Vesnić, S.,& Milenković, V.. (2023). Konkurs za idejno arhitektonsko-urbanističko rješenje lokacije novog groblja u Beranama [otkup]. in Konkurs za idejno arhitektonsko-urbanističko rješenje objekta – novo gradsko groblje u Beranama.
https://hdl.handle.net/21.15107/rcub_raf_2049

Vesnić S, Milenković V. Konkurs za idejno arhitektonsko-urbanističko rješenje lokacije novog groblja u Beranama [otkup]. in Konkurs za idejno arhitektonsko-urbanističko rješenje objekta – novo gradsko groblje u Beranama. 2023;.
https://hdl.handle.net/21.15107/rcub_raf_2049 .

Vesnić, Snežana, Milenković, Vladimir, "Konkurs za idejno arhitektonsko-urbanističko rješenje lokacije novog groblja u Beranama [otkup]" in Konkurs za idejno arhitektonsko-urbanističko rješenje objekta – novo gradsko groblje u Beranama (2023),
https://hdl.handle.net/21.15107/rcub_raf_2049 .

Vesnić, S.,& Milenković, V.. (2022). Idejno rešenje nove zgrade Fakulteta muzičke umetnosti u Beogradu [druga nagrada]. 
Udruženje arhitekata Srbije..
https://hdl.handle.net/21.15107/rcub_raf_2057

Vesnić S, Milenković V. Idejno rešenje nove zgrade Fakulteta muzičke umetnosti u Beogradu [druga nagrada]. 2022;.
https://hdl.handle.net/21.15107/rcub_raf_2057 .

Vesnić, Snežana, Milenković, Vladimir, "Idejno rešenje nove zgrade Fakulteta muzičke umetnosti u Beogradu [druga nagrada]" (2022),
https://hdl.handle.net/21.15107/rcub_raf_2057 .

Vesnić, S.,& Milenković, V.. (2022). Vinča : Prvo moderno doba [otkup]. in Javni međunarodni urbanističko-arhitektonski konkurs za uređenje Arheološkog parka Belo brdo sa idejnim rešenjem objekata centra za posetioce i naučnoistraživačkog centra u Vinči
Udruženje arhitekata Srbije..
https://hdl.handle.net/21.15107/rcub_raf_2053

Vesnić S, Milenković V. Vinča : Prvo moderno doba [otkup]. in Javni međunarodni urbanističko-arhitektonski konkurs za uređenje Arheološkog parka Belo brdo sa idejnim rešenjem objekata centra za posetioce i naučnoistraživačkog centra u Vinči. 2022;.
https://hdl.handle.net/21.15107/rcub_raf_2053 .

Vesnić, Snežana, Milenković, Vladimir, "Vinča : Prvo moderno doba [otkup]" in Javni međunarodni urbanističko-arhitektonski konkurs za uređenje Arheološkog parka Belo brdo sa idejnim rešenjem objekata centra za posetioce i naučnoistraživačkog centra u Vinči (2022),
https://hdl.handle.net/21.15107/rcub_raf_2053 .

Vesnić, S., Milenković, V., Prodanović, D., Prica, F., Rajović, J.,& Savatijević, S.. (2021). Konkurs za dizajn za izradu urbanističko-arhitektonskog rešenja Trga oslobođenja u Zaječaru [otkup]. in Grad Zaječar - Gradska uprava grada Zaječara
Društvo arhitekata Niša..
https://hdl.handle.net/21.15107/rcub_raf_2051

Vesnić S, Milenković V, Prodanović D, Prica F, Rajović J, Savatijević S. Konkurs za dizajn za izradu urbanističko-arhitektonskog rešenja Trga oslobođenja u Zaječaru [otkup]. in Grad Zaječar - Gradska uprava grada Zaječara. 2021;.
https://hdl.handle.net/21.15107/rcub_raf_2051 .

Vesnić, Snežana, Milenković, Vladimir, Prodanović, Duška, Prica, Filip, Rajović, Jelena, Savatijević, Siniša, "Konkurs za dizajn za izradu urbanističko-arhitektonskog rešenja Trga oslobođenja u Zaječaru [otkup]" in Grad Zaječar - Gradska uprava grada Zaječara (2021),
https://hdl.handle.net/21.15107/rcub_raf_2051 .

