Mađanović, Milica

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  • Mađanović, Milica (10)
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Author's Bibliography

The Role of Architectural History Research: Auckland’s NZI Building as William Gummer’s Attempt at Humanity

Mađanović, Milica

(Society of Architectural Historians Australia and New Zealand, 2022)

TY  - CONF
AU  - Mađanović, Milica
PY  - 2022
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/2675
AB  - In response to the third thematic sub-stream of the 38th Annual
SAHANZ Conference, this paper will discuss the role of architectural
research in the architecture of Gummer and Ford, the Auckland-based
practice, often described as one of the most prolific bureaus in interwar
New Zealand. The paper is a fraction of a three-staged project, “Gummer
and Ford,” developed by a team of researchers from the Unitec Institute
of Technology in response to an event recognised as a milestone in the
New Zealand architectural calendar – the 2023 centenary of the firm’s
establishment.
This paper explores the design principles of William Gummer, the
principal designer of the firm. From 1914 to 1935, Gummer consistently
published his view that the goal of the architect was to cater to
humanity’s highest instincts. He was unwavering but vague on how this
is achieved; through composition, unity, contrast, proportion and scale,
appropriate use of materials is all needed to produce buildings of good
character. But what did he really mean by this? A close reading of three
books Gummer considered invaluable to architectural students – The
Essentials of Composition as Applied to Art by John Vredenburgh Van
Pelt, Architectural Composition by Nathaniel Cortlandt Curtis, and The
Mistress Art by Reginald Bloomfield – offers a direct insight into the
influences behind his thinking about architecture and his architectural
production. Directly traceable to Gummer, the three titles include
clear, precise instructions on both the functional and artistic nature of
architectural design.
Interestingly, this paper employs a method not dissimilar to Gummer’s
design method. These books taken together, along with Gummer’s own
writing, a study of renderings and construction drawings, and close
observation of the buildings, an architectural analysis of Gummer’s
work becomes possible – it is what Gummer himself referred to as
Architectural Research. This historically focused study will bring a new
perspective to understanding the value and contribution of traditional
architects, not only in New Zealand but other English-speaking
countries.
PB  - Society of Architectural Historians Australia and New Zealand
C3  - Proceedings of the Society of Architectural Historians, Australia and New Zealand SAHANZ
T1  - The Role of Architectural History Research: Auckland’s NZI Building as William Gummer’s Attempt at Humanity
VL  - 38
SP  - 533
EP  - 543
DO  - 10.55939/a4007piywz
ER  - 
@conference{
author = "Mađanović, Milica",
year = "2022",
abstract = "In response to the third thematic sub-stream of the 38th Annual
SAHANZ Conference, this paper will discuss the role of architectural
research in the architecture of Gummer and Ford, the Auckland-based
practice, often described as one of the most prolific bureaus in interwar
New Zealand. The paper is a fraction of a three-staged project, “Gummer
and Ford,” developed by a team of researchers from the Unitec Institute
of Technology in response to an event recognised as a milestone in the
New Zealand architectural calendar – the 2023 centenary of the firm’s
establishment.
This paper explores the design principles of William Gummer, the
principal designer of the firm. From 1914 to 1935, Gummer consistently
published his view that the goal of the architect was to cater to
humanity’s highest instincts. He was unwavering but vague on how this
is achieved; through composition, unity, contrast, proportion and scale,
appropriate use of materials is all needed to produce buildings of good
character. But what did he really mean by this? A close reading of three
books Gummer considered invaluable to architectural students – The
Essentials of Composition as Applied to Art by John Vredenburgh Van
Pelt, Architectural Composition by Nathaniel Cortlandt Curtis, and The
Mistress Art by Reginald Bloomfield – offers a direct insight into the
influences behind his thinking about architecture and his architectural
production. Directly traceable to Gummer, the three titles include
clear, precise instructions on both the functional and artistic nature of
architectural design.
Interestingly, this paper employs a method not dissimilar to Gummer’s
design method. These books taken together, along with Gummer’s own
writing, a study of renderings and construction drawings, and close
observation of the buildings, an architectural analysis of Gummer’s
work becomes possible – it is what Gummer himself referred to as
Architectural Research. This historically focused study will bring a new
perspective to understanding the value and contribution of traditional
architects, not only in New Zealand but other English-speaking
countries.",
publisher = "Society of Architectural Historians Australia and New Zealand",
journal = "Proceedings of the Society of Architectural Historians, Australia and New Zealand SAHANZ",
title = "The Role of Architectural History Research: Auckland’s NZI Building as William Gummer’s Attempt at Humanity",
volume = "38",
pages = "533-543",
doi = "10.55939/a4007piywz"
}
Mađanović, M.. (2022). The Role of Architectural History Research: Auckland’s NZI Building as William Gummer’s Attempt at Humanity. in Proceedings of the Society of Architectural Historians, Australia and New Zealand SAHANZ
Society of Architectural Historians Australia and New Zealand., 38, 533-543.
https://doi.org/10.55939/a4007piywz
Mađanović M. The Role of Architectural History Research: Auckland’s NZI Building as William Gummer’s Attempt at Humanity. in Proceedings of the Society of Architectural Historians, Australia and New Zealand SAHANZ. 2022;38:533-543.
doi:10.55939/a4007piywz .
Mađanović, Milica, "The Role of Architectural History Research: Auckland’s NZI Building as William Gummer’s Attempt at Humanity" in Proceedings of the Society of Architectural Historians, Australia and New Zealand SAHANZ, 38 (2022):533-543,
https://doi.org/10.55939/a4007piywz . .

