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Abstract:
The aim of this paper is to underline the fundamental contribution of Konstantin Jovanovi to the architecture of Belgrade, which, thanks
to him, acquired the shape of a European capital. Thanks to his architectural achievements, like the building of the National Bank or
the Endowment of Nikola Spasi, Jovanovi was seen as a cultural emancipator who had brought Serbian architecture closer to the
Central European standards. His inspiried interpolations greatly contributed to the transformation of Belgrade from an Ottoman town to a
European city. As this contribution has been given little consideration, it deserves special historiographic attention.
Keywords: Belgrade, interpolation, Konstantin Jovanovi, urban planning, architecture

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Summary: DUICA NIKOLI

ARCHITECTURAL INTERPOLATIONS IN BELGRADE BY KONSTANTIN JOVANOVI

The interpolation process is as old as architecture itself, undregoing increasingly significant changes on a daily basis.
On the one hand, we experience the raising trend of technical advancements and standards as to the utilization of space,
requiring progressive changes; on the other, the movement is developed to protect spatial values that has been based on
studying the same. The perspective of interpolation process focuses on the capacity of a society to support this balance.
This primarily refers to the development of culture and awareness of those who participate in shaping the environment.
If we were to ignore individuality and creativity of architects, we would make new architecture in an old ambient im-
possible to develop. It should therefore be remembered that the high-quality new architecture in the existing and valued
historic environments is in itself the best form of interpolation.
The buildings by this arcitect were constructed with concern for both the visual and aesthetic quality, and their
purpose. His buildings in Belgrade have the precision and clarity of performance and architectural consistency with
surrounding structures. They cannot be seen merely as functional assemblies, but also as remarkable works of art. This
is the result of his versatile personality, talent, great persistence and certainly of the influence of Professor Semper un-
der which Jovanovi formed himself as an architect. All this was perfectly implemented in his works, encouraging the
spread of European influences in Belgrade, which grew quickly into a metropolis. His works often attracted the attention
of fellow architects from Vienna; the building of the National Bank, along with the Cathedral Church, the Metropoli-
tanate Building, and the Residence of Princess Ljubica, was commonly listed among the buildings to see in Belgrade.
The significance of Jovanovis interpolations is reflected in the architectural expression and alignment with so-
cial demands. He designed the public buildings to convey the image of power and political progress of a state, while
giving the less prominent, residential buildings a more moderate character, but still consistently implementing all the
elements of classical renaissance in architecture, which would place him among the most renowned Academician ar-
chitects. His interpolations are also a good example of moderate and rational contribution to the urban fabric, with-
out exaggerations or pretentiousness. At the time of their creation, they constituted the important part of the city and
shaped its urban distinctiveness. Even today, his buildings are recognized as being of exceptional cultural value and
significance that any country could be proud of. Jovanovi paid particular attention to the ambient in which he was
to introduce his work; his buildings are therefore not gaudy but rather meticulously thought out to fit the surrounding
space and yet to leave a sufficient impression. His distinctive expression evidenced his skill devoid of any intricacy.
His contribution to academic architecture in Serbia ranks him among the most prominent architects this country has
ever had, as he possessed the talents of designer, writer, architectural historian, applied artist, and painter.

Illustrations
Fig.1 First floor plan, 1922 (National Bank Building, Institute for the Fig.7 House of Kosta Milenkovi ground floor and first floor plan
Protection of Cultural Monuments, Belgrade 2012) (Bogdan Nestorovi, Evolucija beogradskog stana, Godinjak
Muzeja grada Beograda II/1955)
Fig.2 National Bank, facade (www.mindono.com)
Fig.3 National Bank, interior (Politika online, archives) Fig.8 House of Kosta Milenkovi (Photograph: Duica Nikoli)

Fig.4 Nikola Spasis Endowment Building (the photograph obtained Fig.9 House of Jovan Panela (www.novosti.rs)
from http://spomenicikulture.mi.sanu.ac.rs/spomenik.php?id=712)
Fig.10 House of Dimitrije ivadinovi (Photograph: Duica Nikoli)
Fig.5 Endowment of Nikola Spasi ground plan (Bogdan Nesto-
rovi, Evolucija beogradskog stana, Godinjak Muzeja grada Fig.11 House of Marko Stojanovi (Photograph: Duica Nikoli)
Beograda II/1955)
Fig.6 House of Dragomir Radulovi, the corner of Vuka Karadia
and Delijska Streets (Photograph: Duica Nikoli)

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