TY  - THES
AU  - Mitrović, Jelena
PY  - 2021
UR  - http://eteze.bg.ac.rs/application/showtheses?thesesId=8392
UR  - https://fedorabg.bg.ac.rs/fedora/get/o:24598/bdef:Content/download
UR  - http://vbs.rs/scripts/cobiss?command=DISPLAY&base=70036&RID=52759049
UR  - https://nardus.mpn.gov.rs/handle/123456789/18736
UR  - https://raf.arh.bg.ac.rs/handle/123456789/1214
AB  - Рад преиспитује позицију архитектонског модернизма као кодекса који обликуједисциплинарно знање, претпостављајући дијалектички образац који се одликујеунутрашњом противречношћу. Модерна је означавала историјску прекретницу упогледу геометријских атрибута грађевине, створивши услове за искорак одрепрезентативности класичног језика ка апстрактном јединству облика, простора ифункције. Сам покрет је утврђивањем универзалних парадигми тежио капревазилажењу дивергентних услова архитектонске активности, формализујућињене процесе и дајући им систематски карактер као основ за конституисањеаутономне дисциплине. Модернизам је представљао епистемолошко градилиштена коме је подигнут читав нови поредак праксе чији су конструкти, посредствомисторијских наратива, наткрилили тоталитет струковног искуства.
AB  - The paper examines the position of architectural Modernism as the codex that shapesdisciplinary knowledge, assuming a dialectical pattern characterized by internalcontradiction. Modernism represented a historical milestone in terms of geometricalattributes of a building, achieving a decisive leap from the representability of the classicallanguage to the abstract unity of form, space and function. By establishing universalparadigms, the movement itself sought to overcome the divergent conditions ofarchitectural activity, formalizing its processes and giving them a systematic character asthe basis for constituting of an autonomous discipline. Modernism was theepistemological construction site where the entire new order of practice was built, whoseconstructs, through historical narratives, surpassed the totality of professional experience...
PB  - Универзитет у Београду, Архитектонски факултет
T2  - Универзитет у Београду
T1  - Непостојаност модернистичке позиције архитекте у пракси XXI века
UR  - https://hdl.handle.net/21.15107/rcub_nardus_18736
ER  - 

@phdthesis{
author = "Mitrović, Jelena",
year = "2021",
abstract = "Рад преиспитује позицију архитектонског модернизма као кодекса који обликуједисциплинарно знање, претпостављајући дијалектички образац који се одликујеунутрашњом противречношћу. Модерна је означавала историјску прекретницу упогледу геометријских атрибута грађевине, створивши услове за искорак одрепрезентативности класичног језика ка апстрактном јединству облика, простора ифункције. Сам покрет је утврђивањем универзалних парадигми тежио капревазилажењу дивергентних услова архитектонске активности, формализујућињене процесе и дајући им систематски карактер као основ за конституисањеаутономне дисциплине. Модернизам је представљао епистемолошко градилиштена коме је подигнут читав нови поредак праксе чији су конструкти, посредствомисторијских наратива, наткрилили тоталитет струковног искуства., The paper examines the position of architectural Modernism as the codex that shapesdisciplinary knowledge, assuming a dialectical pattern characterized by internalcontradiction. Modernism represented a historical milestone in terms of geometricalattributes of a building, achieving a decisive leap from the representability of the classicallanguage to the abstract unity of form, space and function. By establishing universalparadigms, the movement itself sought to overcome the divergent conditions ofarchitectural activity, formalizing its processes and giving them a systematic character asthe basis for constituting of an autonomous discipline. Modernism was theepistemological construction site where the entire new order of practice was built, whoseconstructs, through historical narratives, surpassed the totality of professional experience...",
publisher = "Универзитет у Београду, Архитектонски факултет",
journal = "Универзитет у Београду",
title = "Непостојаност модернистичке позиције архитекте у пракси XXI века",
url = "https://hdl.handle.net/21.15107/rcub_nardus_18736"
}

Mitrović, J.. (2021). Непостојаност модернистичке позиције архитекте у пракси XXI века. in Универзитет у Београду
Универзитет у Београду, Архитектонски факултет..
https://hdl.handle.net/21.15107/rcub_nardus_18736

Mitrović J. Непостојаност модернистичке позиције архитекте у пракси XXI века. in Универзитет у Београду. 2021;.
https://hdl.handle.net/21.15107/rcub_nardus_18736 .

