Robert Bork, William W. Clark and Abby McGehee ...

UDC 72”04/14”

Robert Bork, William W. Clark and Abby McGehee eds., New­Approaches­to­Medieval­Architecture. AVISTA Studies in the History of Medieval Technology, Science and Art, vol. 8. In English. Farnham: Ashgate 2011. This timely volume New Approaches to Medieval Architecture, co-edited by established scholars of architecture in Western Europe professors Robert Bork of the University of Iowa, William W. Clark of Queens College and the Graduate Center of CUNY in New York, and Abby McGehee of Oregon College of Art and Craft, brings together sixteen essays by historians of medieval architecture from the United States of America and the United Kingdom of Great Britain. All of the contributors are associated with the Association Villard de Honnecourt for the Interdisciplinary Study of Medieval Technology, Science and Art (AVISTA) that “since 1984 actively promotes medieval architecture examined through the lenses of technology, science and arts.”1 This 2011 volume and a 2012 volume with a similar title and scholarly aims, Approaches to Byzantine Architecture and Its Decoration, edited by Mark J. Johnson, Robert Ousterhout, and Amy Papalexandrou and also published by Ashgate, contribute to the wider understanding of newer and traditional Anglo-Saxon scholarship of medieval architecture, which is broadly defined so to include more than a thousand years of architectural developments within the wider territories of Europe and the Middle East traditionally recognized as Western European and Byzantine accomplishments. Even if the majority of essays reflect the scholarly interests of their authors in French Gothic architecture, New Approaches to Medieval Architecture is a smartly envisioned project that puts forward this broader understanding of medieval architecture. There are essays dealing with architecture in Italy and England, and one essay focuses on secular rather than religious architecture. By including two essaysthat deal with examples of Byzantine architecture, the volume also graciously opens the doors to the2012 “Byzantine” volume. Robert Bork and Abby McGehee explain the purpose of the book in an introduction (pp. 1–10) by providing a historiographical overview for the displacement of architecture from its central focus in medieval studies to its peripheral position in academia after the 1970s, including the somewhat disheartening fact that in the United States there are no research institutes and institutionalized venues comparable to those in Europe that are specialized in the research of (medieval) architecture, archaeology, and material culture. Scholars are also teachers and their research is supported by the universities where they teach if they are fortunate enough to belong to those few schools in the upper-most tier. However, without lamenting, 1

