Branch of the national bank of Yugoslavia (1935-1936) in Dubrovnik, designed by the architect Bogdan Nestorovic
Само за регистроване кориснике
2019
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The branch of the National Bank of Yugoslavia, built in Dubrovnik's area of Pile between June 1935 and April 1936, stands out among other public buildings built in this city between the two world wars. It forms an integral part of the protected historic core of Dubrovnik. This significant building was designed by the Belgrade-based architect Bogdan Nestorovic (1901-1975) who drew his inspiration from the local built heritage. Since it has only been occasionally mentioned in scientific historiography, it deserves a thorough monographic review. Relevant sources for a study of its architectural history (besides the existing building at 15, in the street called Ulica branitelja Dubrovnika) include original technical documents from Dubrovnik State Archives and the Belgrade Archives of the National Bank, articles from the interwar daily press and professional periodicals, historical photographs, data from Nestorovic's legacy and few historiographic comments. The palace was built along a busy... road in Pile area, on a sloping plot in the direction of Boninovo and Gruz, with its facades facing four sides of the world. It organically blends into a row of traditionally shaped stone-clad catering facilities and residential buildings. Its main entrance was originally in a street called at the time Put XIII novembra (today at 15, Ulica branitelja Dubrovnika). Its right side faces Dumanjska Street while its left side faces the estate of Dr. De Giulli de Raymond. Its wide rear facade is turned towards the Sisters of Mercy Institute. The palace stood out among the few state-owned public buildings erected during the interwar period in Dubrovnik area. The majority of the new buildings were designed by the local associates of the regional administration's technical service, while others were conceived by the architects from other Yugoslav major cities. In 1938 Nestorovic noted that he drew inspiration for this project from the historical architecture of Dubrovnik, namely its public palaces whose compositions were smoother, more regular, richer than the preserved private single-family houses. He did not want to overemphasize decoration and details but highlighted the expressive quality of the windows whose frames soften the austerity of the volume and the main cornice. He finally concluded that his intention was not to archaize or copy the existing buildings nor to make this building distinctly different from the rest of the architecture in the old city of Dubrovnik. Instead he tried to give the palace a "recognizable distinctive mark of the period". With a sculptural upgrade of the architectural exterior, Nestorovic made the National Bank branch popular with locals and guests thus boosting its business. He successfully revived the silhouette of a closed vault with the contrasts of light and shade, the recessed and slightly protruding surfaces, rounded and cubic openings. The building is a reference to the late Gothic and Renaissance architecture of Dubrovnik recognizable in the "stone craft" prevailing in its execution, forms of openings, roof and two-lane facades. In order to avoid literal imitation of public historic buildings, Nestorovic did not dissolve the groundfloor level by means of the rhythmic arcade porticoes but rather relieves its decorative floor. Heraldic and sculptural decoration is executed in a moderate and selective manner without overcrowding the wall surfaces, yet without diminishing the aesthetic effect of smooth stone cuboids. Promoting local tradition and the business prestige of the National bank, this building functionally lags behind other more modern Yugoslav financial institutes, banks and savings banks from the 1930s and even behind some other buildings designed by Nestorovic whose academic Classicism and moderate Modernism coupled with traces of monumentalism surpassed the regional context (branches of the National bank in Skopje, Sabac, Karlovac, Kragujevac, and Uzice). Contextually grounded in its materialization, Nestorovic's building encouraged politically desirable merging of regional traditions into a supranational architectural vocabulary executed on some individual state buildings and residences. The unitary ideological component is manifested in the position of the Yugoslav coat of arms, flag pole and inscriptions on the fence posts that highlighted the authority of the central political and financial power. This kind of visual rhetoric using relief allegories was supported by Petar Pallaviccini who used to favor the Yugoslav political option for decades starting from the first creative phase under Mestrovic's influence to the top presidential state institutions between the two Wars. The branch building clearly manifests the Mediterranean influences in Yugoslav architecture between the two World Wars that are still insufficiently researched. Besides the branches of the National bank in Bitola, Dubrovnik, and Mostar, such influences are present on the facades of Nestorovic's single-family house in Belgrade at 97, Kneza Milosa street (1933). His treatment of the intrados of the capital is a reinterpretation of an authentic motif from the Franciscan cloister in Dubrovnik and the volute capitals of the lapidarium of the Kotor cathedral. Supranational regionalism, coupled with decoration inspired by the Yugoslav ideological tendencies is also noticeable on the Nestorovic's branch of the National bank in Mostar (1936-1937), wrongly attributed to Nikola Dobrovic. Classicist reference to the Mediterranean is reflected in spatial and decorative design of a double-side portico with a segmented wrap-around walkway as well as the arched corner lodges of the top floor. Unlike Dubrovnik and Mostar bank branches, the branch of the National bank in Karlovac (designed in 1938, completed in October 1940) is seen by its author as "devoid of decoration and purely Modernist work of architecture". However, even this building is not consistently executed in a Modernist manner despite its unobtrusive roof and smooth facade surfaces. In this respect Nestorovic's stylistic classification of his own works is not entirely unproblematic. The branch in Karlovac - a three-story building with a raised attic of the wing segment - together with the buildings in Skopje and Kragujevac, is the most monumental of all Nestorovic's public buildings. Considerably taller and more imposing than the branches in Bitola, Dubrovnik and Mostar, it literally crowns the entire urban block. Designed in a modernized monumental manner so typical of the public buildings before the Second World War, it is devoid of Mediterranean and folk references.
