Baltička moderna u Beogradu - projekat Uprave monopola i Ministarstva finansija (1908) Kričinskog i Vasiljeva

Abstract

Sintagmom baltička moderna u savremenoj arhitektonskoj istoriografiji se označava specifični regionalni ogranak međunarodnog ar nuvo pokreta s centrima u Sankt Peterburgu i Helsinkiju, koji se od 1900. do 1914. godine proširio na Stokholm, Rigu, Talin i druge baltičke gradove. Iako je spajao nordijsku i slovensku umetničku komponentu, odlikovao se stilskom ujednačenošću zasnovanom na čvrstim personalnim vezama baltičkih arhitekata. To važi i za znamenite ruske arhitekte Stjepana Kričinskog (Stepan Samojlovič Kričinskij) i Nikolaja Vasiljeva (Nikolaj Vasil’evič Vasil’ev), čiji je pobednički konkursni nacrt za beogradsku palatu Uprave monopola i Ministarstva finansija (1908) delimično osvetljen u srpskoj istoriografiji. Iako istican, nije potpunije sagledan u arhitektonskom kontekstu iz kojeg je proistekao.

The term “Baltic Modernism” in the contemporary architectural historiography is used to denote a specific regional branch of international Art Nouveau movement with the centers in Saint Petersburg and Helsinki, that spread from Stockholm, Riga, Tallinn and other Baltic cities in the period from 1900 to 1914. Although it was a blend of Nordic and Slavic artistic components it was endowed with a stylish consistency grounded on steady personal relationships between the Baltic architects. This also accounts for the renown Russian architects, Stepan Krichinsky (Stepan Samojlovič Kričinskij) and Nikolay Vasilyev (Nikolaj Vasil’evič Vasil’ev), whose awarded competition drawing for Belgrade Palace of Monopoly Administration and the Ministry of Finance (1908) has been partially addressed in the Serbian historiography. Albite comprehensive, it has never been fully examined in the architectural context from which it was derived.