Prica, F., Prodanović, D., Vesnić, S.,& Milenković, V.. (2021). Konkurs za izradu urbanističko-arhitektonskog rešenja centra novog dela grada sa idejnim rešenjem gradskog trga u Priboju [druga nagrada]. in Opština Priboj i Inženjerska komora Srbije
Opštinska uprava Priboj..
https://hdl.handle.net/21.15107/rcub_raf_2050

Prica F, Prodanović D, Vesnić S, Milenković V. Konkurs za izradu urbanističko-arhitektonskog rešenja centra novog dela grada sa idejnim rešenjem gradskog trga u Priboju [druga nagrada]. in Opština Priboj i Inženjerska komora Srbije. 2021;.
https://hdl.handle.net/21.15107/rcub_raf_2050 .

Prica, Filip, Prodanović, Duška, Vesnić, Snežana, Milenković, Vladimir, "Konkurs za izradu urbanističko-arhitektonskog rešenja centra novog dela grada sa idejnim rešenjem gradskog trga u Priboju [druga nagrada]" in Opština Priboj i Inženjerska komora Srbije (2021),
https://hdl.handle.net/21.15107/rcub_raf_2050 .

TY  - JOUR
AU  - Obradović, Milorad
AU  - Milenković, Vladimir
PY  - 2021
UR  - https://raf.arh.bg.ac.rs/handle/123456789/1224
AB  - There are two central topics in this study: the first topic relates to the physical space created by skateboarding, while
the other relates to social capital derived from skateboard culture. The paper analyzes the case studies of three
skate parks, in which the theme of social inclusion is the theoretical framework. Looking through the history of
skateboarding and integration of skate parks as a part of the urban environment, the theme is concerned with bringing
the openness that is part of the design of our public spaces to skateboarding culture, and in general, to the feeling of
belonging as an essential part of building social capital. In the manner of shared space, public space has started to be
used as a communication platform between community members looking for expression of their needs and desires.
The benefits of the skateboarding settings have rarely been the subject of empirical research, so these case studies
will deepen our knowledge on why social bonds connected to this sport make such a significant contribution in city
landscapes. Individuality and its political manifestation have a structural role in this paper: from the appearance of
the architectural figuration to the idea about a movement and a settlement, which for architecture, can be seen in the
form of new territories.
PB  - Institute of Architecture and Urban and Spatial Planning of Serbia
T2  - Spatium
T1  - The city as a playground: Skate parks, inclusion and new territory
IS  - 46
SP  - 66
EP  - 72
DO  - 10.2298/SPAT2146066O
ER  - 

@article{
author = "Obradović, Milorad and Milenković, Vladimir",
year = "2021",
abstract = "There are two central topics in this study: the first topic relates to the physical space created by skateboarding, while
the other relates to social capital derived from skateboard culture. The paper analyzes the case studies of three
skate parks, in which the theme of social inclusion is the theoretical framework. Looking through the history of
skateboarding and integration of skate parks as a part of the urban environment, the theme is concerned with bringing
the openness that is part of the design of our public spaces to skateboarding culture, and in general, to the feeling of
belonging as an essential part of building social capital. In the manner of shared space, public space has started to be
used as a communication platform between community members looking for expression of their needs and desires.
The benefits of the skateboarding settings have rarely been the subject of empirical research, so these case studies
will deepen our knowledge on why social bonds connected to this sport make such a significant contribution in city
landscapes. Individuality and its political manifestation have a structural role in this paper: from the appearance of
the architectural figuration to the idea about a movement and a settlement, which for architecture, can be seen in the
form of new territories.",
publisher = "Institute of Architecture and Urban and Spatial Planning of Serbia",
journal = "Spatium",
title = "The city as a playground: Skate parks, inclusion and new territory",
number = "46",
pages = "66-72",
doi = "10.2298/SPAT2146066O"
}

Obradović, M.,& Milenković, V.. (2021). The city as a playground: Skate parks, inclusion and new territory. in Spatium
Institute of Architecture and Urban and Spatial Planning of Serbia.(46), 66-72.
https://doi.org/10.2298/SPAT2146066O

Obradović M, Milenković V. The city as a playground: Skate parks, inclusion and new territory. in Spatium. 2021;(46):66-72.
doi:10.2298/SPAT2146066O .

