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131


Summary: ALEKSANDAR KADIJEVI
THREE RECENTLY BUILT BELGRADE CHURCHES: THREE IMPULSES FOR A TENABLE
DEVELOPMENT OF SERBIAN RELIGIOUS ARCHITECTURE
Belgrade, since ancient times known as an important urban, political and cultural centre of South-East Europe, has
always been an important religious centre as well. The demise of the mono-party system in Yugoslavia, the introduction of
multipartism, a national revival and an increasing role of the Church in society, inevitably led to a resurgence of construction of Orthodox churches in the early 1990s. A significantly increased population and changes in urban structure called for
a larger number of churches.
Within the middle stream of this new religious architecture, which tenably combines elements of national historical
styles and a more modern artistic expression, three parish churches in the capital city stand out for their architectural merit.
In terms of visually distinctive features and presence in space, they are the best possible statements of their designers outlooks, especially of their non-radical attitude to tradition and innovation. Acknowledging the fact that the Serbian Orthodox
Church has subsisted in a time of its own, where the importance of ancient paradigms does not dwindles with the succession
of epochs, the designers opted for forms which do not even try to speed up the time or to replace the canonical tradition
with symbols of the current globalizing tendencies. Moreover, they effectively annulled the constraints of widespread conservatism, refusing to reduce the design method to merely varying the height and volume of the emulated models. Hence the
obvious tenability of their non-radical design method, inspired as much by tradition as by postmodern experiences.
The Church of St Luke
The first in this inspiring group is the Church of the Apostle Luke (199599), designed by the architect and conservator Miladin Luki (b. 1956). It sits on a wide lot, 100 Kneza Vieslava Street, between two of Belgrades neighbourhoods,
Skojevsko Naselje and Filmski Grad, on the citys south-western fringe. The design won the competition launched in January 1995 by Stankom Corporation in concert with the Archbishopric of Belgrade-Karlovci and the Association of Architects
of Belgrade.
Lukis design, on the whole and in parts, is a sort of homage to the group of churches in the so-called Raka style, the
earliest in medieval Serbian church architecture and fundamental for its entire subsequent development. Evocations of that
ancient corpus have been very rare in Serbian architecture. In terms of spatial pattern, exterior treatment, composition and
silhouette, the edifice evokes the foremost 13th-century churches, such as the monastery churches of ia, Sopoani and
Gradac, characterized by a distinctive blend of Romanesque and Byzantine forms.
The recognizable Raka prototype, emphasized evocatively and associatively, is enriched with original compositional accents and effective plastic details in a mild neo-Expressionist manner. It should be noted that the composition is
not conceived as eclectic given that the ancient elements are restyled and modified in the language of late-20th-century
postmodernism.
Although smaller in size than the original design and with an only partially executed urban design solution, the church
has encouraged divergence from conservative and usually mimetic composition modes and aroused the interest of academics in this new church architecture. The designers great experience in conservation and erudite knowledge of ancient
architectural models have helped him produce a work of non-literal evocative capacity, pictorial purity, visual clarity, and
controlled expressivity unparalleled in contemporary Serbian architecture.
The Church of St Basil of Ostrog
The Church of St Basil of Ostrog built in 19952000 at 21a Partizanske Avijacije Street in Beanijska Kosa, a northeastern neighbourhood of Belgrade, is a successful essay in church design by a leading representative of the senior generation, Mihajlo Mitrovi (b. 1922). Although at an advanced age, Mitrovi enters the scene as a pioneer of the church
architecture revival and gives a strong impetus to its tenable modernization. As many times before, he adeptly promotes his
romantically unconventional and unbiased design method, applied to a number of buildings across Serbia, resulting here in
a non-contextual solution. Unlike Luki, Mitrovi offers a simpler spatial pattern and opts for a central plan, a rotunda. True
to his long-held views, he emphasizes the visual effect of the building in space and develops a lengthwise and widthwise
dynamic of masses and openings. His design obviously fits into the non-radical and tenable middle stream of contemporary
church architecture where evocativeness and reliance on tradition are enriched with elements attuned to the times.

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The Church of St Demetrios
The historical importance of the Church of St Demetrios in New Belgrade (Novi Beograd, Block 32) constructed in
19982001 resides in the fact that it is the first church ever built in this modernist-styled superblock. The architectural-urban
design competition was launched in 1997 by the Archbishopric of Belgrade-Karlovci, the Associations of Architects and of
Town Planners of Belgrade. The jury was presided by Patriarch Pavle.
Of 47 designs submitted by individuals and teams, the one of Neboja Popovi (19501998) was selected as best from
the perspective of function and context awareness. Its central plan accentuated by block faade treatment has no closer
analogies in Serbian post-war religious architecture. Inspired by the Life of St Demetrios, especially by Leontius famous
journey which helped the spread of the saints cult from Thessalonica to Ravenna via Sirmium, Popovi relies on ancient
church stories for the reference points of his design. Thus his layout of the church complex is a spatial interpretation of the
journey of Leontius, Roman prefect of Illyricum, as it includes a large body of water (Sava river), a baptistery, an orchard
and an orangery reminiscent of the Mediterranean. In his further explication, Popovi cites as his inspiration the churches
of St Demetrios in Thessalonica, Sirmium and Ravenna.
Popovis design is a plastically segmented and sharply delineated geometricized entity with markedly smooth faades
(still awaiting their tile facing and therefore rustic). An austere composition of cubic masses centrally arranged as stepped
pyramidal setbacks, topped with Serbian domes above the church body and the belfry, the edifice is more or less fitted
into the modernist, abstract urban landscape of Novi Beograd. The traditional orientation of the altar apse to the east made
it impossible to provide direct access to the main, western, entrance from the main thoroughfare (Zorana Djindia Blvd.),
which somewhat reduces the buildings importance in the urban setting. Even so, ever more attractive and popular, it has
come to epitomize a redefinition of Novi Beograds urban functions.
It seems unquestionable that all three designers will profit from the passing of time, from the historical distance necessary for a more objective assessment of architectural merit. Their different and largely original approaches, from a multilayered plastic remodelling of the traditional longitudinal plan (Luki) and a rotunda study (Mitrovi) to a neo-Byzantine
constructivism should be followed in terms of underlying principles rather than form. Unrepeatable and inspiring, their
works will retain a pioneering role within the type.

ILLUSTRATIONS
Fig. 1 Miladin Luki, Urban design for the church of St Luke and
associated structures (from the technical documentation of architect M.
Luki)

Fig. 6 Church of St Luke, central bay

(photo Aleksandar Kadijevi, 2010)

Fig. 2 Church plan after the construction project with the signatures
of approval of Patriarch Pavle and the designer (from the technical
documentation of architect M. Luki)

Fig. 8 Church of St Basil of Ostrog, view of the belfry

Fig. 3 Church of St Luke, view from the south

(photo Aleksandar Kadijevi, 2010)

Fig. 7 Church of St Basil of Ostrog, view from the west

Fig. 9 Church of St Basil of Ostrog, cross section
Fig. 10 Church of St Basil of Ostrog, trefoil eastern apse
(photo Ivan R. Markovi)
Fig. 11 Plenik, Church of St Anthony of Padua in Belgrade

Fig. 4 Church of St Luke, belfry, detail

(photo-documentation of architect Miladin Luki)

Fig. 12 Church of St Demetrios, birds-eye view (Internet photo)

Fig. 5 Church of St Luke, south faade

(photo-documentation of architect Miladin Luki)

Fig. 14 Church of St Demetrios, view from the west

(photo Tadija Stefanovi)

Fig. 13 Church of St Demetrios, view from the northeast (Internet photo)

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