Session

Architecture and Spatial Planning

Description

The adjective “regional” attached to the word “architecture” implies that there is something special about the architecture of a particular locality, something that occurs nowhere else. It is obvious, therefore, that to know what is regional one must first know what is local. With the all-obliterating spread of Modernism in Macedonia, efforts which were made to highlight regional and local concerns were left without enough support to survive. In the early 1970s, few young architects from Macedonia found a medium to exercise their own kind of regionalism which allowed it to exist within the parameters of modernism. There are notable exceptions, for example the works of Boris Cipan, Petar Mulickoski, Georgi Konstantinovski, Janko Konstantinov, Slavko Brezoski, etc.

The purpose of this research is to present at first the moment of architects’ involvement in presenting architectural heritage as a value on which the question of national identity can be raised. It is obvious that here we explore how architecture and architectural heritage can serve as the basis on which the image of Macedonian national identity will be created.

Secondly, the attempt of this research is to show the way regionalism emerged at different periods during the development of modernism in Macedonia. This includes presenting architectural approaches in borrowings and modifications made to country's architectural heritage details in order to achieve regionalism in modern architecture in Macedonia. Finally, while presenting projects, it is clear that we deal with different variations of presenting regionalism, depending on the period of creation of modernism in Macedonia, and on the authors’ purpose of creating modern style - being close to internationalism, or being rebellious in the search of the national identity through country's vernacular architecture.

Keywords:

history of architecture, architectural heritage, Regionalism, Modernism, Macedonia.

Session Chair

Caroline Jaeger-Klein

Session Co-Chair

Bekim Ceko

Proceedings Editor

Edmond Hajrizi

ISBN

978-9951-550-19-2

First Page

99

Last Page

112

Location

Pristina, Kosovo

Start Date

26-10-2019 3:30 PM

End Date

26-10-2019 5:00 PM

DOI

10.33107/ubt-ic.2019.248

Included in

Architecture Commons

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Oct 26th, 3:30 PM Oct 26th, 5:00 PM

From local to global

Pristina, Kosovo

The adjective “regional” attached to the word “architecture” implies that there is something special about the architecture of a particular locality, something that occurs nowhere else. It is obvious, therefore, that to know what is regional one must first know what is local. With the all-obliterating spread of Modernism in Macedonia, efforts which were made to highlight regional and local concerns were left without enough support to survive. In the early 1970s, few young architects from Macedonia found a medium to exercise their own kind of regionalism which allowed it to exist within the parameters of modernism. There are notable exceptions, for example the works of Boris Cipan, Petar Mulickoski, Georgi Konstantinovski, Janko Konstantinov, Slavko Brezoski, etc.

The purpose of this research is to present at first the moment of architects’ involvement in presenting architectural heritage as a value on which the question of national identity can be raised. It is obvious that here we explore how architecture and architectural heritage can serve as the basis on which the image of Macedonian national identity will be created.

Secondly, the attempt of this research is to show the way regionalism emerged at different periods during the development of modernism in Macedonia. This includes presenting architectural approaches in borrowings and modifications made to country's architectural heritage details in order to achieve regionalism in modern architecture in Macedonia. Finally, while presenting projects, it is clear that we deal with different variations of presenting regionalism, depending on the period of creation of modernism in Macedonia, and on the authors’ purpose of creating modern style - being close to internationalism, or being rebellious in the search of the national identity through country's vernacular architecture.