![]() ![]() These social-standard buildings served an even greater purpose in more rural communities, where they facilitated modernization outside of the urban centers and became social hubs. Starting in the 1950s, Yugoslav architects rethought organization as it pertained to educational facilities-they wanted to design structures that encouraged social interaction and creative learning, and move away from the traditional emphasis on structures that focused on institutional control. Under the "social standard," which made services such as education, health care, and cultural programming available for free to the entire public, new buildings were constructed to house these services, and their architects seized the opportunity to experiment. Courtesy of The Museum of Modern Art.Īrchitecture in particular began to take on a strong symbolism, and the medium mirrored the unique spirit of the state at a time when it sought to forge a new way. Janko Konstantinov, Telecommunications Center, 1972–81, Skopje, Macedonia. This abrupt need for more housing and development coincided with Tito's ascent to power in 1948, after which he instituted socialism and turned Yugoslavia into a melting pot of experimentation between people of different religions and ethnicities who came together in film, education, art, and other disciplines. Before World War II, the nation had been largely rural and underdeveloped, but extensive fighting during the war severely destroyed the countryside, forcing rapid construction in its aftermath. Located in between the capitalist West and socialist East, with no affiliation to either side of the Cold War split, Yugoslavia was at the forefront of founding the Non-Aligned Movement, which sought to forge a new "third way." Without an allegiance to either side, the country was vulnerable to the many competing powers seeking to conquer it, which resulted in a new Yugoslavia made up of a mix of cultures, religions, and ethnicities. In order to properly understand the exhibition, and the radical architecture's significance, it is imperative to first understand the historical context of former Yugoslavia. "My interest in the topic was nourished through a group of younger scholars making this work accessible in English for the first time, but also through social media, where many of the most spectacular and memorable buildings are featured regularly, albeit without much historical background." "The idea for Toward a Concrete Utopia emerged as I became increasingly aware of socialist Yugoslavia's extraordinary architectural culture in terms of both structural exploration and aesthetic experimentation," says Stierli. Organized by Stierli, guest curator Vladimir Kulić, and curatorial assistant Anna Kats, Toward a Concrete Utopia presents more than 400 drawings, models, photographs, and film reels-drawn from municipal archives, family collections, and museums-that present the work of socialist Yugoslavia's leading architects to an audience of MoMA's size for the first time. exhibition to examine the wide range and complexity of structures built under Josip Broz Tito's reign. When the show opens, it will be the first major U.S. Photo: Valentin Jeck, commissioned by The Museum of Modern Art, New York, 2016. ![]() Edvard Ravnikar, Revolution Square (today Republic Square), 1960–74, Ljubljana, Slovenia. ![]()
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