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the editors highlight the potential for the revival of studies of medieval architecture in the twenty-first century by highlighting the two critical issues that, according to them, offer productive research platforms. One is related to new computer-based technologies such as sophisticated laser scanning and other digitized techniques in imaging architectural space. The precise imaging of large-scale objects in turn can provide not only better representation of architecture, which is traditionally bound to plans, cross-sections, elevations and three-dimensional cut-away drawings, but also a better understanding of medieval design processes as well as advanced structural and formal analyses of the remaining and still understudied medieval buildings. The other platform is related to interdisciplinary studies of architecture that involve access to various methodologies and critical intellectual rigor stemming from the humanities and social sciences, and thus in turn can revise and adjust prevailing narratives about medieval accomplishments. Following the introduction, the sixteen essays are grouped in four self-explaining thematic sections: Re­Assessing the Master Narratives of Medieval Architecture; The Patronage and Institutional Context of Medieval Architecture; Geometry and Workshop Practice in Medieval Architecture; and New Technologies for the Study of Medieval Architecture. Nicola (Nick) Camerlenghi from the University of Oregon, now teaching at Dartmouth College, starts the section on the narratives of medieval architecture with his motivating and architecture-centered essay “The Long Durée and the Life of Buildings” (pp. 11–20). He focuses on the continual and adaptive life of buildings by using textbook examples of medieval architecture: Hagia Sophia in Constantinople (modern Istanbul) and St. Peter’s in Rome. By engaging with the potentials of diachronic and ontological studies rather than the approaches of social evolutionism – that so often remain stuck on questions of origins and original appearances of buildings or questions of their architects as individual and recognized creators to the extent that the architectural space is understood as static and absolute – Camerlenghi suggests long durée studies on specific objects as a kind of paradigm shift which aims to reveal the processes of physical transformations of buildings and the processes of production and reception of their legacies, thus suggesting a way to re-adjust the monolithic and single-voiced narratives about medieval architecture. Vasileios Marinis of Yale Divinity School in his essay “Some Notes on the Functional Approach in the Study of Byzantine Architecture: The Case of Constantinople” (pp. 21–33), summarizes the limits of modernist narratives of architecture that are based on discussions of the relationship between form and function, which when applied to Byzantine architecture prevailed as a discourse about the relations between liturgical rites and the church architecture that housed these rites. Ellen Shortell of the Massachusetts College of Art and Design re-assesses the master narrative of French Gothic in her essay “Saint-Quentin, Chartres, and the Narrative of French Gothic” (pp. 35–44). By combining evidence from texts and stained glass, she suggests that a former collegiate church of St. Quentin in Picardy was built in the early 1190s and thus pre-dates the exceptionally well preserved and widely acknowledged first High Gothic cathedral of Chartres. Her thorough art historical method is relevant not only for the study of St. Quentin, but also for the historiographical examinations of medieval architecture, questioning the criteria scholars use in their narratives. The challenges to methods and master narratives in this section end with Stephen Murray’s essay. A renowned professor at Columbia University and also a mentor of several contributors to this volume, Murray presents “Back to Beauvais (2009)” (pp. 45–60), a text on the infamous and never finished cathedral and the last example of High Gothic French architecture. Murray critiques the nineteenth-century narrative by Viollet-le-Duc, who maintained that Beauvais’ cathedral was a perfect structure. Murrey focuses on the over-ambitious vision for the extremely proportionally attenuated French cathedral, a vision which was incompatible with the structural knowledge of its architects. At the same time this essay highlights a paradox of our own time. Despite advanced knowledge of structural and plastic deformations of buildings, we still need to learn more about potentially endangered medieval structures, and we are still pretty much dependant on older technology available in preservation, since the cathedral was braced “medieval style” by metal ties in the 1990s. The second part of the volume shifts to various social and institutional contexts of medieval architecture examined by historians and art historians that use traditional approaches to reveal new conclusions even for long-established key examples of Gothic architecture, such as St. Denis. In “Money, Stone, Liturgy, and Planning at the Royal Abbey of Saint-Denis” (pp. 63– 75), art historian William W. Clark of Queens College and the Graduate Center of CUNY and historian Thomas G. Waldman of the University