Obradović, Milorad, Milenković, Vladimir, "The city as a playground: Skate parks, inclusion and new territory" in Spatium, no. 46 (2021):66-72,
https://doi.org/10.2298/SPAT2146066O . .

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  - CHAP
AU  - Milenković, Vladimir
PY  - 2020
UR  - https://raf.arh.bg.ac.rs/handle/123456789/1196
AB  - No other form of art has kept so many of its conventions unchanged for centuries as theatre. It has a similar approach towards the act and the event as architecture has towards physical space. This creates strong inclination towards own means: each type of art engages certain number of "tricks" derived from their material conditions, but they are more justified in theatre than in other places. These are not easy rules because they do not correspond the technical conditions of the scene, more precisely its advantages and shortages. The play itself marks to which extent the theatre abandons truthfulness of the situation in respect of the nature. In other words, the line between what is acceptable and what interrupts the Dream, is less abrupt and is more emphasised than it is common in art. As stated by Arnold Hauser, it is exceptional that no one is bothered by the fact that the actors drink from empty glasses or they fight using tin swords, while people have strong objections in case a shot is heard a split second too early or too soon, or in case an element of the scenery, regardless how naively it is painted, accidentally starts to shake. (Hauser 2016) Thus, it is impossible to accept differential movement as any type of reality in case it is not in harmony with the plot. The fact is that the drama develops in its own principal, idealized existence, but the scene pafiially instrumentalises the elements of our direct experience, live actors, existing characteristics, real space and time. Maybe the fictions that differentiate the work on scene from the world observing that scene are so numerous and provisional precisely because our reality of the scene is so obviously tangible and raw. Whatever the case may be, in respect of drama, the series of fictions, which are extremely sustainable and persistent, is longer than in any other form of art. 

With open-air theatre as the assignment of the Master thesis, and particularly by naming it after Shakespeare's title A Midsummer Night’s Dream, we initially subjected the architecture to the laws of changed conditions of an unusual discursive reality. However, the consent carries a great relief since the world that we design does not to be the one that exists outside of the reality designed for it. Such a concept equally affects both the architecture and the nature the concept of the architecture refers to, and methodological capacity of such formulation creates an authentic basis for contemporary interpretation of interactivity of still classical (ancient- Renaissance) understanding of the vision of the Theatre. 

"The poet's eye, in fine frenzy rolling, 

Doth glance from heaven to earth, from earth to heaven; 

And as imagination bodies forth 

The forms of things unknown, the poet's pen 

Turns them to shapes and gives to airy nothing 

A local habitation and a name." (A Midsummer Night's Dream, ACT V, SCENE I, Athens.) 

A famous architect (Koolhaas,1997) would say that the first word is the same as the last.
PB  - Beograd : STRAND - Sustainable Urban Society Association
T2  - Learning architecture [Elektronski izvor] : proceedings / [Eight International Conference] On Architecture, [4-5 December 2020], Belgrade
T1  - Reality greater than reality: Shakespeare at the end of architectural studies
SP  - 106
EP  - 111
UR  - https://hdl.handle.net/21.15107/rcub_raf_1196
ER  - 

@inbook{
author = "Milenković, Vladimir",
year = "2020",
abstract = "No other form of art has kept so many of its conventions unchanged for centuries as theatre. It has a similar approach towards the act and the event as architecture has towards physical space. This creates strong inclination towards own means: each type of art engages certain number of "tricks" derived from their material conditions, but they are more justified in theatre than in other places. These are not easy rules because they do not correspond the technical conditions of the scene, more precisely its advantages and shortages. The play itself marks to which extent the theatre abandons truthfulness of the situation in respect of the nature. In other words, the line between what is acceptable and what interrupts the Dream, is less abrupt and is more emphasised than it is common in art. As stated by Arnold Hauser, it is exceptional that no one is bothered by the fact that the actors drink from empty glasses or they fight using tin swords, while people have strong objections in case a shot is heard a split second too early or too soon, or in case an element of the scenery, regardless how naively it is painted, accidentally starts to shake. (Hauser 2016) Thus, it is impossible to accept differential movement as any type of reality in case it is not in harmony with the plot. The fact is that the drama develops in its own principal, idealized existence, but the scene pafiially instrumentalises the elements of our direct experience, live actors, existing characteristics, real space and time. Maybe the fictions that differentiate the work on scene from the world observing that scene are so numerous and provisional precisely because our reality of the scene is so obviously tangible and raw. Whatever the case may be, in respect of drama, the series of fictions, which are extremely sustainable and persistent, is longer than in any other form of art. 