General Public, Architecture, and Panning: The Curious Case of Auckland Civic Centre Scheme in Auckland, New Zealand (1924)

Mađanović, Milica

(Beograd : Zavod za zaštitu spomenika grada, 2021)

TY  - CONF
AU  - Mađanović, Milica
PY  - 2021
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/2665
AB  - Executed skillfully, architecture and planning projects shape public spaces for generations
to enjoy – executed poorly, for generations, to annoy. Architecture and urban planning are
essentially bound to the public domain – urban spaces are designed, and urban heritage is
protected, for the sake of the public. And yet, the role of the public is often overlooked in
discussions of architectural, planning and protection issues.
The Auckland Civic Centre Scheme example illustrates the impact the public can have on
shaping the urban environment. The largest city in New Zealand, Auckland is considered
the country’s capital of commerce. During the interwar period, Auckland Council decided to
grace their city with a center worthy of its progress. However, the taxpayers objected and
voted against the expensive scheme – eventually, the Council had to abandon the project.
The consequences of this act were far-reaching – to this day, Auckland lacks a recognizable
urban space that would operate as a symbol of civic sentiments and activities. Drawing from
the Auckland Civic Centre Scheme, this paper explores the strategies New Zealand interwar
architects and planners proposed for preparing the members of the public to take their rightful
place in the decision-making process.
PB  - Beograd : Zavod za zaštitu spomenika grada
C3  - Architectural Heritage and Urban Planning. 11 Scientific-Professional Conference
T1  - General Public, Architecture, and Panning: The Curious Case of Auckland Civic Centre Scheme in Auckland, New Zealand (1924)
ER  - 
@conference{
author = "Mađanović, Milica",
year = "2021",
abstract = "Executed skillfully, architecture and planning projects shape public spaces for generations
to enjoy – executed poorly, for generations, to annoy. Architecture and urban planning are
essentially bound to the public domain – urban spaces are designed, and urban heritage is
protected, for the sake of the public. And yet, the role of the public is often overlooked in
discussions of architectural, planning and protection issues.
The Auckland Civic Centre Scheme example illustrates the impact the public can have on
shaping the urban environment. The largest city in New Zealand, Auckland is considered
the country’s capital of commerce. During the interwar period, Auckland Council decided to
grace their city with a center worthy of its progress. However, the taxpayers objected and
voted against the expensive scheme – eventually, the Council had to abandon the project.
The consequences of this act were far-reaching – to this day, Auckland lacks a recognizable
urban space that would operate as a symbol of civic sentiments and activities. Drawing from
the Auckland Civic Centre Scheme, this paper explores the strategies New Zealand interwar
architects and planners proposed for preparing the members of the public to take their rightful
place in the decision-making process.",
publisher = "Beograd : Zavod za zaštitu spomenika grada",
journal = "Architectural Heritage and Urban Planning. 11 Scientific-Professional Conference",
title = "General Public, Architecture, and Panning: The Curious Case of Auckland Civic Centre Scheme in Auckland, New Zealand (1924)"
}
Mađanović, M.. (2021). General Public, Architecture, and Panning: The Curious Case of Auckland Civic Centre Scheme in Auckland, New Zealand (1924). in Architectural Heritage and Urban Planning. 11 Scientific-Professional Conference
Beograd : Zavod za zaštitu spomenika grada..
Mađanović M. General Public, Architecture, and Panning: The Curious Case of Auckland Civic Centre Scheme in Auckland, New Zealand (1924). in Architectural Heritage and Urban Planning. 11 Scientific-Professional Conference. 2021;..
Mađanović, Milica, "General Public, Architecture, and Panning: The Curious Case of Auckland Civic Centre Scheme in Auckland, New Zealand (1924)" in Architectural Heritage and Urban Planning. 11 Scientific-Professional Conference (2021).

Uncharted Architectural Theory of Critical Regionalism in the Work of Aleksandar Deroko Between the World Wars

Mađanović, Milica; Jadrešin Milić, Renata

(The University of Birmingham, 2020)