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of Pennsylvania essentially use a socio-economic approach focused on textual sources and the tactic of “following the money” for the building campaigns of the first Gothic church of Saint-Denis to offer a revised chronology of its construction, by pushing back the initial date of the actual construction of the western block to 1129–31. Carl F. Barnes, Jr. from Oakland University, Rochester, Michigan in his revised “[An] Essay on Villard de Honnecourt, Cambrai Cathedral, and Saint Elizabeth of Hungary” (pp. 77–91), posits that Villard de Honnecourt who is the enigmatic author of the famous sketchbook from ca. 1220s–30s with some 250 drawings that also included those of Gothic architecture, its individual elements, drawings of mason’s templates and tools, as well as sketches of proportional relations that could inform design – actually served as a lay agent for the bishop of Cambrai, whose jurisdiction was significant in the middle ages. The intricate relationships between religious and civic authorities in the creation of medieval architecture are further expanded by Matthew M. Reeve of Queen’s University in his invigorating essay about “Gothic Architecture and the Civilizing Process: The Great Hall in Thirteenth-Century England” (pp. 93–109). He argues for a well-needed balance in studies of medieval architecture by examining architecture as art and simultaneously by focusing on those examples that are neither French nor explicitly religious. Here, medieval architecture is sophisticatedly contextualized and examined through the great hall as the main chamber of the palace and the locus of English aristocracy, whose manners of civic life were proscribed by the texts of ecclesiastical provenance, which in turn also informed the “elevated” style and architecture of the great hall. Texts about design processes, the use of geometry, and the work of medieval architectural and sculptural workshops are grouped in the third section of the book. In her “Standardization and Innovation in Design: Limestone Architectural Sculpture in Twelfth-Century France” (pp. 113–127), Janet E. Snyder of West Virginia University examines the architectural sculpture of church portals in France over a 30-year span between the 1130s and the 1160s, which accounts for a “typical life” of an established workshop, as a way to suggest how transformations – both standardization and innovation – in portal sculpture design can be related to similar phenomena in architecture. Nigel Hiscock of Oxford Brooks University in his thought-provoking essay “The Enigma of Arcade Design in Benedictine and Cistercian Churches: How Regular did Pier Spacing have to be?” (pp. 129–145), suggests the knowledge of Vitruvian and Platonic geometry used as a design principle in medieval architecture may account for the differences between Benedictine and Cistercian churches. I find particularly convincing his suggestion that measured irregular spacing of piers makes sense when geometrical analysis is applied. Spacing of piers often defined the modular design of medieval churches, but its irregularity cannot be easily explained when metrology is applied. Indeed, the “austere” Cistercian buildings are recognizable for their predominant use of the square as a major geometric form in design, yet his use of only four examples (two Benedictine and two Cistercian) calls for further studies and a larger sample to strengthen his conclusions about the role of geometry in the design process and potential meanings of “irregularities” and their rhythms. In a similarly focused text on geometry and irregularities in design “Art, Architecture, and Science: Considerations on the Plan of the Chevet of Saint Denis” (pp. 147–157), Stefaan Van Liefferinge of the University of Georgia explains the use of the circle as a major geometric figure in the apse of the first Gothic church and suggests that the lack of mathematical rigor in the application of the circle in actual construction resulted from structural and visual linkages, “blending practical, mathematical and aesthetic ingredients” (p. 157), a topic which in its own right merits further studies. Robert Bork of the University of Iowa in his essay “Villard’s Laon Tower Drawings and the Visual Transmission of Architectural Ideas” (pp. 159–167), returns to Villard de Honnecourt’s sketchbook and highlights the importance of geometrical and proportional analysis, and in particular the principle of quadrature (the square rotation) that can be revealed in Villard’s drawing of still standing towers from Laon cathedral. He also convincingly calls for further studies of the peculiar combination of visual and verbal communication that informed Villard’s drawings and that account for our discontent when looking at medieval “architectural drawings” and their distortion and inaccuracy before the Renaissance invention and use of scientific perspective and metrology in architectural drawings. Of particular relevance is the final section of the book, which highlights the non-invasive technology that promises better studies and understanding of the technological and structural issues of medieval architecture. This section opens with a summary of the 2010 article from Archaeological Prospection by four

