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Iz Istorije Kulture I Arhitekture

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Iz Istorije Kulture I Arhitekture Vladimir Mitrović Iz istorije kulture i arhitekture Zapisi jednog istraživača (1994−2014) Vladimir Mitrović • Iz istorije kulture i arhitekture MUZEJ SAVREMENE UMETNOSTI VOJVODINE Vladimir mitroViĆ IZ ISTORIJE KULTURE I ARHITEKTURE Zapisi jednog istražiVača (1994−2014) Aleksandar Kelemen Sadržaj: Uvodne napomene Iz istorije arhitekture XX veka Konkurs za gradnju pozorišta u Novom Sadu iz 1928/29. godine………………………….....…13 Primeri industrijske arhitekture novosadskih modernista………………………………........……21 Građevinarstvo i ekonomija između dva svetska rata……………………………………........……23 Arhitekta Juraj Najdhart i Novi Sad…………………………………………………………….........……….27 Prilog istoriji arhitekture socijalističkog šopinga: Samoposluga, robna kuća, buvljak, megamarket.….........................................................29 Staklo u novoj arhitekturi Bulevara oslobođenja u Novom Sadu: Zid i antizid………………….33 Novosadska arhitektura devedesetih godina: Kroz granje nebo……………………………………37 Efekat kanjona: O stambenoj izgradnji u Novom Sadu prvih godina nakon 2000……….45 Arhitektura u Vojvodini na početku XXI veka: Zaobilazne strategije………………………………47 Nova arhitektura porodičnih vila u Srbiji………………………………………………………….........….58 Kuća kao živa skulptura………………………………………………………………………...................………62 Arhitekta je (i) umetnik……………………………………………………………………..................………….65 Soliteri Srbije Prilozi za istoriju srpskih solitera (I): Život i smrt srpskih solitera - Potkivanje žabe….....73 Prilozi za istoriju srpskih solitera (II): Soliteri u ravnici…………………………………………….....78 Sakralna arhitektura XX veka u Vojvodini Srpsko crkveno graditeljstvo u Vojvodini između dva svetska rata………………………….....85 Savremeno srpsko sakralno graditeljstvo: Od tradicije do političke korektnosti………...99 Neimarski duh Predraga Ristića………………………………………………………….......................…107 4 Naš grad & gradograditelji Zatiranje modernizma u Novom Sadu.............................................................................113 Arhitektura na Balkanu – arhitekti na Balkanu…………………………………………………….......115 Stradanje spomenika u ratu i miru: Naši i NATO talibani…………………………………………..118 Ako je slikar svinja, arhitekta je pile!...............................................................................121 Dogradnja gradova (I)…………………………………………………………………………….....................123 Dogradnja gradova (II): Dogradnja Novog Sada – devedesete godine………………….......126 Prilozi za demilitarizaciju naših gradova (I): Kako upokojiti vampire……………………………129 Prilozi za demilitarizaciju naših gradova (II): Petrovaradinska tvrđava bez vojske……..132 Prilozi za demilitarizaciju naših gradova (III): Kasarne Novog Sada……………………………135 Spektakl, Spomenici Revolucije & Novac SFRJ Urbani spektakli u Srba: Od štafete do buldožera …………………………………………………….141 Spomenici NOB-a i Revolucije u SFRJ: Zapušteni i zaboravljeni…………………………………….144 Papirni novac kod Jugoslovena: Od volova do erekcije……………………………………..........147 Poreklo tekstova………………………………………………………………………………............................153 5 Dušan Krstić 6 IZ ISTORIJE KULTURE I ARHITEKTURE ZapiSi jednog iStraživača 1994−2014. Uvodne napomene Teoretičari i istraživači arhitekture često su ovu oblast, svakako jednu od najstarijih oblasti ljudskog stvaralaštva, smatrali i tumačili kao „krovnu” umetnost koja u sebi spaja sve ostale vrste umetnosti, ali, ujedno, i tehniku i tehnologiju, i posmatrali je van okvira svakodnevnog života, kao neku vrstu božanskog proviđenja. U svemu tome ima istine, jer je u svim periodima ljudske civilizacije arhitektura igrala, u najmanju ruku, jednu od ključnih uloga, i zbog kasnijeg trajanja, a posebno zbog određene simbolike koju je nosila kao izraz istorijskih graditeljskih ciklusa, koji su se zakonomerno „palili”, zatim „tinjali”, pa „goreli”, a potom i „gasili”. Bilo je i mišljenja da je arhitektura ne samo deo društva u kome nastaje, već i njegov važan simbol koji ga prati kroz vreme koje nastupa, kao i da pripada, ravnopravno sa ostalim vidovima stvaralaštva, kulturi jednog naroda, jedne teritorije i sredine u kojoj nastaje, pa samim tim postaje zanimljiva širokom krugu zainteresovanih pojedinaca. Zato je i ova knjiga naslovljena kao zbirka tekstova iz kulture i arhitekture, i to baš tim redosledom. U suštini, svaki ljudski postupak, kako je pisao Le Korbizje, uslovljen je arhitekturom i urbanizmom. Arhitektura se manifestuje na svakom koraku, od stolica i stolova, preko zidova i prostora, do ulice i grada. Ona bi se mogla nazvati i nekom vrstom opšte kulture, života i postojanja. U isto vreme, svaka generacija ima svoju arhitekturu, koja se potom prenosi na sledeću koja treba da se upozna sa prethodnim stvaralaštvom, što kod nas nije uvek slučaj. Naime, malo je