TY  - JOUR
AU  - Mađanović, Milica
AU  - Jadrešin Milić, Renata
PY  - 2020
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/2667
AB  - The concept of distance identifies the modern history of the Balkan Peninsula. From a point of geography, the Balkans is an area in Southeast Europe prevalently populated by Indo-European ethnic groups. Economically, politically and culturally, however, the region traditionally fluctuates between two different spheres of influences – the West (i.e. Central and Western Europe) and the East (i.e. Eastern Europe and Asia Minor). Distant from both, yet, unavoidably inextricable, the Balkans set the stage for unique interpretations, translations, and criticism of the imported creative impulses. 
This paper presents the "unchartered" territories of the Balkan architectural, examining an interwar criticism of the Modern Movement, formulated decades before Kenneth Frampton wrote his Critical Regionalism. Contemporary of Alvar Aalto, Yugoslav architect Aleksandar Deroko also had a unique reaction to the stifling uniformity of Modernism. Deroko developed his regionalist design theory learning from the vernacular. According to him, vernacular architecture was a response to region-specific functional imperatives, shaped for distinct geographical features. Deroko maintained that these highly functional structures, devoid of excess architectural ornament, should serve as architectural textbooks, firmly objecting to the Modernist insensitivity to the local conditions.
The distance of the Balkans in a European context, and Deroko’s individualistic remoteness from the dominant architectural practices of the Kingdom of Yugoslavia resulted in an anonymity of his theory in the international historiographies of architecture. How did the distance of the Balkans from the European cultural centres – and, at the opposite end of the spectrum: the connections of the shared heritage – influence the shaping of Deroko’s unique architectural theory? Analysing Deroko’s ideas within the context of critical regionalism, this paper will demonstrate that Europe is even more diverse than typically assumed.
PB  - The University of Birmingham
T2  - Journal of Art Historiography
T1  - Uncharted Architectural Theory of Critical Regionalism in the Work of Aleksandar Deroko Between the World Wars
IS  - 1
VL  - 22
ER  - 
@article{
author = "Mađanović, Milica and Jadrešin Milić, Renata",
year = "2020",
abstract = "The concept of distance identifies the modern history of the Balkan Peninsula. From a point of geography, the Balkans is an area in Southeast Europe prevalently populated by Indo-European ethnic groups. Economically, politically and culturally, however, the region traditionally fluctuates between two different spheres of influences – the West (i.e. Central and Western Europe) and the East (i.e. Eastern Europe and Asia Minor). Distant from both, yet, unavoidably inextricable, the Balkans set the stage for unique interpretations, translations, and criticism of the imported creative impulses. 
This paper presents the "unchartered" territories of the Balkan architectural, examining an interwar criticism of the Modern Movement, formulated decades before Kenneth Frampton wrote his Critical Regionalism. Contemporary of Alvar Aalto, Yugoslav architect Aleksandar Deroko also had a unique reaction to the stifling uniformity of Modernism. Deroko developed his regionalist design theory learning from the vernacular. According to him, vernacular architecture was a response to region-specific functional imperatives, shaped for distinct geographical features. Deroko maintained that these highly functional structures, devoid of excess architectural ornament, should serve as architectural textbooks, firmly objecting to the Modernist insensitivity to the local conditions.
The distance of the Balkans in a European context, and Deroko’s individualistic remoteness from the dominant architectural practices of the Kingdom of Yugoslavia resulted in an anonymity of his theory in the international historiographies of architecture. How did the distance of the Balkans from the European cultural centres – and, at the opposite end of the spectrum: the connections of the shared heritage – influence the shaping of Deroko’s unique architectural theory? Analysing Deroko’s ideas within the context of critical regionalism, this paper will demonstrate that Europe is even more diverse than typically assumed.",
publisher = "The University of Birmingham",
journal = "Journal of Art Historiography",
title = "Uncharted Architectural Theory of Critical Regionalism in the Work of Aleksandar Deroko Between the World Wars",
number = "1",
volume = "22"
}
Mađanović, M.,& Jadrešin Milić, R.. (2020). Uncharted Architectural Theory of Critical Regionalism in the Work of Aleksandar Deroko Between the World Wars. in Journal of Art Historiography
The University of Birmingham., 22(1).
Mađanović M, Jadrešin Milić R. Uncharted Architectural Theory of Critical Regionalism in the Work of Aleksandar Deroko Between the World Wars. in Journal of Art Historiography. 2020;22(1)..
Mađanović, Milica, Jadrešin Milić, Renata, "Uncharted Architectural Theory of Critical Regionalism in the Work of Aleksandar Deroko Between the World Wars" in Journal of Art Historiography, 22, no. 1 (2020).

The Quality of Fitness in the Architecture of the 20th Century: An Oversighted Design Principle from the Beaux-Arts Tradition

Mađanović, Milica

(Нови Сад : Матица српска, 2020)

TY  - JOUR
AU  - Mađanović, Milica
PY  - 2020
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/2666
AB  - Architectural design method from the tradition of the École Nationale Supérieure des Beaux-arts de Paris, considered one of the most prestigious educational institutions since its establishment in the 17 century, flourished until the Second World War across the countries aligned with the culture of the West. Though it marked the majority of buildings designed and constructed during the first four decades of the 20th century, pre-Second World War Beaux-Arts architecture remains under-researched within the international historiography. Exploring a lesser known design principle from the Beaux-Arts tradition – the quality of fitness in architecture – this paper aims to contribute to a better understanding of the topic. By the 20th century, Beaux-Arts architects – though, indeed, ever aware of the aesthetic potentials of architecture – approached design pragmatically. Beaux-Arts tradition insisted on functional designs, sensitive towards the local context and the use of the cutting-edge building technologies. Exploring an example from New Zealand architectural history, this paper will show that Beaux-Arts methodology was more practical than what has been generally proposed by the historians of architecture.
PB  - Нови Сад : Матица српска
T2  - Зборник Матице српске за ликовне уметности
T1  - The Quality of Fitness in the Architecture of the 20th Century: An Oversighted Design Principle from the Beaux-Arts Tradition
VL  - 48
SP  - 179
EP  - 192
ER  - 
@article{
author = "Mađanović, Milica",
year = "2020",
abstract = "Architectural design method from the tradition of the École Nationale Supérieure des Beaux-arts de Paris, considered one of the most prestigious educational institutions since its establishment in the 17 century, flourished until the Second World War across the countries aligned with the culture of the West. Though it marked the majority of buildings designed and constructed during the first four decades of the 20th century, pre-Second World War Beaux-Arts architecture remains under-researched within the international historiography. Exploring a lesser known design principle from the Beaux-Arts tradition – the quality of fitness in architecture – this paper aims to contribute to a better understanding of the topic. By the 20th century, Beaux-Arts architects – though, indeed, ever aware of the aesthetic potentials of architecture – approached design pragmatically. Beaux-Arts tradition insisted on functional designs, sensitive towards the local context and the use of the cutting-edge building technologies. Exploring an example from New Zealand architectural history, this paper will show that Beaux-Arts methodology was more practical than what has been generally proposed by the historians of architecture.",
publisher = "Нови Сад : Матица српска",
journal = "Зборник Матице српске за ликовне уметности",
title = "The Quality of Fitness in the Architecture of the 20th Century: An Oversighted Design Principle from the Beaux-Arts Tradition",
volume = "48",
pages = "179-192"
}
Mađanović, M.. (2020). The Quality of Fitness in the Architecture of the 20th Century: An Oversighted Design Principle from the Beaux-Arts Tradition. in Зборник Матице српске за ликовне уметности
Нови Сад : Матица српска., 48, 179-192.
Mađanović M. The Quality of Fitness in the Architecture of the 20th Century: An Oversighted Design Principle from the Beaux-Arts Tradition. in Зборник Матице српске за ликовне уметности. 2020;48:179-192..
Mađanović, Milica, "The Quality of Fitness in the Architecture of the 20th Century: An Oversighted Design Principle from the Beaux-Arts Tradition" in Зборник Матице српске за ликовне уметности, 48 (2020):179-192.

