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116

O
Summary: MILAN PROSEN
ON SOCIALIST REALISM IN ARCHITECTURE AND ITS DEVELOPMENT IN SERBIA
Buildings erected for state officials have always possessed the ability to visualize authority, virtue and success through
the articulation of forms and a specific architectural vocabulary. The impression they leave on the observer has been powerful
and clearly unambiguous. The military and political conditions that affected the development of Yugoslavia in the early
post-war period brought models from the U.S.S.R. which were appropriated as a form of artistic expression. The realized
examples and proposals were primarily related to paintings and sculptures. The next step was an attempt to define the style
that would reflect the architecture fit for the prosperous future of a socialist society. The rhetoric of forms, the sculptures and
emblems implemented in some examples of the Soviet socialist realism showed how architecture could become a medium
of propaganda. The architecture of the Soviet socialist realism was monumental, effective and expensive architecture, and
its purpose was a loud glorification of the ruler and his ideas.
Although all architects were working on residential buildings, and although a number of eminent architects took part
in competitions for public buildings, only a small number of concepts really followed the Soviet models in architecture.
These concepts were mostly left unrealized and were not known to the public; they stayed in the form of designs. Their
discovery and presentation should be the next task for Serbian experts in the history of architecture. These designs reflect
the dilemmas of Serbian architects influenced mostly by a powerful impact of the ideologically conditioned architectural
criticism, which did not have a uniform attitude towards the architecture of the future.
Younger Serbian architects applied their experience of prewar modernism, particularly to residential architecture, but
owing to inadequate funding the persistent characteristic of the times they were frequently unjustly and colloquially
called socialist realists. The influence of Le Corbusier and Mies van der Roe will be felt much stronger in the 1950s, and the
return of individualism will revive Serbian architecture. And, finally, the works of architects Mihajlo Jankovi and Bogan
Bogdanovi will more effectively implement the ideology of the social order that was supposed to glorify the heroes of war
and work, more loquaciously than the rare examples of a reduced reception of socialist realism in architecture in Serbia.
When one observes the entire architectural production, competitions, public buildings, residential buildings and the
circumstances that prescribed the style, it would be more appropriate, when talking about the development of Serbian
postwar architecture, to use terms like culture of socialism and architecture of the epoch of socialist realism than to imitate
the language of visual arts criticism on paintings and sculptures, and insist on socialist realism in Serbian architecture.

117