Mitrović, Jelena, "Непостојаност модернистичке позиције архитекте у пракси XXI века" in Универзитет у Београду (2021),
https://hdl.handle.net/21.15107/rcub_nardus_18736 .

TY  - JOUR
AU  - Mitrović, Jelena
AU  - Milenković, Vladimir
PY  - 2020
UR  - https://raf.arh.bg.ac.rs/handle/123456789/1913
AB  - This text is a part of tripartite study on the dome – architectural term associated with spherical geometry and sublimity as ontological feature of the form that corresponds methodological instance of absolute space. Morphological capacity of the dome is ex- posed in its etymology, which transposes the architecture of the sky, taking this shape as part of the whole and the whole within. The first of three parts, The Architecture of Dome: Mapping the W/Hole, explores the architectural capacity for geometric materi- alization of the sky in the age of virtual decomposition of shape into function of endless exposure to the unknown. The second text, Architectural Sublime: Dome Above Dome includes symbolic processing of the sublime architectural place, which equally to geo- metric distribution of the dome and linear character of its path determines the univer- sal character of things. The central position of the third part, Dome Beyond Its Limits or How Deep Is Your Love, is given to the sensibility of the shapes questioned from the perspective of archetype, and its radiance becomes the expression of inability to round things up. Instead of beauty and the universal law of proportion, the first becomes the place of eccentricity and tension of personal spatial feeling. Therefore, today, instead of concave feeling for the space above, where historically speaking the dome is its geometric paragon, the position outside of the borders of the projection of the dome is marked by distancing in space and time expressed in increasing numbers.
PB  - Belgrade : University of Belgrade - Faculty of Architecture
PB  - Belgrade : International Association for Aesthetics
PB  - Belgrade :The Society for Aesthetics of Architecture and Visual Arts of Serbia
T2  - International Yearbook of Aesthetics
T1  - Dome Beyond Its Limits or How Deep Is Your Love
VL  - 20
SP  - 33
EP  - 49
UR  - https://hdl.handle.net/21.15107/rcub_raf_1913
ER  - 

@article{
author = "Mitrović, Jelena and Milenković, Vladimir",
year = "2020",
abstract = "This text is a part of tripartite study on the dome – architectural term associated with spherical geometry and sublimity as ontological feature of the form that corresponds methodological instance of absolute space. Morphological capacity of the dome is ex- posed in its etymology, which transposes the architecture of the sky, taking this shape as part of the whole and the whole within. The first of three parts, The Architecture of Dome: Mapping the W/Hole, explores the architectural capacity for geometric materi- alization of the sky in the age of virtual decomposition of shape into function of endless exposure to the unknown. The second text, Architectural Sublime: Dome Above Dome includes symbolic processing of the sublime architectural place, which equally to geo- metric distribution of the dome and linear character of its path determines the univer- sal character of things. The central position of the third part, Dome Beyond Its Limits or How Deep Is Your Love, is given to the sensibility of the shapes questioned from the perspective of archetype, and its radiance becomes the expression of inability to round things up. Instead of beauty and the universal law of proportion, the first becomes the place of eccentricity and tension of personal spatial feeling. Therefore, today, instead of concave feeling for the space above, where historically speaking the dome is its geometric paragon, the position outside of the borders of the projection of the dome is marked by distancing in space and time expressed in increasing numbers.",
publisher = "Belgrade : University of Belgrade - Faculty of Architecture, Belgrade : International Association for Aesthetics, Belgrade :The Society for Aesthetics of Architecture and Visual Arts of Serbia",
journal = "International Yearbook of Aesthetics",
title = "Dome Beyond Its Limits or How Deep Is Your Love",
volume = "20",
pages = "33-49",
url = "https://hdl.handle.net/21.15107/rcub_raf_1913"
}

Mitrović, J.,& Milenković, V.. (2020). Dome Beyond Its Limits or How Deep Is Your Love. in International Yearbook of Aesthetics
Belgrade : University of Belgrade - Faculty of Architecture., 20, 33-49.
https://hdl.handle.net/21.15107/rcub_raf_1913

Mitrović J, Milenković V. Dome Beyond Its Limits or How Deep Is Your Love. in International Yearbook of Aesthetics. 2020;20:33-49.
https://hdl.handle.net/21.15107/rcub_raf_1913 .

