attitude. If the wall
is understood as border between inside and outside, the author
expresses his views on the borders, so the language represents
authors identity. The wall becomes a rich visual experience
expressed by the language of silence.
Tadao Ando, sets the wall pure and raw as the holder of the process
and volume, and using it he express his strength and durability of its
artistic expression in symbiosis, which leads to a different spirituality
but always tied to tradition (Fig. 10). The wall sometimes express
the authors rejection of alienated urban environment (Fig. 11). So
Ando is using basic geometry as the primary aspect for expression
and control, which becomes an expression of quiet serenity of the
natural environment or the saturation of urban chaos. The wall has
a certain rigidity, mass continuity, and those properties are
transposed to the building itself, which defines the basic character
of his expression. Claudio Silvestrin also sets clear wall, as an
impressive, massive, tall (9 meters) and mortared wall of outside
faade, interrupted with vertical gap which interrupts the border to
give functionality for the door (Fig. 12).
Louis Barragan used a white wall in his house in Las Arboledas as a
screen on which he can read the changes in light and a effect similar
to shadow of fluttering branches (Fig. 13). In order to express the
essence of the building, he is using two walls, high and lower one,
and connects them with a big wooden door (Fig. 14). Silence,
stillness, a sense that time stands still and provides spirituality to
Baragans work, as well as representing an outstanding example of
form in architecture that is completely immune to other influences
exept those of personal and internal nature, undoubtedly
contributed to the new generation of minimalist to orientate in
their attempts to form their own expression. One of them is
certainly Eduardo Souto de Moura (Fig. 15).
A somewhat different expression of the wall, growing out of
copyright attitude towards the wall as a border, can be seen at
two facilities in Munich. The first is Brandhorst Museum (Fig. 16),
whose facade is a wall of abstract painting that hides what is

51

 , 34/2012/ 42-65/ :

. 4.

,
, ,
1799.
Fig. 4.
Hawa Mahal or
Palace of the
Winds, Jaipur,
India, 1799.
. 3.
, , , 1345.
Fig. 3.
The Great Wall, Beijing, China, 1345.

(. 5),
:
1904. .
(Kaufmann, 1998:37138).
, ,
(Joedicke, 1961:170).
1903.

(, 1968:212).
, . (Alvar
alto) .
(. 6),
1939. ,
,
(, 1968:384). ,
,
,
. (House of

Culture), , (. 7),
.


(Lahti, 2004:74).
(
). (Luis Kahn)
,
(Institute of Public Administration,
Ahmedabad, India, 1963), (. 8)
.

1960, , ,
(, 1969:271).
.

,
(wallsm) (Sharp,1978:225).
(Daniel Libeskind)

52

. 7.
: ,
, 1958.
Fig. 7.
Alvar Aalto: House of Culture, Sturenkatu,
Helsinki, Finland, 1958.

 , 34/2012/ 42-65/ :

. 5.
:

,
, 1906.
Fig. 5.
Frank Lloyd Wright:
Larkin
Administration
Building, 1906.
. 6.
: , , 1939.
Fig. 6.
Alvar Aalto: Finnish Pavilion, New York, 1939.

going on inside. Another object of the Church of St.Heart (Fig. 17),

two cubes in each other, full of light and life, with opaque glass
facade enclosing the inner wall of a wooden shell. The front glass
facade of the building is a large door that opens during special
holidays.
Wall as a full dematerialization of space, as well as imagination,
the abolition of border inside - outside, are using John Powson
and Shigeru Ban, but in different ways.
Pouson building has some extended cold poetic aspiration (El
Croquis, 2005), which is based on the sense of time passing, and
which approaches the nature of the object. The holder of the
aspirations of the massive wall, with its continuity, realizes the
interaction between the exterior and interior. Potential border
inside-outside is breaked by the glass wall with its transparency
and ease, but in quite another way: the boundary that is deleted,
becomes a reference to the memory (Fig. 18).
Ban is treating the wall as skin, and that way he express his
attitude about border (McQuaid, 2003).. Decisive characteristics
of the skin, like a layer, is its ability to adapt. The same happens
with the buildings, the walls of their facades adapt. When it is
about the natural environment, Ban expressed his view with
architecture of transparency: when the sliding glass door is
collapsed, the wall dissapears (Fig. 19), the architecture is
surrounded by the natural environment. As for the urban
environment, the elimination of the wall (faade) is an unusual
move: double curtain can be closed completely and thus provides
indoor climate and intimacy (Fig. 20).