Извор:
Prostor, 2019, 27, 2, 209-223Издавач:
- Univ Zagreb Fac Architecture, Zagreb
Финансирање / пројекти:
- Српска уметност 20. века: национално и Европа (RS-MESTD-Basic Research (BR or ON)-177013)
Институција/група
Istorija umetnosti / History of ArtTY - JOUR AU - Kadijević, Aleksandar PY - 2019 UR - http://reff.f.bg.ac.rs/handle/123456789/2883 AB - The branch of the National Bank of Yugoslavia, built in Dubrovnik's area of Pile between June 1935 and April 1936, stands out among other public buildings built in this city between the two world wars. It forms an integral part of the protected historic core of Dubrovnik. This significant building was designed by the Belgrade-based architect Bogdan Nestorovic (1901-1975) who drew his inspiration from the local built heritage. Since it has only been occasionally mentioned in scientific historiography, it deserves a thorough monographic review. Relevant sources for a study of its architectural history (besides the existing building at 15, in the street called Ulica branitelja Dubrovnika) include original technical documents from Dubrovnik State Archives and the Belgrade Archives of the National Bank, articles from the interwar daily press and professional periodicals, historical photographs, data from Nestorovic's legacy and few historiographic comments. The palace was built along a busy road in Pile area, on a sloping plot in the direction of Boninovo and Gruz, with its facades facing four sides of the world. It organically blends into a row of traditionally shaped stone-clad catering facilities and residential buildings. Its main entrance was originally in a street called at the time Put XIII novembra (today at 15, Ulica branitelja Dubrovnika). Its right side faces Dumanjska Street while its left side faces the estate of Dr. De Giulli de Raymond. Its wide rear facade is turned towards the Sisters of Mercy Institute. The palace stood out among the few state-owned public buildings erected during the interwar period in Dubrovnik area. The majority of the new buildings were designed by the local associates of the regional administration's technical service, while others were conceived by the architects from other Yugoslav major cities. In 1938 Nestorovic noted that he drew inspiration for this project from the historical architecture of Dubrovnik, namely its public palaces whose compositions were smoother, more regular, richer than the preserved private single-family houses. He did not want to overemphasize decoration and details but highlighted the expressive quality of the windows whose frames soften the austerity of the volume and the main cornice. He finally concluded that his intention was not to archaize or copy the existing buildings nor to make this building distinctly different from the rest of the architecture in the old city of Dubrovnik. Instead he tried to give the palace a "recognizable distinctive mark of the period". With a sculptural upgrade of the architectural exterior, Nestorovic made the National Bank branch popular with locals and guests thus boosting its business. He successfully revived the silhouette of a closed vault with the contrasts of light and shade, the recessed and slightly protruding surfaces, rounded and cubic openings. The building is a reference to the late Gothic and Renaissance architecture of Dubrovnik recognizable in the "stone craft" prevailing in its execution, forms of openings, roof and two-lane facades. In order to avoid literal imitation of public historic buildings, Nestorovic did not dissolve the groundfloor level by means of the rhythmic arcade porticoes but rather relieves its decorative floor. Heraldic and sculptural decoration is executed in a moderate and selective manner without overcrowding the wall surfaces, yet without diminishing the aesthetic effect of smooth stone cuboids. Promoting local tradition and the business prestige of the National bank, this building functionally lags behind other more modern Yugoslav financial institutes, banks and savings banks from the 1930s and even behind some other buildings designed by Nestorovic whose academic Classicism and moderate Modernism coupled with traces of monumentalism surpassed the regional context (branches of the National bank in Skopje, Sabac, Karlovac, Kragujevac, and Uzice). Contextually grounded in its materialization, Nestorovic's building encouraged politically desirable merging of regional traditions into a supranational architectural vocabulary executed on some individual state buildings and residences. The unitary ideological component is manifested in the position of the Yugoslav coat of arms, flag pole and inscriptions on the fence posts that highlighted the authority of the central political and financial power. This kind of visual rhetoric using relief allegories was supported by Petar Pallaviccini who used to favor the Yugoslav political option for decades starting from the first creative phase