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Summary: MILAN POPADI
THE ARCHITECTURE OF THE MUSEUM OF CONTEMPORARY ART IN BELGRADE
The building of the Museum of Contemporary Art in Belgrade, erected after a design of Ivan Anti and Ivanka
Raspopovi, occupies a prominent place in the Serbian architecture of the second half of the twentieth century. It drew
public attention even during construction (196165), and its opening on 20 October 1965 was seen as a feast of culture.
Thus in the mid-1960s on the city-engendering site at the confluence (Ue) of the Sava and Danube rivers opposite the
centuries-old Fortress of Belgrade yet another monument grew a singular architectural work and an outstanding institution
of culture.
The MCA building testifies to the intermingling of various influences, artistic and cultural trends, social and economic
forces. The story of the Museum, originally named Modern Gallery, begins in the early 1950s. The state leadership and
relevant departments endorsed the idea of founding an institution competent to collect and study twentieth-century Yugoslav
and Serbian art, and the search for a suitable building began. The search proved fruitless and it was only in the late 1950s
that Miodrag B. Proti, a painter, art critic and administrator the main champion of the idea of founding the Museum
and its first director succeeded in securing the outstanding location at the confluence of the two rivers, and the design
competition for the Modern Gallery building was soon launched. In 1961 construction began after the revised winning
design of Ivan Anti and Ivanka Raspopovi. The building was renamed Museum of Contemporary Art a few months before
its completion in 1965.
The MCA building has been appraised as one of the worthiest and most interesting works of recent Serbian architecture.
Anti and Raspopovis inventive creation, apt manner of connecting, transforming and modifying plastic elements resulted
in a recognizable and inspiring architectural work. The MCA building is a clustered form consisting of six upright twostorey cuboids reinforced concrete frame construction rotated at an angle of 45o in relation to the oblong-shaped
ground-floor. This rotation and the obliquely truncated upper corners of the cuboids produce a distinct crystallomorphic
impression which is additionally enhanced by the white-grey marble facing. An original contribution in the interior is the
cascading rhythm of half-storeys and intermediate levels enabling easy circulation, producing spaces of various heights,
and additionally enriching the interior with successive panoramic views of the exterior surroundings. Architectural qualities
of the building are observable at various levels: from the diagrammatic structure of the plan, rational geometric forms and
carefully studied logic of movement to an effective spatial solution. By virtue of being a high architectural achievement, the
MCA building has been designated immovable cultural property.
One of the most difficult tasks the building faced was how to balance diverse, complex, even contradictory requirements
imposed by the complexity of architectural articulation, an ambitious museum conception and the representation strategy
of modern and contemporary art. As a result, it happened that where architects saw extraordinary qualities and original
contributions, artists tended to see shortcomings prone to demean the exhibits or distract the viewers attention. At once
an architectural, artistic and museum structure, the MCA building tends to elicit intricate, even contradictory responses.
In addition, the distinctive view from Kalemegdan makes the MCA building an essential element of the cityscape, just
as Belgrade is an exhibit in its collections. This never-ending and intriguing process of discovering new relationships,
meanings and syntheses incessantly produced by the MCA building is its finest quality.

ILLUSTRATIONS
Fig. 1 Ivan Anti and Ivanka Raspopovi, Competition design for the
Modern Gallery building in Novi Beograd, 1959, ground-floor plan,
floor plan, elevation, perspective (Arhitektura i urbanizam 1, 1960)
Fig. 2 Ivan Anti and Ivanka Raspopovi, Museum of Contemporary
Art in Belgrade, 1965, ground-floor plan
Fig. 3 I. Anti and I. Raspopovi, Museum of Contemporary Art in
Belgrade, 1965, first floor plan
Fig. 4 I. Anti and I. Raspopovi, Museum of Contemporary Art in
Belgrade, 1965, second floor plan

Fig. 5 I. Anti and I. Raspopovi, Museum of Contemporary Art in

Belgrade (photo Branibor Debeljkovi, 1965)
Fig. 6 I. Anti and I. Raspopovi, Museum of Contemporary Art in
Belgrade, 1965, cross-section
Fig. 7 I. Anti and I. Raspopovi, Museum of Contemporary Art in
Belgrade (photo Branibor Debeljkovi, 1965)
Fig. 8 View of the Museum of Contemporary Art from Kalemegdan
(photo Branibor Debeljkovi, 1965)

178