WINDOW
Window is a place in wall where we can enter or leave, while the
body does not move. The window symbolizes a connection with
those outside, the unknown that is the subject of knowing. The
change of the semantic field is static, we can get out through the
window or go, while we go nowhere (Gerbran, A.; evalije: 763).
The windows of Renaissance palaces are compared with the eyes
(, 1990: 198). As an opening to air and light, the window
symbolizes the ability to receive; if the window is circular, so is the
reception, signifying the one who has the eye and mind; if it is
square, it is a terrestrial reception in comparison to what comes
from the skies (Gerbran, evalije, 2010:750). A window as an
element has always been the bearer of the idea of certain stylistic
features : as an element of decoration (Fig. 21), as recognizable
feature and always as the same facade identity (Fig.22), as a
romantic vision (decorative lid only tells that there may exist a
window ) (Fig.23) or as a segment of faade canvas with height of
15m (Fig. 24).
One of the crucial elements of composition in modern architecture,
is a window. Broad, horizontal windows so. Chicago windows,
the symbol of the Chicago school (in which is the first time since
the 19th century overcamed the separation of design from
architecture) from the late nineteenth century, were modere
performance commercial buildings. Initially, the window was a
hole in the wall - relatively small area with simple contours in the
casement of the large wall area ... there is something disturbing
about the perceptual and modern windows, which are simply
slots... (, 1998:205). One of the characteristics of modern
architecture is a horizontal window (Vasari, 1970: 20). Horizontal
window at Mies, 1922. (Joedicke, 1961: 122), seems to be the
phase between the traditional windows (including the one that
was mentioned by Cukarija in Rome around 1590 (Santories,
Encyklopedie: 113), and curtain wall where the windows no
longer open (Radovi, 1998:371). Le Corbusier is always turning
to the windows as necessary motives of its architecture: from the
Savoy Villa, where is used a join type window as a high principle

53

 , 34/2012/ 42-65/ :

. 8.
: ,
, , 1963.
Fig. 8.
Luis Kahn: Institute of Public Administration,
Ahmedabad, India, 1963.

54

,
(. 9).
, ,
,
. :
?,
? [] :
[],
,
(, : 2006:
507). ,
,
.
.
(Tadao Ando)
,

(. 10).

(. 11).


.
, ,
, .
(Claudio Silvestrin) ,
, , (9 )
,
(. 12).

(Louis Barragan) ,
,

(. 13). ,
, ,
(. 14). , ,
, ,


,


. (Eduardo
Souto de Moura) (. 15).
,
,
. (. 16),

. . (. 17),
, ,
.
,
.
,
, ,
(John Powson) (Shigeru Ban),
.

 , 34/2012/ 42-65/ :

. 9 .
: ,
, , , 2003.
Fig. 9 .
Daniel Libeskind: Studio Weil, San Carlos,
Mallorca, Spain, 2003.

. 10.
: ,
, , 2001.
Fig. 10.
Tadao Ando: Sayamaike Historical Museum,
Osaka, Japan, 2001.

. 11 .
: , , 1975.
Fig. 11 .
Tadao Ando: Azuma House, Osaka, 1975.

55

. 12.
: ,
, 1989.
Fig. 12.
Claudio Silvestrin: Neuendorf House,
Majorca, 1989.

. 13 .
: , ,
, 1963.
Fig. 13.
Louis Barragan: Drinking Trough Fountain, Las
Arboledas, Mexico City, 1963.

 , 34/2012/ 42-64/ :
. 14.
: ,
, , 1968.
Fig. 14.
Louis Barragan: Master plan for Los Clubes,
Service entrance, Mexico City, 1968.

. 16.
:
, , 2000.
Fig. 16.
Sauerbruch Hutton: Brandhorst
Museum, Munchen, 2000.

56

. 15.
: ,
, 1993.
Fig. 15.
Eduardo Souto de Moura: Maja House,
Maja, 1993.

. 17.
:
. ,
,
, 2000.
Fig. 17.
Allmann Sattler
Wappner: The Herz Jesu
Kirche, (Church of the
Sacred Heart), front and
side facades, Munich,
Germany, 2000.

,
, (El Croquis,
2005).
.
,
: (. 18).
(McQuaid, 2003).
, ,
. , .
,
: , (. 19),
. ,
() :
(. 20).

 , 34/2012/ 42-64/ :
. 18.
: ,
, 1999.
Fig. 18 .
John Powson: Powson House,
London, 1999.