Mitrović, Jelena, Milenković, Vladimir, "Dome Beyond Its Limits or How Deep Is Your Love" in International Yearbook of Aesthetics, 20 (2020):33-49,
https://hdl.handle.net/21.15107/rcub_raf_1913 .

TY  - JOUR
AU  - Mojsilović, Mila
AU  - Mitrović, Jelena
AU  - Milenković, Vladimir
PY  - 2020
UR  - https://raf.arh.bg.ac.rs/handle/123456789/1453
AB  - The study relates two historical categories that were not previously associated in this manner. One concerns the role of geometry in the transformation of space in the Gothic architecture, where geometric line made the position of physical forces visible for the first time. The second transformation that sees the release of anxiety in challenging the perspective was done in Mannerism by instrumentalisation of the metaphor using visual means of deformation and figuration. Today we experience both historical moments in a modified form of appearance, still trying to give a formal character to the matter of materiality. As it is not possible, this approach has resulted in fragmentation in the absence of a unitary radical critique of modernity. Fragmentation and meta- materiality of contemporary architecture today represent a possible conceptualisation of space invoking all known forms of dematerialisation and disappearance of the world, including digitisation. Referring once again to the myths of the Tower of Babel, the Fall of Icarus, and the Wizard of Oz, in this experiment myth and discourse persist together, turning into the other and finding themselves in the other. Building architectural position between the extremes of the metamaterial and the fragmentary is a matter of breaking geometry of form and the idea of it..
PB  - University of Belgrade - Faculty of Architecture
T2  - Serbian Architectural Journal
T1  - Geometrical Breakthrough in Contemporary Architectural Design: Meta-Materiality and Fragmentation
VL  - 12
IS  - 1
SP  - 36
EP  - 53
DO  - 10.5937/saj2001036M
ER  - 

@article{
author = "Mojsilović, Mila and Mitrović, Jelena and Milenković, Vladimir",
year = "2020",
abstract = "The study relates two historical categories that were not previously associated in this manner. One concerns the role of geometry in the transformation of space in the Gothic architecture, where geometric line made the position of physical forces visible for the first time. The second transformation that sees the release of anxiety in challenging the perspective was done in Mannerism by instrumentalisation of the metaphor using visual means of deformation and figuration. Today we experience both historical moments in a modified form of appearance, still trying to give a formal character to the matter of materiality. As it is not possible, this approach has resulted in fragmentation in the absence of a unitary radical critique of modernity. Fragmentation and meta- materiality of contemporary architecture today represent a possible conceptualisation of space invoking all known forms of dematerialisation and disappearance of the world, including digitisation. Referring once again to the myths of the Tower of Babel, the Fall of Icarus, and the Wizard of Oz, in this experiment myth and discourse persist together, turning into the other and finding themselves in the other. Building architectural position between the extremes of the metamaterial and the fragmentary is a matter of breaking geometry of form and the idea of it..",
publisher = "University of Belgrade - Faculty of Architecture",
journal = "Serbian Architectural Journal",
title = "Geometrical Breakthrough in Contemporary Architectural Design: Meta-Materiality and Fragmentation",
volume = "12",
number = "1",
pages = "36-53",
doi = "10.5937/saj2001036M"
}

Mojsilović, M., Mitrović, J.,& Milenković, V.. (2020). Geometrical Breakthrough in Contemporary Architectural Design: Meta-Materiality and Fragmentation. in Serbian Architectural Journal
University of Belgrade - Faculty of Architecture., 12(1), 36-53.
https://doi.org/10.5937/saj2001036M

Mojsilović M, Mitrović J, Milenković V. Geometrical Breakthrough in Contemporary Architectural Design: Meta-Materiality and Fragmentation. in Serbian Architectural Journal. 2020;12(1):36-53.
doi:10.5937/saj2001036M .

