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Abstract: The focus of this paper is on architect Miroslav Mirko Jovanovis modernist design for the residential building with an art
gal- lery in Pariska Street in Belgrade, one of the irst to use exterior brick veneer in Belgrade. Designed and built in the 1960s, it is considered
a very successful interpolation into a highly-valued historic setting. The goal of the paper is to offer a comprehensive and detailed presentation
of this understudied work of architecture and to point to its importance in the residential architecture of Belgrade. Exceptionally helpful in this
respect has been the interview with the wife of Miroslav Jovanovi, architect Danica Milosavljevi, whose design studio worked on the
elaboration and realization of the design concept for the building intended for housing artists. Her vivid memories supplement the picture of
the building with the life of its dwellers, for the most part distinguished Serbian painters. The paper draws attention to many and diverse
themes in Jovanovis architectural work, such as architectural detail, the A- and B-side of the building or the play with levels.
Keywords: Miroslav Mirko Jovanovi, Belgrade residential architecture, exterior brick veneer, interpolation, Danica Milosavljevi,
build- ing for artists, painters

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Summary: GORAN ANELKOVI
THE BUILDING AT 14 PARISKA STREET, BELGRADE
In Pariska Street that traverses the Sava slope in the old part of Belgrade sits a residential building designed by Miro slav Mirko Jovanovi in the style of contemporary architecture. Designed and built between 1956 and 1960 for housing
painters, it had to ind its place in a highly-valued and stylistically different historic setting, which required a responsible
approach and was a challenging design task. From todays perspective, Jovanovi may be said to have achieved a
successful interpolation into the existing context.
Apart from being cited in a few chronicles published in the former Yugoslavia and a poetical text written shortly
after construction was completed, this worthy piece of architecture has not been given due attention. This contribution
makes a pioneering attempt to present and elucidate Jovanovis idea and its materialization. Great gratitude goes to
Jovanovis wife, Danica Milosavljevi, herself an architect who took part in the elaboration of the design. Her vivid
memories have been helpful to better understanding the designers idea for the building in which distinguished Serbian
painters, to mention but Ivan Tabakovi, Pedja Milosavljevi, Milenko erban and Stojan Aralica, lived and worked.
Construction was funded by the Cooperative of Artists and the NOS of Belgrade, and carried out by Dunav
Compa- ny. The design documents were prepared by the Investprojekt design studio where Danica Milosavljevi was
employed and whose premises were on the ground loor of the adjacent building, 13 Pariska Street.
From the perspective of function, the lats show two basic types of layouts with or without a painters studio and
variations of similar subtypes.
The gist of Jovanovis concept is observable in the cross-section of playful levels, with a skilful use of half-storey
heights which made it possible for the studios to be threaded between lats. How intriguing and interesting the crosssection is can be seen from the fact that many have miscounted the actual number of storeys.
The front faade shows a dualism of transparent and brick surfaces. It is the use of brick veneer that has added a
reined touch of colour to the exterior of the building. The use of brick as an element of visual expression has enlivened
the fronts of Belgrades buildings and contributed to the reintroduction of brick as an important formal element in
architecture.
The somewhat anonymous courtyard faade, on the other hand, appears as if it belongs to a different building. This
pattern in the architecture of Belgrade may be termed the A- and B-side of a building.
Architectural detail was an area of Jovanovis particular interest. It is observable in the openings of different sizes,
and in the use of French windows with simple and elegant steel railings. The interest in detail is also observable in the entrance area, where a small patch of greenery along the edge of the pavement is arranged, atypical of Belgrade architecture
where attention has usually been paid to large-scale urban design.

ILLUSTRATIONS
Fig. 1 Residential building with an art gallery by architect Miroslav
Mirko Jovanovi, 14 Pariska St. (photo by Goran Andjelkovi)
Fig. 2 Interior of a lat in Pariska St.: painters atelier II, 1961
(photo by arch. Barlovac in: Olga Milievi-Nikoli, Dva
susreta pred Kalemegdanom, Arhitektura urbanizam [1961],
19)
Fig. 3 Third-loor plan, original drawing, scale 1:50, 1957
(original design documents of architect Miroslav Mirko Jovanovi)
Fig. 4 Elevations, original drawing, scale 1:50, 1957
(original design documents of architect Miroslav Mirko Jovanovi)
Fig. 5 Ground-loor plan, 1960
(authors drawing after the original design documents)
Fig. 6 Cross sections, original drawings, scale 1:50, 1957

112