under Mestrovic's influence to the top presidential state institutions between the two Wars. The branch building clearly manifests the Mediterranean influences in Yugoslav architecture between the two World Wars that are still insufficiently researched. Besides the branches of the National bank in Bitola, Dubrovnik, and Mostar, such influences are present on the facades of Nestorovic's single-family house in Belgrade at 97, Kneza Milosa street (1933). His treatment of the intrados of the capital is a reinterpretation of an authentic motif from the Franciscan cloister in Dubrovnik and the volute capitals of the lapidarium of the Kotor cathedral. Supranational regionalism, coupled with decoration inspired by the Yugoslav ideological tendencies is also noticeable on the Nestorovic's branch of the National bank in Mostar (1936-1937), wrongly attributed to Nikola Dobrovic. Classicist reference to the Mediterranean is reflected in spatial and decorative design of a double-side portico with a segmented wrap-around walkway as well as the arched corner lodges of the top floor. Unlike Dubrovnik and Mostar bank branches, the branch of the National bank in Karlovac (designed in 1938, completed in October 1940) is seen by its author as "devoid of decoration and purely Modernist work of architecture". However, even this building is not consistently executed in a Modernist manner despite its unobtrusive roof and smooth facade surfaces. In this respect Nestorovic's stylistic classification of his own works is not entirely unproblematic. The branch in Karlovac - a three-story building with a raised attic of the wing segment - together with the buildings in Skopje and Kragujevac, is the most monumental of all Nestorovic's public buildings. Considerably taller and more imposing than the branches in Bitola, Dubrovnik and Mostar, it literally crowns the entire urban block. Designed in a modernized monumental manner so typical of the public buildings before the Second World War, it is devoid of Mediterranean and folk references. PB - Univ Zagreb Fac Architecture, Zagreb T2 - Prostor T1 - Branch of the national bank of Yugoslavia (1935-1936) in Dubrovnik, designed by the architect Bogdan Nestorovic EP - 223 IS - 2 SP - 209 VL - 27 DO - 10.31522/p.27.2(58).2 ER -
@article{ author = "Kadijević, Aleksandar", year = "2019", abstract = "The branch of the National Bank of Yugoslavia, built in Dubrovnik's area of Pile between June 1935 and April 1936, stands out among other public buildings built in this city between the two world wars. It forms an integral part of the protected historic core of Dubrovnik. This significant building was designed by the Belgrade-based architect Bogdan Nestorovic (1901-1975) who drew his inspiration from the local built heritage. Since it has only been occasionally mentioned in scientific historiography, it deserves a thorough monographic review. Relevant sources for a study of its architectural history (besides the existing building at 15, in the street called Ulica branitelja Dubrovnika) include original technical documents from Dubrovnik State Archives and the Belgrade Archives of the National Bank, articles from the interwar daily press and professional periodicals, historical photographs, data from Nestorovic's legacy and few historiographic comments. The palace was built along a busy road in Pile area, on a sloping plot in the direction of Boninovo and Gruz, with its facades facing four sides of the world. It organically blends into a row of traditionally shaped stone-clad catering facilities and residential buildings. Its main entrance was originally in a street called at the time Put XIII novembra (today at 15, Ulica branitelja Dubrovnika). Its right side faces Dumanjska Street while its left side faces the estate of Dr. De Giulli de Raymond. Its wide rear facade is turned towards the Sisters of Mercy Institute. The palace stood out among the few state-owned public buildings erected during the interwar period in Dubrovnik area. The majority of the new buildings were designed by the local associates of the regional administration's technical service, while others were conceived by the architects from other Yugoslav major cities. In 1938 Nestorovic noted that he drew inspiration for this project from the historical architecture of Dubrovnik, namely its public palaces whose compositions were smoother, more regular, richer than the preserved private single-family houses. He did not want to overemphasize decoration and details but highlighted the expressive quality of the windows whose frames soften the austerity of the volume and the main cornice. He finally concluded that his intention was not to archaize or copy the existing buildings nor to make this building distinctly different from the rest of the architecture in the old city of Dubrovnik. Instead he tried to give the palace a "recognizable distinctive mark of the period". With a sculptural upgrade of