Abstract
The Trenton Bath House complex holds an important place in Louis I. Kahn’s oeuvre. As he stated: “The world discovered me after I designed the Richards Laboratories building, but I discovered myself after designing that little concrete bath house in Trenton”1. Given its significance, a thoughtful restoration that allowed the buildings to remain in active use was imperative. Because the complex embodies in miniature many of the theoretical and practical considerations that accompany the work of Kahn and other modern-era architects, the process, outcome, and projected future of the restoration effort are instructive.

Keywords
Modern Movement, Modern architecture, Louis Kahn, Modern monumentality, Conservation of modern architecture, Trenton Bath House, USA modern architecture, Restoration.

Issue 58
Year 2018
Pages 12-19
DOI: https://dx.doi.org/10.52200/58.A.1TS55IKT

Abstract
In the quest to save recent-past, mid-century modern buildings, it is important to recognize how symbolic and commercial considerations influence the likelihood that some buildings are preserved while other buildings are demolished. Simply put, why does one building survive and another not? This article compares two of Louis I. Kahn’s projects — one a commercial building and the other institutional. The comparison examines how various dynamics facilitate or hinder the preservation of modern buildings. Further analysis considers steps that preservation-minded individuals and organizations might consider to retain and restore more modern buildings.

Keywords
Modern Movement, Modern architecture, Louis Kahn, Modern monumentality, Conservation of modern architecture, Coward Shoe Store, Yale University Art Gallery, USA modern architecture.

Issue 58
Year 2018
Pages 6-11
DOI: https://dx.doi.org/10.52200/58.A.09IB6G5G

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