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scholars from Texas A+M University – Vivian Paul, Suwimon Udphuay, Mark Everett, and Robert Warden – about the use of “Ground-Penetrating Radar at Valmagne, France” (pp. 171–180), and underscores its benefits of being a relatively fast, relatively inexpensive, and above all non-intrusive tool for preliminary archaeological research of medieval structures. Inspired by the structural engineering approaches of Viollet-le-Duc and Robert Mark, Harry Titus of Wake Forest University summarizes the advantages of digital photogrammetric analysis as a quick and accurate way for recording and analyzing large scale architectural spaces by focusing on the “Vaulting Issues at Saint-Etienne, Auxerre” (pp. 181–196). Lisa Reilly of the University of Virginia with Chad Keller and Edward Triplettin “The Medieval Design Process at Southwell Minster” (pp. 197–207) and Andrew J. Tallon of Vassar College, “Rethinking Medieval Structure” (pp. 209–217) emphasize the use of three-dimensional laser scanners to capture and measure data dynamically and accurately, which when used as a set of data in AutoCAD can produce point cloud, extremely precise two-dimensional images of architecture. Such three-dimensional laser scanners are still relatively expensive equipment, at least some $30,000 in value, most often around $100,000 for mid-range scanner. Thus the use of this technology is so far only available to those whose research is supported by larger project funding, and those based at research institutions possessing the necessary related software and skilled team. However, both texts highlight the immense potential for the subtle recording and analysis of medieval structures, including the chronological layering of various building phases, as well as understanding space beyond merely the visual, because computer software also allows for audio analysis or other investigations currently used in parametric and performance-based design by architects. Tallon boldly proposes that three-dimensional laser scanning of three-dimensional spaces, presumably based on metrology and twodimensional imagery recurrently used in archeological studies, invites for new terminology in medieval architecture, that he calls “spatial archaeology” (p. 210) and which can be used to test structural qualities of medieval buildings. Michael T. Davis of Mount Holyoke College finishes the book with the poetic essay “‘Cipoesvosveir:’ Technologies of Representation from Drawing to Digital” (219–233). He calls for the creative use of digital technologies for the recreation of the medieval appearances and expressive content of the buildings we study, including the attested polychromy of medieval structures and other sensory experiences we are deprived of, either because of the old age of the buildings and applied conservation methods or because of the inability to visit them all and experience them in person. Although most essays have only two to three images, each time reproduced in gray scale (perhaps due to restrictions imposed by the publisher), the authors should be highly commended for their illustrative material. The subtle cover page of the book shows Andrew J. Tallon’s point cloud photo of the Notre Dame’s in Paris and justifies the book’s aim and interest in new technologies. Indeed, excellent drawings, graphics and photographs, most of them done by the authors themselves, complement and highlight the text, which is equally understandable in form and style. All the essays are written by scholars trained in Anglo-Saxon schools, yet a bibliography revealing the breadth of primary and secondary sources written in Latin, Greek, French, German, and English languages that the contributors used for their research would have been a nice addition. I am personally captivated by the fact that several authors jointly signed their essays, revealing the cooperative culture of architectural projects and research that often involves entire teams. It is my hope that these co-signed papers, which are certainly not a methodological anomaly elsewhere such as in hard sciences, will further inspire those presenting their papers based on architectural studies, examined from historical and theoretical perspectives. This extremely relevant book is well-written and organized and suitable for both beginning and established students of architecture and medieval studies. Hopefully, this volume will initiate comparative studies of medieval architecture from different cultures in the wider territories of Europe, Euro-Asia, and the Mediterranean, potentially expanding into sophisticated studies of world architecture in the middle ages, while keeping to a contextualized and meticulous object-oriented architectural research. Jelena Bogdanović Iowa State University [email protected]

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ISSN 0352-6844 / UDK 7 (5)

Matica srpska journal for fine arts 42 Editorial board ALEKSANDAR KADIJEVIĆ, editor-in-chief (University of Belgrade – Faculty of Philosophy) KOKAN GRČEV (University American College Skopje) MIODRAG MARKOVIĆ (University of Belgrade – Faculty of Philosophy) LIDIJA MERENIK (University of Belgrade – Faculty of Philosophy) NENAD MAKULJEVIĆ (University of Belgrade – Faculty of Philosophy) IVAN STEVOVIĆ (University of Belgrade – Faculty of Philosophy) RUDOLF KLEIN (Szent István University, Budapest) BISSERA PENTCHEVA (Stanford University, USA) ALEKSANDAR IGNJATOVIĆ (University of Belgrade – Faculty of Architecture) SRĐAN MARKOVIĆ (University of Nish – Faculty of Arts) DRAGAN DAMJANOVIĆ (University of Zagreb – Faculty of Philosophy) NOVI SAD 2014

ISSN 0352-6844 / UDK 7 (5)

Зборник Матице српске за ликовне уметности 42 Уредништво АЛЕКСАНДАР КАДИЈЕВИЋ, главни и одговорни уредник (Универзитет у Београду – Филозофски факултет) КОКАН ГРЧЕВ (Амерички колеџ у Скопљу) МИОДРАГ МАРКОВИЋ (Универзитет у Београду – Филозофски факултет) ЛИДИЈА МЕРЕНИК (Универзитет у Београду – Филозофски факултет) НЕНАД МАКУЉЕВИЋ (Универзитет у Београду – Филозофски факултет) ИВАН СТЕВОВИЋ (Универзитет у Београду – Филозофски факултет) РУДОЛФ КЛАЈН (Универзитет Сент Иштван, Будимпешта) БИСЕРА ПЕНЧЕВА (Универзитет Стенфорд, САД) АЛЕКСАНДАР ИГЊАТОВИЋ (Универзитет у Београду – Архитектонски факултет) СРЂАН МАРКОВИЋ (Универзитет у Нишу – Факултет уметности) ДРАГАН ДАМЈАНОВИЋ (Свеучилиште у Загребу – Филозофски факултет) НОВИ САД 2014