. 21.
, ,
( )
Fig. 21.
St. Jeronimo Monastery, Lisbon, Portugal
(Manueline style)

. 19.
: , ,
, , 2002.
Fig. 19.
Shigeru Ban: Picture Window House, Izu,
Shizuoka, Japan, 2002.

. 22.
: ,
, XVII
Fig. 22.
Kopenhagen: Nyhavn, heritage harbor,
XVII century
. 24.
: , ,

Fig. 24 .
Snohetta: Opera, Oslo, window
seen from interior

. 20
: ,
, , 1995.
Fig. 20.
Shigeru Ban: Curtain Wall House,
Itabashi, Tokyo, 1995.

. 23 .
, ,
( ,
)
Fig. 23.
Jardin Majorelle, Marrakech,
Morocco (museum today, ex Yves
Saint Laurent House)

of modernism, to Ronchan which uses a complex system of holes. In a long series of house
projects (Fig. 25), is constantly present memory of the mysterious holes, as described in
a sketch parts of the villa of Hadrian at Tivoli (Jacobus, 1966:89).
Openings on Wright s building, on the other hand, are not inconsistent with the
surrounding area but its continuation. Wright said: There is no meaning to talk about the
doors and windows. His openings are as in the textile weaving: they are what is left
between the forms (, 1990:198). Wright Prairie house, may be viewed as a series
of protruding windows that were thrown out parts of space which they belong.

57

 , 34/2012/ 42-65/ :

,
.
, , .
,
, .
(, , 2009:763).

(, 1990:198). ,
;
, ,
; ,
(, , 2010: 750).

: (. 21),
(. 22),
(
) (. 23)
15 (. 24).

. , ,
. (Chicago windows),

58

. 25 .
: , ,
, 1927.
Fig. 25.
Le Corbusier: The resort Visenhof, Stuttgart,
Germany, 1927.

( 19.
) XIX ,
. ,

[]
,
[] (, 1998:205).

(Vasari, 1970:20).
1922. (Joedicke, 1961:122),
(
1590. (Santories, Encyklopedie : 113)
(,
1998:371).
: ,

, ,
. (. 25),
,
(Jacobus,
1966:89).

. 26.
: , ,
, 1957.
Fig. 26 .
Scarpa: Corner window, Gipsoteca Canoviana,
Treviso, 1957.

 , 34/2012/ 42-65/ :

The author who has built his compositional system in solving the
windows and light, by being made usable two developmental
characteristics of modern architecture, is Carlo Scarpa. The first
made arched window of secession without the interference of
classical knowledge, and the other is that he then became a
corner window as can be found in Wrights and the De Stijl
movement. Scarpa has translated the corner window of the new
spatial concepts in the vocabulary of Venice: the light that creates a
window in the corner becomes chromatic brilliance full transparency,
typical of regional visual art through the ages (Fig. 26).
Bearing in mind that the light is the central theme of the identity
of minimalism in architecture (Vasilski, 2010: 1-20), it can be
concluded that the window remains her constant theme, whether
it is reduced to a point, line, or the whole area, serving both
functions and expressive tasks. The elements have so diverse
positions and destinies, and the window between them, and all
the openings, that to them may not be made definitive theoretical
conclusions.
In many Barragan s works, modest facade has very strict finishing.
In its simplicity the only decorations are convected windows and
bars on them with frames that form a network. Some of its formal
designs, including the frameless windows in his house, were the
subject of detailed analysis of architects such as Tadao Ando,
Alvaro Siza, Claudio Silvestrini, Eduardo Souto de Moura. Among
the motives that form the language of minimalism, certainly one

that is best known as the taken motives from Barragan home (Fig.
27) - took by Tadao Ando to design his Church of light (Fig. 28)
and Baes, who applied it in the Turegano building (Fig. 29) . When
Ando visited this house he admitted that the Barragans window
was the inspiration for his project.
The composition of the window allows the interpretation of nonliving forms. In contrast to the volume that can be formed
unconsciously, positioning windows - holes are planned by the
composition. SANAA in school object in Essen (Fig. 30) uses a
different size windows in the exterior walls so that each job place
receives the required amount of daylight and simultaneously
achieves a visual connection with the environment. Chipperfield
also act similarly in their residential building in Madrid (Fig. 31),
each window on the facade has an unique position. Baeza in his
bank office building (Fig. 32) in Granada, pulls windows inward,
and thus on the south faade receives brsoleil, while on the
northern side provides a homogeneous, continuous light specific
to the northern side where the individual offices are located.
Breaking the limit for moving from one semantic field to another
is associated with the notion of opening. As for the imaginary
hole is richer in meaning than mere gaps: full with all possibilities
of what will be met or that which will pass through its opening, it
was full of waiting, or the sudden presence of some knowledge
(Gerbran, A.; evalije: 571). Neutral and elegant windows all over
the surface of the wall, give special effect in the interior, entering

. 27 .
: ,
1947.
Fig. 27.
Luis Barragan: Barragan
House, 1947.