Passion for Past and Architectural Handwriting: Residential Interwar Belgrade Architecture designed by Aleksandar Deroko

Mađanović, Milica

(Univerzitet u Beogradu - Arhitektonski fakultet, 2019)

TY  - JOUR
AU  - Mađanović, Milica
PY  - 2019
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/2668
AB  - The name and the achievements of Aleksandar Deroko shine
brightly in the constellation of Serbian architectural history.
Deroko actively contributed to the Serbian twentieth century
architecture as a distinguished professor at the University of
Belgrade, a prolific author, esteemed scholar, designer, and a
highly driven heritage enthusiast. However, though recognised
by his contemporaries and successors alike, Deroko’s design
activity has not yet been thoroughly examined.
Exploring residential buildings designed for Deroko’s Belgrade
clientele, this paper widens the knowledge of his architectural
production. Deroko’s well-known passion for architectural
history and extensive research of the Serbian vernacular
buildings serve as a starting point for the study of his residential
structures in Belgrade. Was Deroko’s design process influenced
by his deep appreciation for architectural past, and by the results
of his findings? Or has he only adopted the formal characteristics
of historic styles and vernacular architecture in his work? If so,
to what extent? Discussing five structures built in the interwar
period – house of Colonel Elezović, the Rakić villa, the Simić
villa, the Marinković villa, the Stakić villa and the architect’s
personal villa – the paper traces transformation of Deroko’s
architectural inspiration, from typical academic historicist
eclecticism to vernacular construction.
PB  - Univerzitet u Beogradu - Arhitektonski fakultet
T2  - Serbian Architectural Journal
T1  - Passion for Past and Architectural Handwriting: Residential Interwar Belgrade Architecture designed by Aleksandar Deroko
IS  - 1
VL  - 11
SP  - 43
EP  - 70
DO  - 10.5937/SAJ1901043M
ER  - 
@article{
author = "Mađanović, Milica",
year = "2019",
abstract = "The name and the achievements of Aleksandar Deroko shine
brightly in the constellation of Serbian architectural history.
Deroko actively contributed to the Serbian twentieth century
architecture as a distinguished professor at the University of
Belgrade, a prolific author, esteemed scholar, designer, and a
highly driven heritage enthusiast. However, though recognised
by his contemporaries and successors alike, Deroko’s design
activity has not yet been thoroughly examined.
Exploring residential buildings designed for Deroko’s Belgrade
clientele, this paper widens the knowledge of his architectural
production. Deroko’s well-known passion for architectural
history and extensive research of the Serbian vernacular
buildings serve as a starting point for the study of his residential
structures in Belgrade. Was Deroko’s design process influenced
by his deep appreciation for architectural past, and by the results
of his findings? Or has he only adopted the formal characteristics
of historic styles and vernacular architecture in his work? If so,
to what extent? Discussing five structures built in the interwar
period – house of Colonel Elezović, the Rakić villa, the Simić
villa, the Marinković villa, the Stakić villa and the architect’s
personal villa – the paper traces transformation of Deroko’s
architectural inspiration, from typical academic historicist
eclecticism to vernacular construction.",
publisher = "Univerzitet u Beogradu - Arhitektonski fakultet",
journal = "Serbian Architectural Journal",
title = "Passion for Past and Architectural Handwriting: Residential Interwar Belgrade Architecture designed by Aleksandar Deroko",
number = "1",
volume = "11",
pages = "43-70",
doi = "10.5937/SAJ1901043M"
}
Mađanović, M.. (2019). Passion for Past and Architectural Handwriting: Residential Interwar Belgrade Architecture designed by Aleksandar Deroko. in Serbian Architectural Journal
Univerzitet u Beogradu - Arhitektonski fakultet., 11(1), 43-70.
https://doi.org/10.5937/SAJ1901043M
Mađanović M. Passion for Past and Architectural Handwriting: Residential Interwar Belgrade Architecture designed by Aleksandar Deroko. in Serbian Architectural Journal. 2019;11(1):43-70.
doi:10.5937/SAJ1901043M .
Mađanović, Milica, "Passion for Past and Architectural Handwriting: Residential Interwar Belgrade Architecture designed by Aleksandar Deroko" in Serbian Architectural Journal, 11, no. 1 (2019):43-70,
https://doi.org/10.5937/SAJ1901043M . .

Persisting Beaux-Arts Practices in Architectural Education: Architectural History and Theory Teaching at the Auckland School of Architecture, 1927-1969

Mađanović, Milica

(Auckland : Enigma he aupiki charitable trust, 2018)