With open-air theatre as the assignment of the Master thesis, and particularly by naming it after Shakespeare's title A Midsummer Night’s Dream, we initially subjected the architecture to the laws of changed conditions of an unusual discursive reality. However, the consent carries a great relief since the world that we design does not to be the one that exists outside of the reality designed for it. Such a concept equally affects both the architecture and the nature the concept of the architecture refers to, and methodological capacity of such formulation creates an authentic basis for contemporary interpretation of interactivity of still classical (ancient- Renaissance) understanding of the vision of the Theatre. 

"The poet's eye, in fine frenzy rolling, 

Doth glance from heaven to earth, from earth to heaven; 

And as imagination bodies forth 

The forms of things unknown, the poet's pen 

Turns them to shapes and gives to airy nothing 

A local habitation and a name." (A Midsummer Night's Dream, ACT V, SCENE I, Athens.) 

A famous architect (Koolhaas,1997) would say that the first word is the same as the last.",
publisher = "Beograd : STRAND - Sustainable Urban Society Association",
journal = "Learning architecture [Elektronski izvor] : proceedings / [Eight International Conference] On Architecture, [4-5 December 2020], Belgrade",
booktitle = "Reality greater than reality: Shakespeare at the end of architectural studies",
pages = "106-111",
url = "https://hdl.handle.net/21.15107/rcub_raf_1196"
}

Milenković, V.. (2020). Reality greater than reality: Shakespeare at the end of architectural studies. in Learning architecture [Elektronski izvor] : proceedings / [Eight International Conference] On Architecture, [4-5 December 2020], Belgrade
Beograd : STRAND - Sustainable Urban Society Association., 106-111.
https://hdl.handle.net/21.15107/rcub_raf_1196

Milenković V. Reality greater than reality: Shakespeare at the end of architectural studies. in Learning architecture [Elektronski izvor] : proceedings / [Eight International Conference] On Architecture, [4-5 December 2020], Belgrade. 2020;:106-111.
https://hdl.handle.net/21.15107/rcub_raf_1196 .

Milenković, Vladimir, "Reality greater than reality: Shakespeare at the end of architectural studies" in Learning architecture [Elektronski izvor] : proceedings / [Eight International Conference] On Architecture, [4-5 December 2020], Belgrade (2020):106-111,
https://hdl.handle.net/21.15107/rcub_raf_1196 .

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  - Milenković, Vladimir
PY  - 2019
UR  - https://raf.arh.bg.ac.rs/handle/123456789/857
AB  - Broken architecture is fulfilling the aesthetical gap made by its intention to envelope life and to be enveloped by the same. The theory of certain state can reach boundaries far beyond physical appearance touching fields of narratives, immaterial and surreal. It’s altered (problematic, questionable) reflection to the rest of the world is the fountainhead of its designing values. Despite being contradict to its own reality, architecture of such characteristics cannot exist without a clear conceptual constellation of the future of that world. Therefore, this theoretical approach casts light on the practice which is kept alive only by the continuity of the memories of its pre-formed aesthetical conditions. 
By recalling the mannerist liberation from the rational plan, we can still operate within ideas of Paladio’s stylistic layering of the architectural plasticity (Villa Foscari) going further into Tschumi’s notion of the state of deconstruction (Villa Savoya) up to Bo Bardi’s artificial naturalness (Casa de Vidro). Today we are facing a new necessity: to live within the broken as a new form of architectural resistance.
PB  - Beograd : Strand - Sustainable Urban Society Association
C3  - On Architecture: Challenges in Architecture, Urban Design and Art, 7th International Multimedia Event
T1  - One Theory of Broken Architecture
SP  - 106
EP  - 111
UR  - https://hdl.handle.net/21.15107/rcub_raf_857
ER  - 