. 29.
:
, 1988.
Fig. 29.
Alberto Campo Baeza: Turegano
House, 1988.

. 28.
: ,
, , , 1988.
Fig. 28.
Tadao Ando: Chirch of Light, Ibaraki,
Osaka, Japan, 1988.

59

 , 34/2012/ 42-65/ :

, ,
, .
:
. :
. (, 1990 : 198).


.

,

, (Carlo Scarpa).
,

.
:

,
(. 26).

,
, ,
,
(, 2010 : 120).
,
, ,
.

,
.

. ,
,
,
, , .
,
(. 27)
(. 28)
, (. 29).
,
.
.

,
. (SANAA) (.
30)
,

.
(. 31),
. ,
(. 32) ,
, ,
, ,
,
.

. 30.
:
, ,
, 2002.
Fig. 30.
SANAA (Kazuyo
Sejima + Ryue
Nishizawa): The
Zollverein School,
Essen, Germany,
2002.

60

.
:
,
(, , 2009:571).
,
. (. 33)
(. 34, 35).
: ?
?
, .

. 31.
:
,
, , 2005.
Fig. 31.
David Chipperfield: Housing
Villaverde, Madrid, Spain,
2005.

 , 34/2012/ 42-65/ :

the dimension of live pictures or film. This approach is very

common in smaller galleries (Fig. 33) as well as in individual
houses (Fig. 34), (Fig. 35). Seeing such things there raise the
question: Is it a glass wall or is it a window? Is it possible to answer
and whether it is at all important? It is an expression of silence in
which man finds himself, becomes aware of its existence here and
now and the time value of life.
White geometric volume around the pool is the focus of the
project, which develops outside into side walls (Fig. 36). The
ambiguity of contours, caused by volume, creates a dynamic
relationship between the inner and outer space. Openings in the
peripheral wall are fragments of green environment, as well as
windows, no windows or windows without glass (Schleifer,
2006:34).

STAIRS
Stairs are the dynamic principle of mastery of different heights,
they talk about the human need for ritual: to arrive, ascend,
enters. The ladder is symbolic related to axis of the world, those
are the classic upward symbol, denotes not only cognitively, but
climbing in elevation and integral rise of whole being. They also
have a negative aspect: it is the descent, fall, return to the earth or
the underworld. Steps, namely, connecting three cosmic world in
them, not in the column, it adds all the drama of rectitude
(Gerbran, evalije, 2009:647).
All rising to great place is by a winding stair. said Francis Bacon.
Mastering the height at the entrance to the building or in its
interior can be achieved by other means, but none is so filled with
parades and a sense of drama. The ancient Greeks built their
theaters, Epidaurus in the IV century BC was probably the best
known example of how the steps are simple to use as a seat (not
to mention the reason - knowledge of structures), a continuous
source of inspiration even in the twentieth century, when he
moved to work in Alvar Alto and Denys Lasdun (Powson, 1998:
94). Leisdan modelled the main auditorium in Royal National
Theatre in London, on ancient Greek theater at Epidaurus.

. 32.
:
, , , 2001.
Fig. 32 .
Alberto Campo Baeza: Head Office of the Caja General de
Ahorros, Granada, Spain, 2001.

. 33.
:
, , , 1990.
Fig. 33.
Claudio Silvestrin: Victoria Miro Gallery,
Florence, 1990.

61

. 34.
: , ,
, , 2002.
Fig. 34 .
David Chipperfield: Private House, Corrubedo,
Galicia, Spain, 2002.

 , 34/2012/ 42-65/ :

(. 36).
, ,

.
, ,
(Schleifer, 2006:34).

Fig. 35.
Alberto Campo Baeza:
Turegano House, Madrid,
Spain, 1988.
. 35.
:
, ,
, 1988.