TY  - JOUR
AU  - Mađanović, Milica
PY  - 2018
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/2669
AB  - Since its establishment in the last quarter of the seventeenth century, École Nationale Supérieure des Beaux-arts de Paris was regarded as the leading institution for the education of architects and artists. From the nineteenth century, Beaux-Arts principles and teaching methodology resonated in the English speaking world. Architectural schools in the United States, the United Kingdom, Canada and Australia employed the French system as the basis for the development of their individual curricula. When New Zealand got its first School of Architecture at Auckland University College in 1917, Beaux-Arts influences extended even further across the globe. This article focuses on the persistence of Beaux-Arts influences in New Zealand architectural education. To set the scene, the relevance of the French school as the model for New Zealand architectural education is examined first. The second part introduces the importance of historical study for the Beaux-Arts tradition. Finally, maintaining that they were the primary carriers of the Beaux-Arts influences in the School curriculum, the article focuses on the history and theory courses. Exploring the official reading lists for history and theory courses, the article traces the gradual transformation of the French tradition at the Auckland School through a period of forty years, from 1927 to 1969. Which books were architectural students encouraged to read? What knowledge was deemed necessary? To answer these questions the article makes particular use of book lists published the annual School Prospectus. The enquiry into the theoretical underpinning of the Auckland School programme confirms the longevity of the French principles in New Zealand architectural education.
PB  - Auckland : Enigma  he aupiki charitable trust
T2  - Interstices: A Journal of Architecture and Related Arts
T1  - Persisting Beaux-Arts Practices in Architectural Education: Architectural History and Theory Teaching at the Auckland School of Architecture, 1927-1969
VL  - 11
SP  - 9
EP  - 25
DO  - 10.24135/ijara.v0i0.515
ER  - 
@article{
author = "Mađanović, Milica",
year = "2018",
abstract = "Since its establishment in the last quarter of the seventeenth century, École Nationale Supérieure des Beaux-arts de Paris was regarded as the leading institution for the education of architects and artists. From the nineteenth century, Beaux-Arts principles and teaching methodology resonated in the English speaking world. Architectural schools in the United States, the United Kingdom, Canada and Australia employed the French system as the basis for the development of their individual curricula. When New Zealand got its first School of Architecture at Auckland University College in 1917, Beaux-Arts influences extended even further across the globe. This article focuses on the persistence of Beaux-Arts influences in New Zealand architectural education. To set the scene, the relevance of the French school as the model for New Zealand architectural education is examined first. The second part introduces the importance of historical study for the Beaux-Arts tradition. Finally, maintaining that they were the primary carriers of the Beaux-Arts influences in the School curriculum, the article focuses on the history and theory courses. Exploring the official reading lists for history and theory courses, the article traces the gradual transformation of the French tradition at the Auckland School through a period of forty years, from 1927 to 1969. Which books were architectural students encouraged to read? What knowledge was deemed necessary? To answer these questions the article makes particular use of book lists published the annual School Prospectus. The enquiry into the theoretical underpinning of the Auckland School programme confirms the longevity of the French principles in New Zealand architectural education.",
publisher = "Auckland : Enigma  he aupiki charitable trust",
journal = "Interstices: A Journal of Architecture and Related Arts",
title = "Persisting Beaux-Arts Practices in Architectural Education: Architectural History and Theory Teaching at the Auckland School of Architecture, 1927-1969",
volume = "11",
pages = "9-25",
doi = "10.24135/ijara.v0i0.515"
}
Mađanović, M.. (2018). Persisting Beaux-Arts Practices in Architectural Education: Architectural History and Theory Teaching at the Auckland School of Architecture, 1927-1969. in Interstices: A Journal of Architecture and Related Arts
Auckland : Enigma  he aupiki charitable trust., 11, 9-25.
https://doi.org/10.24135/ijara.v0i0.515
Mađanović M. Persisting Beaux-Arts Practices in Architectural Education: Architectural History and Theory Teaching at the Auckland School of Architecture, 1927-1969. in Interstices: A Journal of Architecture and Related Arts. 2018;11:9-25.
doi:10.24135/ijara.v0i0.515 .
Mađanović, Milica, "Persisting Beaux-Arts Practices in Architectural Education: Architectural History and Theory Teaching at the Auckland School of Architecture, 1927-1969" in Interstices: A Journal of Architecture and Related Arts, 11 (2018):9-25,
https://doi.org/10.24135/ijara.v0i0.515 . .
1

Architectural shaping of Belgrade University Centre (1921-1931)

Mađanović, Milica

(Нови Сад : Матица српска, 2016)

TY  - JOUR
AU  - Mađanović, Milica
PY  - 2016
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/2670
AB  - The main idea of this article is to discuss one of the most ambitious interwar architectural endeavors in the Kingdom of Serbs, Croats and Slovenians (since 1929 Kingdom of Yugoslavia) – the construction of Belgrade University Center in the third decade of the 20th century. In order to illustrate the complex nature of the visual manifestation of the University Center architecture, history and contemporary public reception of Belgrade University will be considered. Next, the University Center would be discussed in regard to interwar Belgrade urban planning. Finally, the last part of the paper will focus on four University buildings constructed during the 1920s, on the Racecourse location.
PB  - Нови Сад : Матица српска
T2  - Зборник Матице српске за ликовне уметности
T1  - Architectural shaping of Belgrade University Centre (1921-1931)
VL  - 44
SP  - 317
EP  - 333
ER  - 
@article{
author = "Mađanović, Milica",
year = "2016",
abstract = "The main idea of this article is to discuss one of the most ambitious interwar architectural endeavors in the Kingdom of Serbs, Croats and Slovenians (since 1929 Kingdom of Yugoslavia) – the construction of Belgrade University Center in the third decade of the 20th century. In order to illustrate the complex nature of the visual manifestation of the University Center architecture, history and contemporary public reception of Belgrade University will be considered. Next, the University Center would be discussed in regard to interwar Belgrade urban planning. Finally, the last part of the paper will focus on four University buildings constructed during the 1920s, on the Racecourse location.",
publisher = "Нови Сад : Матица српска",
journal = "Зборник Матице српске за ликовне уметности",
title = "Architectural shaping of Belgrade University Centre (1921-1931)",
volume = "44",
pages = "317-333"
}
Mađanović, M.. (2016). Architectural shaping of Belgrade University Centre (1921-1931). in Зборник Матице српске за ликовне уметности
Нови Сад : Матица српска., 44, 317-333.
Mađanović M. Architectural shaping of Belgrade University Centre (1921-1931). in Зборник Матице српске за ликовне уметности. 2016;44:317-333..
Mađanović, Milica, "Architectural shaping of Belgrade University Centre (1921-1931)" in Зборник Матице српске за ликовне уметности, 44 (2016):317-333.