МАТИЦА СРПСКА Одељење за ликовне уметности MATICA SRPSKA Department of Visual Arts

Copyright © Матица српска, Нови Сад, 2014

ЗБОРНИК ЗА ЛИКОВНЕ УМЕТНОСТИ МАТИЦЕ СРПСКЕ је основан 1963. године као научни часопис Одељења за ликовне уметности Матице српске у Новом Саду. У њему се објављују радови из историје српске и југословенске, али и светске уметности средњовековног, нововековног и модерног раздобља. Отворен је и за расправе из музеологије, херитологије, студија визуелне културе и теорије ликовних уметности. Међународна редакција прихвата само необјављене чланке који у истоветном облику не могу бити понуђени другом издавачу. За све научне радове објављене у часопису, редакција из круга угледних домаћих и страних научника обезбеђује најмање две независне рецензије. Чланци, расправе и прилози имају сажетке, кључне речи, резимее на страним језицима по избору аутора и УДК број по међународној библиотечкој класификацији. Часопис излази редовно једанпут годишње у обиму до 50 ауторских табака. Сваки број садржи именски и географски регистар, а доспева разменом у око 100 светских библиотека. Излажење часописа финансијски помажу Министарство просвете, науке и технолошког развоја Републике Србије и Покрајински секретаријат за културу и информисање Аутономне Покрајине Војводине. Бесплатан приступ интернет издању часописа у ПДФ формату омогућен је на сајту: http://www.maticasrpska.org.rs/category/katalog-izdanja/naucni-casopisi/zbornik-matice-srpske-za-likovne-umetnosti/ MATICA SRPSKA JOURNAL FOR FINE ARTS was founded in 1963 as the journal of the Department of Fine Arts of the Maticasrpska in Novi Sad. It publishes papers related to the history of Serbian and Yugoslav art, as well as art heritage from medieval, New Age and modern periods from all parts of the world. It also welcomes discussions in the field of museology, heritology, studies of visual culture and theory of fine arts. The journal accepts only previously unpublished papers which cannot be simultaneously offered in the same form to another publisher. Аll articles will be subject to double-blind peer reviewing, given by prominent Serbian or foreign scholars. Articles, discussions and contributions should include abstracts, keywords, summaries in a foreign language of choice of the respective authors, as well as a UDC by International Library Classification. The journal is published annually in up to 50 sheets of copyright. Each issue contains a name and geographic index and is distributed through exchange to close to 100 libraries worldwide. The Journal is financialy supported by the Ministery of Education, Science and Technological Development of the Republic of Serbia andProvincial Secretariat of Culture and Information of the Autonomous Province of Vojvodina. Free access to the online edition of the journal in PDF format at the following website: http://www.maticasrpska.org.rs/category/katalog-izdanja/naucni-casopisi/zbornik-matice-srpske-za-likovne-umetnosti/