,
: , , .
,
.
: , , .
, , , , ,
(, , 2009:647).
. 37.
:
, ,
1956-86.
Fig. 37.
Hans van der Laan: Saint
Benedictusberg Abbey, Vaals,
1956-86.

62

. 38.
: ,
, , 2004.
Fig. 38 .
John Powson: Monastery of Our
Lady, Novy Dvur, Czech Republic,
2004.

. 36 .
:
,
Fig. 36.
Manuel Aires Mateus:
Alenquer House, Portugal

. 39.
:
, ,
, , 1937.
Fig. 39.
Adalberto Libera: Casa Malaparte,
Punta Massullo, Island of Capri,
Italy, 1937.

 , 34/2012/ 42-65/ :

The Romans used the stairs as the center of the ritual, as well
Maya civilization. The Mayan culture of Uxmal, Yucatan, Mexico
(Fig. 45) impacted Jrn Utzon: The attitude of the third
generation to the past always oscillated around the question:
How is the human experience solved some problems in the other
period and on other occasions? In the Mayan architecture, with is
made from horizontal platforms at different levels, as well as their
broad stairs, Utzon found elements he searched for (Giedion,
1969: 409). The renaissance of the stairs were a metaphor for the
heavenly aspirations. Steps in Rome became the most beautiful
pedestal for the construction of the church (S. Maria Maggiore)
until they have grown almost to independent buildings that were
taken in the most noble way of merging the various levels of
space (Spanish steps, 1721-1725, which connects the Piazza
Spagna to the Trinita S. dei Monti) (Giedion, 1968:66).
Through time and space, the stairs are always represented a
special message: used in the fine arts Beaux-Arts - as well as
elaborating the set design element, and the Bauhaus - as an
essential element of the building the appearance of which is
perfectly suited to its task (Ojeda, Pasnik: 2003:111).
Language of Silence, which is transferred from Cistercian
monastery (Fig. 37) by Pouson to the Czech Republic (Fig. 38),
takes the idea of using a clean flat surfaces, as a guide in the
search for essence. Probably the best known are those stairs in the
house Malaparte (Fig. 39), timeless and sublime in its beauty of
simplicity. The point is seen and felt. The same expression worn
stairs and Le Corbusier (Fig. 40) and Barragan (Fig. 41).
Stairs, as a symbol of overcoming height, very often without any
kind of fence (Fig. 42), and if they have it, the fence is very reduced
and almost dematerialized (Fig. 43). In the interior of public
spaces, they are often over dimensioned in an attempt to point
out the straight line (Fig. 44). And then, the thought take us again
back to the Mayan civilisation (Fig.45).
. 40.
:
, ,
, 1934.
Fig. 40 .
Le Corbusier: Residential
building, Port de Molittor, Paris,
France, 1934.

. 41.
: ,
, 1947.
Fig. 41.
Luis Barragan: House
Office, Mexico City, 1947.

Conclusion
In his lectures, Robert Wilson often recalls the lessons given by
Sibyll Moholy-Nagy at the Pratt Institute in New York in the early
Sixties: We were shown slides during Sibyll Moholy-Nagys
lectures on the history of architecture. They consisted of different
forms of energy, ranging from a Byzantine mosaic to a prehistoric
Sumerian vase and a 1922 telephone. We were bombarded by
various kinds of visual information. It was different in the lessons
based on verbal information. Therefore, what we felt was not
what we saw. And we had to make free associations between
what we saw and what we heard. Not necessarily like a collage,
but as in a structure. And then there was an exam...and the
students were confused and worried because they hadnt been
given the answers. The learning process was much longer than a
semester, or five semesters or even a five-year course. It was a
way of thinking, an experience of associations that spanned an
entire lifetime (F.Quadri, F.Bertoni, R.Stearns, 1997:232). Or, as
Socrates taught: learning, like a life process associated with the
acquisition of experience, with changing the character and image
of the world, is possible only if there is awareness of ignorance.
Architecture should speak for itself, with its own language, there
is no manifest. It is its own manifesto. Kandinsky even wrote in his
1911 essay About the spiritual in art: Every epoch has its own
measure of artistic freedom, and hence the most creative genius
can not exceed the limits of that freedom (Jung, 1996:314).
Minimalism is not the architecture that confront itself, deviant
architecture or difference work: it is defined not by what is not
there, but the true values that are present and their abundance in
the application - experience that is spoken with its language.
Talking about minimalism in architecture, appears again a
guiding theory from Martin Hidegger, from the famous Heraclitusseminar led in 1966 with E. Fink: every day we must invent new
concepts in pursuit of own vision of the world. For imago mundi,
a microcosm who embodies the world of the individual, is
certainly a step towards to a more valuable life. Nevertheless,
one goes on working, telling stories, giving form to truth, hoping
darkly, sometimes almost confidently, that truth and serene form
will avail to set free the human spirit and prepare mankind for a
better, lovelier, worthier life (Mann, 1959:203).