Прилог проучавању београдске архитектуре Николаја Петровича Краснова

Mađanović, Milica

(Завод за заштиту споменика културе града Београда, 2015)

TY  - JOUR
AU  - Mađanović, Milica
PY  - 2015
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/2672
AB  - : Обележавајући архитектонске токове академског историзма Краљевине СХС/Југославије у периоду између два светска
рата, Николај Петрович Краснов, академик архитектуре Петроградске академије наука, утиснуо је својом делатношћу препознатљив
траг у формирање урбанистичког растера Београда. Завређујући својом свестраном уметничком продукцијом и плодним градитељским
доприносима широко интересовање руских и српских историчара архитектуре, почев од деведесетих година прошлог века, Николај
Краснов представља најчешћу тему изучавања архитектонске заоставштине руских емиграната на просторима бивше југословенске
државе. Међутим, и поред значајних истраживачких помака, београдски опус Николаја Краснова релативно се споро изучава. Овај рад
писан је с циљем обогаћивања историографског корпуса посвећеног београдској делатности истакнутог и цењеног руског градитеља,
указујући на шест пројеката из Красновљевог престоничког опуса недовољно анализираних у досадашњој литератури – три нереализована идејна решења и три резиденцијално-пословна објекта, подигнута за приватне наручиоце
AB  - Among the many Russian-born architects who made a significant contribution to the architectural image of Belgrade
between the two world wars, a special place is held by Nikolaj Petrovič Krasnov, bearer of the title of academician of
architecture of St. Petersburg Academy of Arts, virtually unrivalled in professional versatility and scale of engagement in
the architectural community in the course of the 1920s.
Krasnov’s prolific activity was mostly related to large-scale government projects and the Ministry of Construction, the
most influential architectural design studio in the Kingdom of Serbs, Croats and Slovenes/Yugoslavia. Apart from actively
contributing to the creation of striking morphological sentences in Belgrade’s urban scenery, Krasnov was committed
to developing various concept designs, not all of which could be realised for various reasons. The effort to elucidate the
versatile Russian émigré’s architectural work as completely as possible should pay attention to the unexecuted designs that
bear his signature. Krasnov’s unexecuted concept designs‒the competition submission mottoed “Feci quod potui...”, the
land use site plan for the Opera House and a rough sketch for the villa for the princes within the royal residence complex in
Dedinje‒are important illustrations of the breadth and nature of his professional pursuits. In the late 1920s, the construction
of representative government buildings was nearly completed, and Krasnov, owning a wide renown strengthened by his
work on the interior of the new royal residence, collaborated with private architectural firms in developing a series of
designs for residential/commercial buildings for private clients, affluent members of the capital city’s elites. He designed
buildings for the merchant Radojlović at 2a Braće Jugovića Street, of the Mitrović brothers at 9 Knez Mihailova, and the
residential/commercial building at 14 Kneza Miloša, whose well-proportioned forms composed in accordance with the
tenets of academism make a not negligible contribution to the urban landscape of downtown Belgrade.
A remarkable and charismatic man of an inexhaustible working energy and ample professional experience, Nikolaj
Krasnov was one of the most prolific architects of his times. His rich output and distinctive, academically honed handwriting
that shaped some of the city’s landmark buildings characteristic for their formal perfection, coherent composition, layered
façade articulation and refined application of rhetorical architectural ornament, rank him as one of the most important
representatives of academic historicism on the interwar architectural scene.
PB  - Завод за заштиту споменика културе града Београда
T2  - Наслеђе
T1  - Прилог проучавању београдске архитектуре Николаја Петровича Краснова
VL  - 16
SP  - 75
EP  - 89
DO  - 10.5937/nasledje1516075M
ER  - 
@article{
author = "Mađanović, Milica",
year = "2015",
abstract = ": Обележавајући архитектонске токове академског историзма Краљевине СХС/Југославије у периоду између два светска
рата, Николај Петрович Краснов, академик архитектуре Петроградске академије наука, утиснуо је својом делатношћу препознатљив
траг у формирање урбанистичког растера Београда. Завређујући својом свестраном уметничком продукцијом и плодним градитељским
доприносима широко интересовање руских и српских историчара архитектуре, почев од деведесетих година прошлог века, Николај
Краснов представља најчешћу тему изучавања архитектонске заоставштине руских емиграната на просторима бивше југословенске
државе. Међутим, и поред значајних истраживачких помака, београдски опус Николаја Краснова релативно се споро изучава. Овај рад
писан је с циљем обогаћивања историографског корпуса посвећеног београдској делатности истакнутог и цењеног руског градитеља,
указујући на шест пројеката из Красновљевог престоничког опуса недовољно анализираних у досадашњој литератури – три нереализована идејна решења и три резиденцијално-пословна објекта, подигнута за приватне наручиоце, Among the many Russian-born architects who made a significant contribution to the architectural image of Belgrade
between the two world wars, a special place is held by Nikolaj Petrovič Krasnov, bearer of the title of academician of
architecture of St. Petersburg Academy of Arts, virtually unrivalled in professional versatility and scale of engagement in
the architectural community in the course of the 1920s.
Krasnov’s prolific activity was mostly related to large-scale government projects and the Ministry of Construction, the
most influential architectural design studio in the Kingdom of Serbs, Croats and Slovenes/Yugoslavia. Apart from actively
contributing to the creation of striking morphological sentences in Belgrade’s urban scenery, Krasnov was committed
to developing various concept designs, not all of which could be realised for various reasons. The effort to elucidate the
versatile Russian émigré’s architectural work as completely as possible should pay attention to the unexecuted designs that
bear his signature. Krasnov’s unexecuted concept designs‒the competition submission mottoed “Feci quod potui...”, the
land use site plan for the Opera House and a rough sketch for the villa for the princes within the royal residence complex in
Dedinje‒are important illustrations of the breadth and nature of his professional pursuits. In the late 1920s, the construction
of representative government buildings was nearly completed, and Krasnov, owning a wide renown strengthened by his
work on the interior of the new royal residence, collaborated with private architectural firms in developing a series of
designs for residential/commercial buildings for private clients, affluent members of the capital city’s elites. He designed
buildings for the merchant Radojlović at 2a Braće Jugovića Street, of the Mitrović brothers at 9 Knez Mihailova, and the
residential/commercial building at 14 Kneza Miloša, whose well-proportioned forms composed in accordance with the
tenets of academism make a not negligible contribution to the urban landscape of downtown Belgrade.
A remarkable and charismatic man of an inexhaustible working energy and ample professional experience, Nikolaj
Krasnov was one of the most prolific architects of his times. His rich output and distinctive, academically honed handwriting
that shaped some of the city’s landmark buildings characteristic for their formal perfection, coherent composition, layered
façade articulation and refined application of rhetorical architectural ornament, rank him as one of the most important
representatives of academic historicism on the interwar architectural scene.",
publisher = "Завод за заштиту споменика културе града Београда",
journal = "Наслеђе",
title = "Прилог проучавању београдске архитектуре Николаја Петровича Краснова",
volume = "16",
pages = "75-89",
doi = "10.5937/nasledje1516075M"
}
Mađanović, M.. (2015). Прилог проучавању београдске архитектуре Николаја Петровича Краснова. in Наслеђе
Завод за заштиту споменика културе града Београда., 16, 75-89.
https://doi.org/10.5937/nasledje1516075M
Mađanović M. Прилог проучавању београдске архитектуре Николаја Петровича Краснова. in Наслеђе. 2015;16:75-89.
doi:10.5937/nasledje1516075M .
Mađanović, Milica, "Прилог проучавању београдске архитектуре Николаја Петровича Краснова" in Наслеђе, 16 (2015):75-89,
https://doi.org/10.5937/nasledje1516075M . .