Mojsilović, Mila, Mitrović, Jelena, Milenković, Vladimir, "Geometrical Breakthrough in Contemporary Architectural Design: Meta-Materiality and Fragmentation" in Serbian Architectural Journal, 12, no. 1 (2020):36-53,
https://doi.org/10.5937/saj2001036M . .

TY  - CONF
AU  - Mitrović, Jelena
AU  - Bratuša, Maša
AU  - Milenković, Vladimir
PY  - 2019
UR  - https://raf.arh.bg.ac.rs/handle/123456789/868
AB  - The European concept of the architecture of sky oscillates between the differences of the two worlds. In the period of classical antiquity, that was a leap forward from the perfect towards the unique, on a course set by the philosophy which began with the thought of nature (physics) and progressed towards the reflection of the essence of matter (metaphysics). The poiesis of the whole, as an architectural potential for the range of a higher scale, was born from the projection of cosmopolitan tendencies, but only after this perception of the world had included universality. For antique thought, whose boundaries and geometry were linked to the sphere, universality referred to the shape of the Universe, thus the geometric sky expressed the ideal One. Parthenon and Pantheon, unified through the thematisation of the geometric dome, uncovered possibilities for sublime architectural worlds. One world offers pure geometry, while the other one is ruled by the visual presentation. One projects the depth of the sky, while the other sees the sky only as its illusion. The sky is an absolute category for the architecture of both worlds, it is placed out of reach, and its symbolic sublimity is achieved through spatial opening, outwards. Sublimity is a constant metaphysical challenge in European architecture. It connects aesthetics with the spatial secret: the idea that it takes more than perfect technique to bring matter to life. In that sense, the connection between the antique ability to reduce the Universe to an object using weight, and the modernist antigravity which leaves the orbit of the Earth, may be interpreted today only if the limits of the visibility of architecture were expanded to reach the esthetic dimension of digital infinity, the same infinity which is stamped by pictures of Voyager on its journey of no return. That proves that only those who abandon their own position may come close to that which has remained sublime.
PB  - Belgrade : University of Belgrade, Faculty of Architecture
C3  - Possible worlds of contemporary aesthetics: aesthetics between history, geography and media, 21st International Congress of Aesthetics ICA 2019, Belgrade, 2019
T1  - Architectural Sublime: Dome Above Dome
SP  - 1820
EP  - 1828
UR  - https://hdl.handle.net/21.15107/rcub_raf_868
ER  - 

@conference{
author = "Mitrović, Jelena and Bratuša, Maša and Milenković, Vladimir",
year = "2019",
abstract = "The European concept of the architecture of sky oscillates between the differences of the two worlds. In the period of classical antiquity, that was a leap forward from the perfect towards the unique, on a course set by the philosophy which began with the thought of nature (physics) and progressed towards the reflection of the essence of matter (metaphysics). The poiesis of the whole, as an architectural potential for the range of a higher scale, was born from the projection of cosmopolitan tendencies, but only after this perception of the world had included universality. For antique thought, whose boundaries and geometry were linked to the sphere, universality referred to the shape of the Universe, thus the geometric sky expressed the ideal One. Parthenon and Pantheon, unified through the thematisation of the geometric dome, uncovered possibilities for sublime architectural worlds. One world offers pure geometry, while the other one is ruled by the visual presentation. One projects the depth of the sky, while the other sees the sky only as its illusion. The sky is an absolute category for the architecture of both worlds, it is placed out of reach, and its symbolic sublimity is achieved through spatial opening, outwards. Sublimity is a constant metaphysical challenge in European architecture. It connects aesthetics with the spatial secret: the idea that it takes more than perfect technique to bring matter to life. In that sense, the connection between the antique ability to reduce the Universe to an object using weight, and the modernist antigravity which leaves the orbit of the Earth, may be interpreted today only if the limits of the visibility of architecture were expanded to reach the esthetic dimension of digital infinity, the same infinity which is stamped by pictures of Voyager on its journey of no return. That proves that only those who abandon their own position may come close to that which has remained sublime.",
publisher = "Belgrade : University of Belgrade, Faculty of Architecture",
journal = "Possible worlds of contemporary aesthetics: aesthetics between history, geography and media, 21st International Congress of Aesthetics ICA 2019, Belgrade, 2019",
title = "Architectural Sublime: Dome Above Dome",
pages = "1820-1828",
url = "https://hdl.handle.net/21.15107/rcub_raf_868"
}