63

. 42.
:
, ,
1985.
Fig. 42.
Michael Gabellini:
Dente residence,
New York, 1985.

 , 34/2012/ 42-65/ :

,
.

,
.
, IV . . . .
,
( ).
, XX
(Alvar Alto)
(Denys Lasdun) (Powson, 1998:94).


.
, .
(Uxmal, Yucatan, Mexico) (. 45)
(Jrn Utzon):
:

? ,
,
,
(, 1969:409).
, .

(S. Maria Maggiore)

( ,
17211725, Piazza Spagna a S. Trinita dei Monti)
(, 1968:66).
,
: BeauxArts ,

(Ojeda, Pasnik, 2003:111).
, (. 37)
(. 38),
, .

(. 39),
. .
(. 40) (. 41).
, ,
(. 42), ,
(. 43).
, ,
(. 44).
(. 45).

. 45.

Fig. 45.
The complex of temples
in Uxmal, Yucatan,
Mexico
. 43.
. :
, ,

Fig. 43 .
L. Kin: The White
box, Tokyo, Japan

64

. 44.
:
,
Fig. 44 .
Michael Gabellini: Jil Sender
Showroom, New York

, (Robert Wilson)
(Sibyll Moholy-Nagy) (Pratt Institute, New
York) :
.
,
1922.
.
. , ,
,
, . []
.
, . ,
(F. Quadri, F. Bertoni, R. Stearns, 1997:232). ,

 , 34/2012/ 42-65/ :

: ,
, ,
.
,
, . .
1911.
:
,
(, 1996:314).
,
:
,

.
,
, - 1966.
. : [...]
, . , ,

,
. , , ,
, ,

, ,
. (Mann, 1959:203).
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65

UDK: 72.038.42
ID BROJ: 192033548
, DOI: 10.5937/arhurb1234066S

*
: 2012, : 2012.

Constituent period in
theoretization of minimalism in
architecture

66

Abstract

The paper analyzes architectural discourse

that is formed around the term minimalism,

between 1976 and 1999, a period that I

consider constitutive for theorization of the
1976. 1999. ,
term. The presentation is directed by two

. hypotheses: i) minimalism in architecture
does not have a continuous stream of origin,
: 1)
development, and is not a style, direction,

movement, school, genre or trend in terms of
, a, , how it is defined in disciplines such as art
, history, aesthetics and art theory ii) the fact
that its rare for an architect to declare
, himself a minimalist suggests that
minimalism in architecture is actually a
; 2)
product or construct of an architectural

discourse that emerged from the need to
consolidate the existing obvious and

widespread formal idiom in architecture
, .
, partly during and after post-modernism.It is
indicative that the writing of history of

minimalism in architecture, in its most

intensive period the nineties, takes place
mainly in three cities: London, Barcelona and

Milan. In this sense, we can examine how
.
each of these centers emphasized its role,
, through the ambition of minimalism in
architecture to appear as an authentic local

creation.

Keywords: minimalism, modernism, post :
, . modernism, new modernism, mass culture,
, architectural discourse

,

.
: , ,
, , ,

.

,
.



,


.

(Ricardo Legorreta),
(Louis Kahn)

,
(Smith, 1976; Bonnefoi,
1979).

.
(Tadao Ando),



(Taki,
1984).
,

,
(Auer, 1988).
,

* , ,

wladimirstevanovic@gmail.com

 /34/2012/ 66-71 /

(Louis Baragan) (Alvaro Siza). ,

(Charles Jenncks)
, a o (New
York Five)1
(Aldo Rossi) (Oswald M. Ungers)2.
(William J. R. Curtis)
.3

XX .
,
,
. , , , ,
4 .

