This paper aims to explore industrial heritage of Belgrade that is located in the city center and therefore, has considerable potential for future architectural and urban development of the Serbian capital. The whole Belgrade riverfront area along the Sava and the Danube Rivers has a large number of abandoned industrial buildings that have significant value and need to be preserved and revitalized. This paper represents a research project conducted by lecturers at the Faculty of Architecture in Belgrade in the course History and Theory 1—Visual Culture in Architectural Theory and Practice. In order to provide productive research, we have employed the case study method based on the old Mint “A.D.”, which we have chosen as a characteristic example of Belgrade’s industrial heritage architecture. An important goal of this research is to provide professional information and raise public awareness about the importance and potential of industrial heritage for the future economic, cultural, social and tourist development of the city. This paper analyzes possibilities to comprehend the problems of the city’s industrial heritage protection regarding its historical and urban context, its genesis, authenticity, identity, cultural, architectural, economic, social, productive, creative and environmental values. According to that, the main goal of this research is concentrated on the sustainable preservation of specific cultural tangible and intangible values, spirit of the place, city identity and historic cityscape values that characterize industrial heritage in the social, cultural, natural and built environmental systems.

This paper presents research on the historical and urban development of the palace complex on Terazije during the 19th and early 20th centuries, placing a focus on the period from the 1840s to the 1880s, i.e. upon the architecture of the Prince's Court (Knežev dvorac, also known as the Stari konak) and the Court of Crown Prince Mihailo, which were both demolished in the early 20th century. The process of urban transformation of the complex and the design of buildings for the accommodation of the then-rulers is presented, based on the available historical material (old plans and photographs), as well as pre-existing interpretations of this topic available in published literature. Both the appearance of the court buildings and the complex itself in certain phases of development are reconstructed, facilitated by comparative situational representations and axonometric projections. A typological and stylistic analysis of the architectural characteristics of the Stari konak and the court, which are to be considered representative examples of the transition from the Classicist to the Romantic era of Serbian architecture in the middle of the 19th century, is given. The paper places a particular emphasis on the historical and cultural significance in the present of these now-demolished buildings for preserving the memory of an extremely important period in the history of the modern Serbian state.

Marking the 100th anniversary of the founding of Bauhaus, one of the leading and most in uential modernist art schools, which, despite its short period of activity (1919)(1920)(1921)(1922)(1923)(1924)(1925)(1926)(1927)(1928)(1929)(1930)(1931)(1932)(1933), paved the way for the new artistic, theoretical and social toponyms through its educational system, this text collects and exposes the speci c and complex echoes created by designers, artists and architects from the Yugoslav cultural areas. The subject of this paper is related to a group of students from the Kingdom of Serbs, Croats and Slovenians (from 1929, the Kingdom of Yugoslavia) who studied architecture, textile design, photography and the ne arts at the Bauhaus in the period [1924][1925][1926][1927][1928][1929][1930][1931][1932]. Education at the Bauhaus, political context, as well as work in various prestigious architectural bureaus or individual design practices were of utmost importance in forming the ideological frameworks of the Yugoslav Bauhaus students' production. In other words, the text seeks to illustrate the complex relationships between the individual poetics of the Yugoslav students at the Bauhaus and the historical moment in which they acted. The aim of the research is to determine the cultural and social positions of their work through relating the aesthetic reading of artistic practices, concise review of the socio-historical context and individual cases of Yugoslav students. The research methodology is framed by the existing sources and interpretations.

This paper analyses architecture created through appropriating existing materials while focusing on strategies of intertextuality. It argues that the meaning of an architectural object does not derive from itself, or its poetic concepts, but rather from its relationship with other architectural objects, other art works as texts, cultural texts, and everyday practices. My aim is to show various theoretical problems of the theory of architecture and art, which as a network of overlapping texts of culture, surround the architectural production of Alexander Brodsky. Here I use different and varied theoretical concepts, selecting two case studies by Brodsky - The Pavilion for Vodka Ceremonies and Rotunda-upon which the paper is based as an interdiscursive study.