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САДРЖАЈ

─ CONTENTS

ЧЛАНЦИ, РАСПРАВЕ, ПРИЛОЗИ ARTICLES, TREATISES, CONTRIBUTIONS 1. Sanja Savkić, COMPOSITION, PERCEPTION AND SIGNIFICATION OF THE MAYA LATE PRECLASSIC IMAGES ON THE CORNERS OF THE EDIFICES Сања Савкић, КОМПОЗИЦИЈА, ПЕРЦЕПЦИЈА И ЗНАЧЕЊЕ МАЈАНСКИХ СЛИКА И РЕЉЕФА НА УГЛОВИМА ЗГРАДА ИЗ КАСНОГ ПРЕКЛАСИЧНОГ ПЕРИОДА . . . . . . . . 2. Ioannis Tsiouris, SOME REMARKS ON THE WALL-PAINTINGS IN THE LITE OF THE PETRA’S MONASTERY KATHOLIKON (1789) Јоанис Циурис, НЕКА ЗАПАЖАЊА О ЗИДНИМ СЛИКАМА НА УНУТРАШЊОЈ ПРИПРАТИ КАТОЛИКОНА У МАНАСТИРУ ПЕТРА (1789) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3. Paschalis Androudis and Anastasia G. Yangaki, A FRAGMENT OF THE “PULA TYPE” OF LUSTREWARE IMMURED AT THE EXONARTHEX OF THE KATHOLIKON OF THE MONASTERY OF HILANDARI (MOUNT ATHOS PENINSULA) Андрудис Паскалис и Анастазија Г. Јангаки, ФРАГМЕНТ ПУЛСКОГ ТИПА СЈАЈНИХ ПОСУДА УЗИДАН У СПОЉНУ ПРИПРАТУ КАТОЛИКОНА У МАНАСТИРУ ХИЛАНДАР (СВЕТА ГОРА) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4. Olga Špehar, THE CRUCIFORM CHURCH ON CARIČIN GRAD: THESSALONIAN ARCHITECTURAL INFLUENCE ON THE CENTRAL BALKANS IN THE 6th CENTURY Олга Шпехар, КРСТООБРАЗНА ЦРКВА НА ЦАРИЧИНОМ ГРАДУ: СОЛУНСКИ АРХИТЕКТОНСКИ УТИЦАЈ НА ЦЕНТРАЛНОМ БАЛКАНУ У VI ВЕКУ . . . . . . . . . . . . . . . . . . 5. Anđela Đ. Gavrilović, UNNOTICED SCENES FROM THE CYCLE OF THE LIFE OF THE VIRGIN IN THE CHURCH OF THE VIRGIN IN THE PATRIARCHATE OF PEĆ Анђела Ђ. Гавриловић, НЕЗАПАЖЕНЕ СЦЕНЕ ИЗ ЦИКЛУСА БОГОРОДИЧИНОГ ЖИТИЈА У ЦРКВИ БОГОРОДИЦЕ ОДИГИТРИЈЕ У ПЕЋКОЈ ПАТРИЈАРШИЈИ . . . . . . . . . . 6. Драгиша Милосављевић, OРНАМЕНТИКА НАДГРОБНИХ СПОМЕНИКА И ЦРКВЕ БРВНАРЕ У СРБИЈИ Dragiša Milosavljević, ORNAMENTS ON TOMBSTONES AND WOODEN CHURCHES IN SERBIA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7. Мирослав Тимотијевић, О ФОРМАМА ТРАНСФЕРА ВИЗУЕЛНОГ ЗНАЊА: ОБРЕЗАЊЕ ХРИСТОВО ОД ДИРЕРА ДО КРАЧУНА Miroslav Timotijević, ON THE FORMS OF TRANSFER OF VISUAL KNOWLEGDE: THE CIRCUMCISION OF CHRIST FROM DÜRER TO KRAČUN . . . . . . . . . . . . . . . . . . . . . . . . . . .