the architectural exterior, Nestorovic made the National Bank branch popular with locals and guests thus boosting its business. He successfully revived the silhouette of a closed vault with the contrasts of light and shade, the recessed and slightly protruding surfaces, rounded and cubic openings. The building is a reference to the late Gothic and Renaissance architecture of Dubrovnik recognizable in the "stone craft" prevailing in its execution, forms of openings, roof and two-lane facades. In order to avoid literal imitation of public historic buildings, Nestorovic did not dissolve the groundfloor level by means of the rhythmic arcade porticoes but rather relieves its decorative floor. Heraldic and sculptural decoration is executed in a moderate and selective manner without overcrowding the wall surfaces, yet without diminishing the aesthetic effect of smooth stone cuboids. Promoting local tradition and the business prestige of the National bank, this building functionally lags behind other more modern Yugoslav financial institutes, banks and savings banks from the 1930s and even behind some other buildings designed by Nestorovic whose academic Classicism and moderate Modernism coupled with traces of monumentalism surpassed the regional context (branches of the National bank in Skopje, Sabac, Karlovac, Kragujevac, and Uzice). Contextually grounded in its materialization, Nestorovic's building encouraged politically desirable merging of regional traditions into a supranational architectural vocabulary executed on some individual state buildings and residences. The unitary ideological component is manifested in the position of the Yugoslav coat of arms, flag pole and inscriptions on the fence posts that highlighted the authority of the central political and financial power. This kind of visual rhetoric using relief allegories was supported by Petar Pallaviccini who used to favor the Yugoslav political option for decades starting from the first creative phase under Mestrovic's influence to the top presidential state institutions between the two Wars. The branch building clearly manifests the Mediterranean influences in Yugoslav architecture between the two World Wars that are still insufficiently researched. Besides the branches of the National bank in Bitola, Dubrovnik, and Mostar, such influences are present on the facades of Nestorovic's single-family house in Belgrade at 97, Kneza Milosa street (1933). His treatment of the intrados of the capital is a reinterpretation of an authentic motif from the Franciscan cloister in Dubrovnik and the volute capitals of the lapidarium of the Kotor cathedral. Supranational regionalism, coupled with decoration inspired by the Yugoslav ideological tendencies is also noticeable on the Nestorovic's branch of the National bank in Mostar (1936-1937), wrongly attributed to Nikola Dobrovic. Classicist reference to the Mediterranean is reflected in spatial and decorative design of a double-side portico with a segmented wrap-around walkway as well as the arched corner lodges of the top floor. Unlike Dubrovnik and Mostar bank branches, the branch of the National bank in Karlovac (designed in 1938, completed in October 1940) is seen by its author as "devoid of decoration and purely Modernist work of architecture". However, even this building is not consistently executed in a Modernist manner despite its unobtrusive roof and smooth facade surfaces. In this respect Nestorovic's stylistic classification of his own works is not entirely unproblematic. The branch in Karlovac - a three-story building with a raised attic of the wing segment - together with the buildings in Skopje and Kragujevac, is the most monumental of all Nestorovic's public buildings. Considerably taller and more imposing than the branches in Bitola, Dubrovnik and Mostar, it literally crowns the entire urban block. Designed in a modernized monumental manner so typical of the public buildings before the Second World War, it is devoid of Mediterranean and folk references.", publisher = "Univ Zagreb Fac Architecture, Zagreb", journal = "Prostor", title = "Branch of the national bank of Yugoslavia (1935-1936) in Dubrovnik, designed by the architect Bogdan Nestorovic", pages = "223-209", number = "2", volume = "27", doi = "10.31522/p.27.2(58).2" }
Kadijević, A.. (2019). Branch of the national bank of Yugoslavia (1935-1936) in Dubrovnik, designed by the architect Bogdan Nestorovic. in Prostor Univ Zagreb Fac Architecture, Zagreb., 27(2), 209-223. https://doi.org/10.31522/p.27.2(58).2
Kadijević A. Branch of the national bank of Yugoslavia (1935-1936) in Dubrovnik, designed by the architect Bogdan Nestorovic. in Prostor. 2019;27(2):209-223. doi:10.31522/p.27.2(58).2 .
Kadijević, Aleksandar, "Branch of the national bank of Yugoslavia (1935-1936) in Dubrovnik, designed by the architect Bogdan Nestorovic" in Prostor, 27, no. 2 (2019):209-223, https://doi.org/10.31522/p.27.2(58).2 . .