Лесковачка архитектура Василија Михајловича Андросова у светлу историографије и архивске грађе

Mađanović, Milica

(Narodni muzej Leskovac, 2014)

TY  - JOUR
AU  - Mađanović, Milica
PY  - 2014
UR  - https://muzejleskovac.rs/wp-content/uploads/2019/07/%D0%B1%D1%80.54-LIV-2014.pdf
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/2674
AB  - Vasilije Mihailovič Androsov stood out among the Russian architect - immigrants who influenced the architectural and religious practices of our area. Designing, primarily, churches and religious buildings, Androsov affected the formation of numerous rural and urban areas, marking the overall construction of interwar sacred architecture in Kingdom of SHS / Yugoslavia. Perceived as a representative sample of Androsov's religious architecture, the Leskovac opus makes for an interesting research focus. It illustrates a borad range of his work: from buildings considered the most successful examples of the inter-war ecclesiastical architecture in Leskovac area such as monumental Cathedral of St. Trinity Church in Leskovac, to more intimate places of worship, such as the picturesque church in Kumarevo; from unrealized projects (in Sijarinska Banja), and churches designed in jointly with other important period architects such as the one in Donja Lakošnica, to less ambitious, typical solutions like the small church in Bukova Glava. Museums, archives, cadastral departments, institutes for the Protection of Cultural Monuments, newspaper libraries, photo libraries, including private collections and architects' legacy are important basis for scholarly research. This paper extensively explores the materials about Androsov's Leskovac work kept in the  Archives of Yugoslavia in Belgrade, aiming to help further research of his architecture.
PB  - Narodni muzej Leskovac
T2  - Лесковачки зборник
T1  - Лесковачка архитектура Василија Михајловича Андросова у светлу историографије и архивске грађе
VL  - 54
SP  - 268
EP  - 282
ER  - 
@article{
author = "Mađanović, Milica",
year = "2014",
abstract = "Vasilije Mihailovič Androsov stood out among the Russian architect - immigrants who influenced the architectural and religious practices of our area. Designing, primarily, churches and religious buildings, Androsov affected the formation of numerous rural and urban areas, marking the overall construction of interwar sacred architecture in Kingdom of SHS / Yugoslavia. Perceived as a representative sample of Androsov's religious architecture, the Leskovac opus makes for an interesting research focus. It illustrates a borad range of his work: from buildings considered the most successful examples of the inter-war ecclesiastical architecture in Leskovac area such as monumental Cathedral of St. Trinity Church in Leskovac, to more intimate places of worship, such as the picturesque church in Kumarevo; from unrealized projects (in Sijarinska Banja), and churches designed in jointly with other important period architects such as the one in Donja Lakošnica, to less ambitious, typical solutions like the small church in Bukova Glava. Museums, archives, cadastral departments, institutes for the Protection of Cultural Monuments, newspaper libraries, photo libraries, including private collections and architects' legacy are important basis for scholarly research. This paper extensively explores the materials about Androsov's Leskovac work kept in the  Archives of Yugoslavia in Belgrade, aiming to help further research of his architecture.",
publisher = "Narodni muzej Leskovac",
journal = "Лесковачки зборник",
title = "Лесковачка архитектура Василија Михајловича Андросова у светлу историографије и архивске грађе",
volume = "54",
pages = "268-282"
}
Mađanović, M.. (2014). Лесковачка архитектура Василија Михајловича Андросова у светлу историографије и архивске грађе. in Лесковачки зборник
Narodni muzej Leskovac., 54, 268-282.
Mađanović M. Лесковачка архитектура Василија Михајловича Андросова у светлу историографије и архивске грађе. in Лесковачки зборник. 2014;54:268-282..
Mađanović, Milica, "Лесковачка архитектура Василија Михајловича Андросова у светлу историографије и архивске грађе" in Лесковачки зборник, 54 (2014):268-282.