. ,
,
- (Superstudio),
. , ,
.
. 1.
/:
, , 1933-34.
Fig. 1.
Italian rationalism - Figini, Luigi/Pollini, Gino: Artists
house and studio, Milan, 1933-34.
http://aliciaarevalillo.blogspot.com/2011/04/figini-luigipollini-gino-casa-en-la.html

. 2.
, : ,
1971-76.
Fig. 2.
Neo-rationalism Rossi, Aldo: Modena Cementary,
1971-76.
http://subtilitas.tumblr.com/post/7124533294/gabrielebasilicos-beautiful-capture-of-aldo

. 3.
: K ,
, 1969.
Fig. 3.
Superstudio: Continuous monument,
desert Arizona, 1969.
Lang, P, W. Menking (2003) Superstudio: Life
without objects, Milan, Skira, p.129.

1
2
3
4

: Jenks, C. (1982): Current Architecture, London, Academy Editions

: Jencks, C. (1987): Post Modernism: The New Classicism in Art and Architecture, London, Academy Editions
: Curtis, W. (1982): Modern Architecture since 1900, London, Phaidon
: Frampton, K. (1982): Critical Regionalism: Modern Architecture and Cultural Identity, Frampton, K., Modern Architecture: A Critical History,
London, Thames and Hudson, pp. 314-327.

67

 /34/2012/ 66-71 /

, ,
,
1988. , .
,

,
.
.

.5

68

lifestyle

: 1)
,
, ,
(Vice, 1994:15); 2)

,
(Pawson, 1996:7); 3)
,
(Marey, 1999:8).

: The New
Moderns 1990. (Melhuish, 1994).
(Jonathan Glancey) .


.
,
,
.


- .

,
.
, , ,
,
(minimal new moderns)
. ,
, ,
(John Pawson),
(Claudio Silvestrin) (Tony Freton), lifestyle

.

,
.

(twenties revivalism)
- (late modern movement)
(neo-modernism).
,
(Mies van der Rohe). ,

,
,
(oy, 1994;
Melhuish, 1994). ,

.
,
,

(Melhuish, 1994).

.

(Buchenan, 1991).
(Herzog & DeMeouron).
: 1)
,
; 2)
, minimal art.
,
, ,
(Alberto Campo Beeza) (Eduardo Souto de Moura) .
,
, ,
,
,
,
(Melhuish, 1994; Vice, 1994).

6
,
(Robert Ypma). ,
,
,
.

: Rassegna Lotus International,

Daidalos, El Croquis The Architectural Review Architectural Design Profile, 19881994
.

, ,
.

 /34/2012/ 66-71 /

,
, .

,
,
XX . ,

, .
,
, 7
Minimum (1996). ,

.
less is more

,
. Minimalismos,

(Montaner, 1993). : ,
, , ,
, ,
, .

. ,
(1932) (1988),
(). Light construction 1995. ,
(Terence Riley).
, ,
- . ,
(Rodolfo Machado) (Rodolphe el-Khoury)
Monolitic architecture.
, , ,
(Machado, el-Khoury, 1995).
,
, . ,
, ,
: Less is more, 1996.
8 (Sala d Exposicions del Col-legi d Arquitectes de Catalunya)
(Vittorio E. Savi) .
111
.

. ,
, , .
, , XX
.
(Peter Behrens) , less is more bienahe nichts,
.

- .
wabi. ,
XII ,
. , .

69

 /34/2012/ 66-71 /

( ),
(Ignsio de
Sola Morales), 1986.
. ,

,
.

Minimal (. 4.) Rassegna
(1988)
. (Vittorio
Gregotti)


, .
Lotus Intrernational a (1992, 1994)
,
,
.
Minimalismo
, (Patrizia
Ranzo), ,
(Carmagnola, Pasca 1996; Ranzo, 1996).
, ,
.

. 4.
Rassegna
Minimal 1988.
(. Avon, A., C.
Germano)
Fig. 4.
Cover page of Rassegna Issue
Minimal , 1988. (ed. Avon, A.,
C. Germano )

70

Col-legi , ,
. Less is more,

XIX (UIA) 1996.
.

XIX , .
, 26. 28. . 1996. .

(Vanni Pasca) (AG Fronzoni),

. (Massimo Vignelli)
.
, , ,
,
. ,
(Bertoni, 1999:226).
(1990) (1996),

. ,
,
,
(Auer, 1988).

,
. ,


, ,

(Jenks, 1999).
,
, .

(Vice, 1994).

15 , ,
XXI ,
.

.
,
,
. ,
,
. ,

 /34/2012/ 66-71 /

, 9
(. 1, 2, 3)
.
-
.
minimal artu . ,

,
,

.
, .
, 1999. ,
,
,
.