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8. Игор Борозан, ГРАНИЦЕ ЛОЈАЛНОСТИ: СРБИ И СЛИКЕ ХАБЗБУРГОВАЦА У ДРУГОЈ ПОЛОВИНИ 19. ВЕКА Igor Borozan, BORDERS OF LOYALTY: SERBS AND PAINTINGS OF THE HABSBURGS IN THE SECOND HALF OF THE 19TH CENTURY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9. Vuk Dautović, LITURGICAL VESSELS FROM XIX CENTURY SERBIAN ORTHODOX CHURCHES: PICTORIAL SYMBOLIC DECORATION OF EUCHARISTIC CHALICES Вук Даутовић, ЛИТУРГИЈСКИ САСУДИ У СРПСКИМ ЦРКВАМА XIX ВЕКА: ПИКТОРАЛНА СИМБОЛИЧКА ДЕКОРАЦИЈА ЕВХАРИСТИЈСКИХ ПУТИРА . . . . . . . . . . . . . . 10. Ивана Женарју, ПРЕДСТАВЕ И КУЛТ МУЧЕНИЦЕ БОСИЉКЕ У ПАСЈАНУ Ivana Ženarju, IMAGES AND THE CULT OF THE MARTYR BOSILJKA IN THE VILLAGE PASJANE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11. Marina Pavlović, ARCHITECTURAL ACTIVITY OF NIKOLA NESTOROVIĆ BETWEEN THE CONSERVATIVE ACADEMISM AND SECESSION REFORM Марина Павловић, ГРАДИТЕЉСКА ДЕЛАТНОСТ НИКОЛЕ НЕСТОРОВИЋА ИЗМЕЂУ КОНЗЕРВАТИВНОГ АКАДЕМИЗМА И СЕЦЕСИЈСКЕ РЕФОРМЕ . . . . . . . . . . . . . . . . . . . 12. David S. Bathory and Nenad Lajbenšperger, THE COLLECTIVE MIND IN DESIGN AND RELATIONAL DYNAMICS Давид С. Батори и Ненад Лајбеншпергер, КОЛЕКТИВНИ УМ У ДИЗАЈНУ И РЕЛАЦИОНОЈ ДИНАМИЦИ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13. Данијела Милошевић, СМЕДЕРЕВСКОЕ АРХИТЕКТУРНОЕ НАСЛЕДИЕ НИКОЛАЯ ПЕТРОВИЧА КРАСНОВА Данијела Милошевић, СМЕДЕРЕВСКИ ОПУС АРХИТЕКТЕ НИКОЛАЈА ПЕТРОВИЧА КРАСНОВА Danijela Milošević, THE SMEDEREVO OPUS OF ARCHITECT NIKOLAI PETROVICH KRASNOV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14. Vladana Putnik, THE CHURCH OF ASSUMPTION OF BLESSED VIRGIN MARY IN BELGRADE: A MEMORIAL TO THE FALLEN FRENCH SOLDIERS ON THE THESSALONIAN FRONT Владана Путник, ЦРКВА УЗНЕСЕЊА БЛАЖЕНЕ ДЈЕВИЦЕ МАРИЈЕ У БЕОГРАДУ: СПОМЕНИК ПАЛИМ ФРАНЦУСКИМ ВОЈНИЦИМА НА СОЛУНСКОМ ФРОНТУ . . . . . . . . 15. Aleksandra Ilijevski, FORM AND FUNCTION: ARCHITECTURAL DESIGN COMPETITION FOR THE STATE PRINTING HOUSE OF THE KINGDOM OF YUGOSLAVIA Александра Илијевски, ФОРМА И ФУНКЦИЈА: AРХИТЕКТОНСКИ КОНКУРС ЗА ЗГРАДУ ДРЖАВНЕ ШТАМПАРИЈЕ КРАЉЕВИНЕ ЈУГОСЛАВИЈЕ . . . . . . . . . . . . . . . . . . . . . . . . . 16. Dragana Vasilski, MINIMALISM IN ARCHITECTURE: THE JUXTAPOSITION BETWEEN ARCHITECTURE AND SCULPTURE Драгана Василски, МИНИМАЛИЗАМ У АРХИТЕКТУРИ: JУКСТАПОЗИЦИЈА ИЗМЕЂУ АРХИТЕКТУРЕ И СКУЛПТУРЕ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17. Aleksandar Kadijević, THE CULT OF ATATÜRK’S PERSONALITY IN THE WORKS OF HEINRICH KRIPPEL Александар Кадијевић, КУЛТ АТАТУРКОВЕ ЛИЧНОСТИ У ДЕЛИМА ХАЈНРИХА КРИПЕЛА . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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141

171 187

203

215

231

249

259

277

291

ПРИКАЗИ REVIEWS 1. Jasmina S. Ćirić, Remi Terryn, Full of grace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2. Jelena Bogdanović, Robert Bork, William W. Clark, Abby McGehee eds.: New Approaches to Medieval Architecture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3. Дубравка Ђукановић, Бранка Кулић: Дворци и летњиковци Војводине . . . . . . . . . . . . . . . . 4. Марија Петровић, Владимир Симић: За љубав отаџбине. Патриоте и патриотизам у српској култури XVIII века у Хабзбуршкој монархији . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5. Milica Mađanović, The Royal Compound in Dedinje . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6. Марко Стојановић, Зоран С. Чемерикић: Савремена архитектура Ниша 1946–1966 . . . . . 7. Александар Кадијевић, Dragan Damjanović: Arhitekt Herman Bollé . . . . . . . . . . . . . . . . . . . .

322 324 326 328

ИМЕНСКИ РЕГИСТАР . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

331

ГЕОГРАФСКИ РЕГИСТАР . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

343

УПУТСТВО ЗА АУТОРЕ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

351

РЕЦЕНЗЕНТИ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

359

311 315 319

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