Mitrović, J., Bratuša, M.,& Milenković, V.. (2019). Architectural Sublime: Dome Above Dome. in Possible worlds of contemporary aesthetics: aesthetics between history, geography and media, 21st International Congress of Aesthetics ICA 2019, Belgrade, 2019
Belgrade : University of Belgrade, Faculty of Architecture., 1820-1828.
https://hdl.handle.net/21.15107/rcub_raf_868

Mitrović J, Bratuša M, Milenković V. Architectural Sublime: Dome Above Dome. in Possible worlds of contemporary aesthetics: aesthetics between history, geography and media, 21st International Congress of Aesthetics ICA 2019, Belgrade, 2019. 2019;:1820-1828.
https://hdl.handle.net/21.15107/rcub_raf_868 .

Mitrović, Jelena, Bratuša, Maša, Milenković, Vladimir, "Architectural Sublime: Dome Above Dome" in Possible worlds of contemporary aesthetics: aesthetics between history, geography and media, 21st International Congress of Aesthetics ICA 2019, Belgrade, 2019 (2019):1820-1828,
https://hdl.handle.net/21.15107/rcub_raf_868 .

TY  - CONF
AU  - Stamenović, Pavle
AU  - Mitrović, Jelena
AU  - Ereš, Davor
PY  - 2013
UR  - https://raf.arh.bg.ac.rs/handle/123456789/1189
AB  - The crucial interest of this project is to initiate a discussion on reconsidering former architectural concepts from a contemporary critical position. Architecture in Translation aims to locate this particular place inside the modern idea by engaging the ideals of openness, movement and fluidity.
PB  - Tallinn : Estonian Centre of Architecture
C3  - Tallinna arhitektuuribiennaal 2013 : taaskasutades nõukogude ruumipärandit = Tallinn Architecture Biennale 2013 : recycling socialism
T1  - Architecture in Translation
T1  - Arhitektuur tõlkes
SP  - 117
EP  - 119
UR  - https://hdl.handle.net/21.15107/rcub_raf_1189
ER  - 

@conference{
author = "Stamenović, Pavle and Mitrović, Jelena and Ereš, Davor",
year = "2013",
abstract = "The crucial interest of this project is to initiate a discussion on reconsidering former architectural concepts from a contemporary critical position. Architecture in Translation aims to locate this particular place inside the modern idea by engaging the ideals of openness, movement and fluidity.",
publisher = "Tallinn : Estonian Centre of Architecture",
journal = "Tallinna arhitektuuribiennaal 2013 : taaskasutades nõukogude ruumipärandit = Tallinn Architecture Biennale 2013 : recycling socialism",
title = "Architecture in Translation, Arhitektuur tõlkes",
pages = "117-119",
url = "https://hdl.handle.net/21.15107/rcub_raf_1189"
}

Stamenović, P., Mitrović, J.,& Ereš, D.. (2013). Architecture in Translation. in Tallinna arhitektuuribiennaal 2013 : taaskasutades nõukogude ruumipärandit = Tallinn Architecture Biennale 2013 : recycling socialism
Tallinn : Estonian Centre of Architecture., 117-119.
https://hdl.handle.net/21.15107/rcub_raf_1189

Stamenović P, Mitrović J, Ereš D. Architecture in Translation. in Tallinna arhitektuuribiennaal 2013 : taaskasutades nõukogude ruumipärandit = Tallinn Architecture Biennale 2013 : recycling socialism. 2013;:117-119.
https://hdl.handle.net/21.15107/rcub_raf_1189 .

Stamenović, Pavle, Mitrović, Jelena, Ereš, Davor, "Architecture in Translation" in Tallinna arhitektuuribiennaal 2013 : taaskasutades nõukogude ruumipärandit = Tallinn Architecture Biennale 2013 : recycling socialism (2013):117-119,
https://hdl.handle.net/21.15107/rcub_raf_1189 .