Архитектура пратећих објеката у Дворском комплексу на Дедињу

Mađanović, Milica

(Zavod za zaštitu spomenika kulture grada Beograda, 2014)

TY  - JOUR
AU  - Mađanović, Milica
PY  - 2014
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/2673
AB  - Као решење које је обележило развој српске и југословенске архитектуре двадесетих и тридесетих година прошлог
века, обликовано под утицајем комплексних политичко-идејних струјања међуратног периода, Дворски комплекс на Дедињу и данас
представља једну од најрепрезентативнијих градитељских целина Београда и Србије. Овај рад, у којем ће бити изнета анализа архитектуре пратећих грађевина Краљевског двора, писан је са идејом да се начини први корак ка слојевитијем изучавању поменутог, до сада
релативно занемариваног проблемског питања, које завређује веће интересовање стручне јавности јер, поред чињенице да у формалном и функционалном погледу чини нераскидиви део архитектонског ткива значајне културно-историјске целине лоциране на највишем брежуљку Дедиња, она својим облицима елаборира одјеке еклектичке интерпретације богатог српско-византијског, ренесансног и
античког градитељског наслеђа доминантне, централне грађевине комплекса и представља сведочанство сегмента ауторског рукописа
још увек недовољно расветљеног архитекте Живојина Николића.
AB  - As a design which marked the Serbian and Yugoslav architecture of the 1920s and 1930s and which was shaped under the impact of complex political and ideological developments in the interwar period, the Royal complex in Dedinje remains one of the most prestigious
architectural ensembles in Belgrade and Serbia. This paper, which offers an architectural analysis of the ancillary buildings of the complex, is
meant to encourage a more comprehensive study of an unduly neglected issue: apart from the fact that the ancillary buildings are, formally and
functionally, an integral part of the complex, an important cultural and historic site situated on the highest of Dedinje hillocks, they elaborate the
eclectic interpretation of the rich Serbo-Byzantine, renaissance and classical stylistic legacy of the dominant building of the complex, and reveal
a piece of the original handwriting of the still insufficiently illuminated figure of architect Živojin Nikolić.
PB  - Zavod za zaštitu spomenika kulture grada Beograda
T2  - Наслеђе
T1  - Архитектура пратећих објеката у Дворском комплексу на Дедињу
VL  - 15
SP  - 49
EP  - 61
DO  - 10.5937/nasledje1415049M
ER  - 
@article{
author = "Mađanović, Milica",
year = "2014",
abstract = "Као решење које је обележило развој српске и југословенске архитектуре двадесетих и тридесетих година прошлог
века, обликовано под утицајем комплексних политичко-идејних струјања међуратног периода, Дворски комплекс на Дедињу и данас
представља једну од најрепрезентативнијих градитељских целина Београда и Србије. Овај рад, у којем ће бити изнета анализа архитектуре пратећих грађевина Краљевског двора, писан је са идејом да се начини први корак ка слојевитијем изучавању поменутог, до сада
релативно занемариваног проблемског питања, које завређује веће интересовање стручне јавности јер, поред чињенице да у формалном и функционалном погледу чини нераскидиви део архитектонског ткива значајне културно-историјске целине лоциране на највишем брежуљку Дедиња, она својим облицима елаборира одјеке еклектичке интерпретације богатог српско-византијског, ренесансног и
античког градитељског наслеђа доминантне, централне грађевине комплекса и представља сведочанство сегмента ауторског рукописа
још увек недовољно расветљеног архитекте Живојина Николића., As a design which marked the Serbian and Yugoslav architecture of the 1920s and 1930s and which was shaped under the impact of complex political and ideological developments in the interwar period, the Royal complex in Dedinje remains one of the most prestigious
architectural ensembles in Belgrade and Serbia. This paper, which offers an architectural analysis of the ancillary buildings of the complex, is
meant to encourage a more comprehensive study of an unduly neglected issue: apart from the fact that the ancillary buildings are, formally and
functionally, an integral part of the complex, an important cultural and historic site situated on the highest of Dedinje hillocks, they elaborate the
eclectic interpretation of the rich Serbo-Byzantine, renaissance and classical stylistic legacy of the dominant building of the complex, and reveal
a piece of the original handwriting of the still insufficiently illuminated figure of architect Živojin Nikolić.",
publisher = "Zavod za zaštitu spomenika kulture grada Beograda",
journal = "Наслеђе",
title = "Архитектура пратећих објеката у Дворском комплексу на Дедињу",
volume = "15",
pages = "49-61",
doi = "10.5937/nasledje1415049M"
}
Mađanović, M.. (2014). Архитектура пратећих објеката у Дворском комплексу на Дедињу. in Наслеђе
Zavod za zaštitu spomenika kulture grada Beograda., 15, 49-61.
https://doi.org/10.5937/nasledje1415049M
Mađanović M. Архитектура пратећих објеката у Дворском комплексу на Дедињу. in Наслеђе. 2014;15:49-61.
doi:10.5937/nasledje1415049M .
Mađanović, Milica, "Архитектура пратећих објеката у Дворском комплексу на Дедињу" in Наслеђе, 15 (2014):49-61,
https://doi.org/10.5937/nasledje1415049M . .