Auer, G. (1988): Vom Nutzen des Nichts: Minimalistische Formen

und Formein in der Architektur, Daidalos 30, pp. 96-109.
Avon, A., C. Germano (ed.), (1988): Minimal, Rassegna 36/4
Bertoni, F. (1999): Claudio Silvestrin, Firenze, Octavo, p. 226.
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1127, p. 19.
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forme e nuova semplicit nel design, Milano, Lupetti
de Sola Morales, I. (1986): Architetura minimale a Barcelona:
construire sulla cita construita/Minimal architecture in Barcelona:
building on the built city, London, Architectural Press
de Sola Morales, I. (1995): Diferencias: Tipografia de la arquitectura
contemporanea, Barcelona, Editorial Gustavo Gili
Glancey, J., R. Bryant (1990): The New Moderns, London, Reed
Consumer Book Limited
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London, Academy Editions
Jenks, C. (1999): Open Discussion, Architectural Design Profile 139,
pp. 15-17.
Machado, R., R. el-Khoury, (1995): Monolitic Architecture, Munich,
Prestel

Melhuish, C. (1994): On Minimalism in Architecture, Architectural

Design Profile 110, pp. 8-14.
Montaner, J. M. (ed), (1993): Minimalismos, El Croquis 62-63.
Murray, P. (1999): Something or Nothing: Minimalism in Art and
Architecture, Architectural Design Profile 139, pp. 8-15.
Nicolin, P. (ed), (1992): Dopo la capanna decorata, Lotus International 72.
Nicolin, P. (ed), (1994): Neominimalismo, Lotus International 81.
Pawson, J. (1996): Minimum, London, Phaidon
Riley, T. (1995): Light Architecture, New York, MoMa
Smith C. R. (1976): The Mexican minimalism of Ricardo Legorreta,
Architectural Record 160/5, pp. 97-104.
Taki, K. (1984): Minimalism or Monotonality? A Contextual Anallysis
of Tadao Andos Method, in Tadao Ando: Buildings Projects Writings,
Kenneth Frampton (ed.), NewYork, Rizzoli International
Toy, M. (1994): Editorial: Aspects of minimal architecture, Architectural
Design Profile 110, p. 7.
Toy, M. (1999): Editorial: Aspects of minimal architecture II,
Architectural Design Profile 139, p. 7.
Vice, P. (1994): Minimalism and the Art of Visual Nosie, Architectural
Design Profile 110, pp. 15-17.
Vittorio, E. S., J. Montaner (1996): Less is more: minimalisme en
arquitectura i d altres arts, Barcelona, Col-legi d Arquitectes de
Catalunya
Ypma, R. (1996): London minimum, London, Thames and Hudson
71

, ,
. - ,
, : 1) XX
(, , ), (, , , , ,
, , , .) minimal art; 2) , (Claude Nicolas Ledoux)
(Etienne Louis Boullee) (Marc Antoine Laugier) , ,
- , .

UDK:711.75(497.11) ; 625.1/.5(497.11)
ID BROJ: 192034060
, DOI: 10.5937/arhurb1234073V

: 2012, : 2012.

VALORIZATION AND IMPROVEMENT PROPOSAL FOR THE

SURROUNDING AREA OF AN URBAN RAILWAY IN BELGRADE
A

.

,
,
.


,
.


,
.

,

,
.
: : , ,
,

* ,

vucicdragana@gmail.com

bstract
Participation of the public transportation system in Belgrade
reached its full capacity. In order to fulfill daily commuting needs
and connect suburb areas with center, solutions should be found
in rail systems.
Planned reconstruction and built of a new railway systems in
Belgrade questions its sustainability and ecological, social and
visual impact on the environment.
This study includes research about urban railway systems, their
impacts on the environment, with the focus on the valorization
of the study area, in order to understand the existing problems
and give the best possible suggestions for its solutions, and
future plans in order to create ecologically, visually and socially
improved landscape.
Key words: "BG: voz", urban railway, railway impacts, urban
design

,

,
.

,
.
,
,
,
,
,

: , .
,

,
.

73

 /34/2012/ 72-79 /

.1.

(a:
, . 2011)
Fg. 1.
Border and zoning of the study
area
(author: Dragana Vucic, sept. 2011)

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(author: Dragana Vucic, oct. 2011)

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. 5.


Fg. 5.
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bunar train station

. 6.


Fg. 6..
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train station surroundings

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9. Rail Transport And Environment-Facts and Figures (2008),
UIC- International Union of Railways i CER-Comunity of
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