Abstract
Memorial sites dedicated to the National Liberation War, revolution and the victims of fascism have played an important role in the cultural and political life of the socialist Yugoslavia. The changing political course of Yugoslavia from 1948 influenced its cultural strategy. This reflected the artists’ sensibility and tendency towards abstract sculpture, which culminated during the 1960s and 1970s. In this essay we will examine the influx of modern art and architecture on the aesthetics of the memorials from the era. We will also focus on their contemporary representation as an important part of cultural heritage.

Keywords
Modern Movement, Modern architecture, Eastern European architecture, Cold War architecture, Yugoslavian modern architecture, WWII memorials.

Issue 59
Year 2018
Pages 74-78
DOI: https://dx.doi.org/10.52200/59.A.8QPZRS1O

Abstract
It was an event that rarely happens in this part of the world: the construction of a brand-new capital city in a country which was not famous for its achievements in city building. Furthermore, it was in a country ravaged by WWII, rural and mostly agricultural, with modest industrial capacities. Today, 70 years after the beginning of its construction, New Belgrade is still one of the most contentious topics of architecture and urban planning in Serbia. It is the most beloved and the most hated, biggest success story and biggest failure, most beautiful and ugliest architecture of the city — all at the same time. It is not just a question of contested beauty: like many other post-war cities based on the Athens Charter, New Belgrade is a vast infrastructurally equipped urban territory, soaked in conflicted interests and interpretations of its past and its future. As we approach the saturation point of its available construction land — at least per original and many consecutive plans — the question of its future development, its reconstruction and/or restoration is looming out of every document and every conversation about New Belgrade.

Keywords
Modern Movement, Modern architecture, Eastern European architecture, Cold War architecture, Belgrade modern architecture, Modern urban planning.

Issue 59
Year 2018
Pages 68-73
DOI: https://dx.doi.org/10.52200/59.A.D8RTDTPT

Abstract
Industrialization caused the biggest technological changes in human history, which called for not only new ways of working but also of living, education, and life as a whole. Eventually the world became the global market that we know today, when we are on the threshold of 5.0 Industry, when utopia is becoming reality. Despite its peripheral role, Slovenia started to change quite early under the influences of industrialization; these changes accelerated in the 19th century and gained momentum during socialist industrialization, when organized heritage protection started to develop extremely quickly — first it was used for socialist propaganda and then increasingly for concrete protection actions and regenerations. In parallel, relevant domestic knowledge was developed and, particularly, awareness was raised about the significance of industrial heritage, testifying to the transformation of its value in space and time. The understanding of this is necessary for an effective, development-directed protection.

Keywords
Modern Movement, Modern architecture, Eastern European architecture, Cold War architecture, Slovenian modern architecture, Preservation of modern architecture, Modern industrial complexes.

Issue 59
Year 2018
Pages 60-67
DOI: https://dx.doi.org/10.52200/59.A.0WPN82J2

Abstract
This article discussess Cankarjev Dom and Republic Square in Ljubljana, Slovenia, by Edvard Ravnikar with the focus on three stage of the genesis of cultural centers in Slovenia, starting with the pre-war Slovenian cultural centers by Max Fabiani, Danilo Fürst and Gustav Trenz. The second phase is represented by the cultural centers of the architects Oton Gaspari, Marko Župančič and Emil Navinšek from the 1950s built in the Slovenian industrial towns of Trbovlje, Velenje, and Zagorje, and the third phase by Edvard Ravnikar and his students such as Biro71 and Marko Mušič from the late 1970s and early 1980s built in Ljubljana, Skopje (Macedonia) and Kolašin (Montenegro).

Keywords
Modern Movement, Modern architecture, Eastern European architecture, Cold War architecture, Slovenian modern architecture, Yugoslavian modern architecture, Edvard Ravnikar, Modern cultural centers.

Issue 59
Year 2018
Pages 54-59
DOI: https://dx.doi.org/10.52200/59.A.B3CK6W9A

Abstract
This paper summarizes the creation and formulation of the modern addition to the Slovak National Gallery, an iconic architectural work of post-war Modernism in Czechoslovakia which instigated a major discussion between specialists and the general public already from its construction time. In the second part of the text, related to the reconstruction currently underway, I attempt to interpret the actual process of this building’s reconstruction and remodeling, which could be viewed as a physical dimension of the discussion on the polarizing effects of Modern Movement architectonic concepts as well as the impoverishment of the authentic heritage value of this unique instance of Slovak modernity.

Keywords
Modern Movement, Modern architecture, Eastern European architecture, Cold War architecture, Bratislava modern architecture, Brutalism, Slovak National Gallery.

Issue 59
Year 2018
Pages 46-53
DOI: https://dx.doi.org/10.52200/59.A.XP9N7E35

Abstract
Work of the architect Friedrich Weinwurm represents the most consistent contribution from within Slovakia to the activities of the international architectural avant-garde. Friedrich Weinwurm fully matched the idea of a socialist-minded architect, organizer of public life and visionary of a new social order. The new way that Friedrich Weinwurm followed in his architectural work ran parallel to the paths of the leading representatives of the European left-wing avant-garde. In Slovakia, these works represented the most coherent allegiance to the program of the New Objectivity, and the vision of a Marxist-inspired architecture. As such, Friedrich Weinwurm held a key role in ensuring that inter-war Bratislava formed one of Europe’s important focal points for modern architecture.

Keywords
Modern Movement, Modern architecture, Eastern European architecture, Cold War architecture, Slovakian modern architecture, Friedrich Weinwurm.

Issue 59
Year 2018
Pages 38-45
DOI: https://dx.doi.org/10.52200/59.A.2WJKNTFV

Abstract
This paper looks at the changes in hotel architecture in post-war Czechoslovakia. In particular, the way in which architects, either with the support of or, in some cases, in resistance to the political dictate, handled the inspirational influences that came from abroad. Namely the Soviet models forced on them, or the ideas that seeped through from the other side of the Iron Curtain that were closer to the Czech modernist environment. The resulting approach of compromises and mixing influences, typical for a small country in the middle of Europe, gave rise to imaginative combinations of the universal principles of the International Style with structural experiments, a return to sophistication and refined craftsmanship, a cautious criticism of Modernism, or an intensive effort to strike a balance and harmony with the poetic character of the landscape.

Keywords
Modern Movement, Modern architecture, Eastern European architecture, Cold War architecture, Czech Republican modern architecture, Modern landscapes, Modern hotels.

Issue 59
Year 2018
Pages 32-37
DOI: https://dx.doi.org/10.52200/59.A.AJVVS2V8