arhitekata, ali i ostalih intelektualaca koji su detaljnije upoznati sa autorima arhitektonskih dela koje viđaju svakodnevno. Da bi se ispravila ta neugodna činjenica, pokušao sam da i široj javnosti skrenem pažnju na što više arhitekata koji su stvarali i još uvek stvaraju našu okolinu. Tekstovi u ovoj knjizi publikovani su u stručnim časopisima: Rad vojvođanskih muzeja (Muzej Vojvodine), Građa za proučavanje spomenika kulture Vojvodine (Pokrajinski zavod za zaštitu spomenika kulture), časopisu za arhitekturu i urbanizam DaNS (Društvo arhitekata Novog Sada), kao i u nedeljniku za politiku i kulturu Bulevar (Novi Sad), te u novosadskim dnevnim novinama Dnevnik i Magyar Szo, a nastajali su u kontinuitetu od dve decenije (1994−2014) i čine moj autorski izbor odabranih tema smeštenih u pet poglavlja. U periodu kada su tekstovi nastajali, a ubrzo potom i bili publikovani, bio sam profesionalno angažovan u Gradskom zavodu za zaštitu spomenika kulture Novi Sad (1992−1995) kao istoričar umetnosti-konzervator na terenskim i arhivskim istraživanjima za izradu više detaljnih urbanističkih planova Novog Sada, a učestvovao sam i u obnovi, konzervaciji i izradi dokumentacije za više sakralnih i građanskih objekata na široj teritoriji grada. Potom sam kao frilenser radio čitavu jednu deceniju, povremeno objavljujući (sredom i subotom) 7 u kulturnim dodacima dnevnih novina Dnevnik i Magyar Szo. U narednim godinama bio sam stalni saradnik i kourednik kulturne rubrike magazina Bulevar. U vreme tokom druge polovine devedesetih godina XX veka i sam sam bio deo kompletne konfuzije i društvenog cirkusa u zemlji. Da bih se i lično i profesionalno spasao od svega toga, opšteg beznađa oko sebe koje je bilo skoro rukom opipljivo, pokušavao sam da radim, beležim i istražujem ono što me je tada zanimalo. Vreme koje nimalo nije bilo naklonjeno istraživanju, uz stalne probleme na granici egzistencije, koristio sam za predani rad, a u tome sam uspevao zahvaljujući pomoći blagonaklonih prijatelja i porodice. Oni su zaslužni za sve što sam tih godina uradio. Dok su mi roditelji i prijatelji iz inostranstva pomagali u pukom preživljavanju mislio sam i radio, jer nisam želeo da gubim ni vreme ni glavu. Kao u klasičnom istraživačkom postupku, koji podrazumeva istraživanje arhiva, konkretnih lokacija i objekata, kao i iščitavanje literature, koju je prethodno trebalo nabaviti i pripremiti, uz pomoć prijatelja uspeo sam da čak i fizički prikupim skoro sve što je publikovano o temama o kojima sam pisao, što sam, naravno, kasnije, predao mojoj matičnoj ustanovi − Muzeju savremene umetnosti Vojvodine. U procesu istraživačkog postupka takođe sam imao podršku brojnih stručnjaka koji su mi bezuslovno pomagali, mada je, nažalost, kako je to čest slučaj kod nas, bilo i onih drugih. U vreme istraživanja, a potom i serije tekstova koji su usledili, bio sam izvršni urednik arhitektonskog časopisa DaNS (2003−2013). Od 2007. sam redovno zaposlen u Muzeju savremene umetnosti Vojvodine, sa izletom na mesto direktora Muzeja Vojvodine (2010−2012), da bih se ponovo vratio u svoju matičnu ustanovu gde sam i danas zaposlen kao kustos-istoričar umetnosti. Mada je većina ovih tekstova data u originalu, onako kako su prvobitno bili objavljeni, odlučio sam da se prilikom pripreme ove knjige ne ustručavam od dopisivanja i dopuna, minimalnih, pazeći pri tome da ne narušim prvobitne ideje i zamisli prilikom njihovog pisanja. Naime, u vreme kada su tekstovi bili objavljivani nastojao sam da ispunim svoju obavezu istoričara umetnosti i da odgovorim na neka od pitanja izučavanja i prezentovanja nacionalne arhitektonske baštine. Budući da se svi tekstovi sada objavljuju u jednoj knjizi sprovedena su i neophodna prilagođavanja savremenom pravopisu srpskog jezika. Rad na nekim od ovih tekstova trajao je duže vremena. Recimo, za tekst o konkursu za novosadsko pozorište trebala mi je skoro čitava godina svakodnevog rada – u šali sam to nazivao policijskom istragom – da bih došao do nekih valjanih zaključaka koje sam mogao prezentovati stručnoj javnosti. Kada sam čitav taj proces jedva razmrsio, shvatio sam koliko je bilo važno beležiti, pisati i publikovati, i koliko je komplikovan slučaj jednog (relativno običnog, pa i uobičajenog) arhitektonskog konkursa koji se „odigrao” samo šezdesetak godina ranije. Za neke druge tekstove, zapravo za većinu ostalih, ipak mi nije bilo potrebno toliko vremena. Samom pisanju su prethodila stalna istraživanja, prikupljanje podataka, prelistavanje i pažljivo čitanje dnevne i nedeljne štampe, kao i prikupljanje i sistematizovanje svega što je o datoj temi do tada pisano. Neke od tekstova pisao sam začuđujuće lako i brzo, jer sam bio dobro upoznat sa građom i izvorima koje sam koristio. Neki njihovi delovi već su ranije bili osmišljeni, pa ih nije nimalo teško bilo pretočiti u reči. Posebno je to bilo jednostavno kada
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