@conference{
author = "Milenković, Vladimir",
year = "2019",
abstract = "Broken architecture is fulfilling the aesthetical gap made by its intention to envelope life and to be enveloped by the same. The theory of certain state can reach boundaries far beyond physical appearance touching fields of narratives, immaterial and surreal. It’s altered (problematic, questionable) reflection to the rest of the world is the fountainhead of its designing values. Despite being contradict to its own reality, architecture of such characteristics cannot exist without a clear conceptual constellation of the future of that world. Therefore, this theoretical approach casts light on the practice which is kept alive only by the continuity of the memories of its pre-formed aesthetical conditions. 
By recalling the mannerist liberation from the rational plan, we can still operate within ideas of Paladio’s stylistic layering of the architectural plasticity (Villa Foscari) going further into Tschumi’s notion of the state of deconstruction (Villa Savoya) up to Bo Bardi’s artificial naturalness (Casa de Vidro). Today we are facing a new necessity: to live within the broken as a new form of architectural resistance.",
publisher = "Beograd : Strand - Sustainable Urban Society Association",
journal = "On Architecture: Challenges in Architecture, Urban Design and Art, 7th International Multimedia Event",
title = "One Theory of Broken Architecture",
pages = "106-111",
url = "https://hdl.handle.net/21.15107/rcub_raf_857"
}

Milenković, V.. (2019). One Theory of Broken Architecture. in On Architecture: Challenges in Architecture, Urban Design and Art, 7th International Multimedia Event
Beograd : Strand - Sustainable Urban Society Association., 106-111.
https://hdl.handle.net/21.15107/rcub_raf_857

Milenković V. One Theory of Broken Architecture. in On Architecture: Challenges in Architecture, Urban Design and Art, 7th International Multimedia Event. 2019;:106-111.
https://hdl.handle.net/21.15107/rcub_raf_857 .

Milenković, Vladimir, "One Theory of Broken Architecture" in On Architecture: Challenges in Architecture, Urban Design and Art, 7th International Multimedia Event (2019):106-111,
https://hdl.handle.net/21.15107/rcub_raf_857 .

TY  - CONF
AU  - Milenković, Vladimir
PY  - 2019
UR  - https://raf.arh.bg.ac.rs/handle/123456789/869
AB  - Aesthetic thinking constitutes an integral part of the architectural perception of things. It is equally important for contemporary design which is based on modernistic methodology, as it used to be for a classical skill, so called art of spatial shaping. An aesthetic comprehension is inherent in an ideal design, but the stratification of aesthetic value is achieved later, through expansion of the design process. Architecture strives to overcome the gap between the ideal values of the form, (internal guarantee of its future balance and external norms) which are contributed to visual facts of its duration as of the moment of its materialization in space and time of the  culture. It seems that the aesthetic aspect of the object is thus truly  crystalized and able to obtain a  sense of objective value only in the atmosphere filled with divergent movements between semi-conscious, conscious and unconscious markers. This is the atmosphere which resolutely signifies  alliteration of ideally shaped architecture and breaking of its conceptual unity. (Gillo Dorfles, Elogio della disarmonia, 1986) To be honest, precisely the trust in visual totality of things is one of the icons of modern architecture and is entirely contrary to the feeling that the petrified ships are melting on their own on the sunny modernistic horizon. Although in an aesthetic sense the architectural design still relies on the methodology the coordinates of which were established by the modern movement, (Rafael Moneo on John Soane and building on history, 2018) in order to overcome the paradox of material reality, the modern narrative constantly examined new figures of speech, thus creating difference within. Such aesthetic procedure turns practice into theory, and theory into practice. Programmatic idealism, which would verify the identity or the role of a modern architect, is now reflected in shifted identity, in non-identical or even anti-identical. This altered status activates the aesthetic capacities of not only (one) architect but the architecture itself, offering the possibility to rematerialize own duration. (Nicolas Bourriaud, L’exform, 2017)
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
T1  - Making Objects of Altered Aesthetics
SP  - 202
EP  - 205
UR  - https://hdl.handle.net/21.15107/rcub_raf_869
ER  - 

@conference{
author = "Milenković, Vladimir",
year = "2019",
abstract = "Aesthetic thinking constitutes an integral part of the architectural perception of things. It is equally important for contemporary design which is based on modernistic methodology, as it used to be for a classical skill, so called art of spatial shaping. An aesthetic comprehension is inherent in an ideal design, but the stratification of aesthetic value is achieved later, through expansion of the design process. Architecture strives to overcome the gap between the ideal values of the form, (internal guarantee of its future balance and external norms) which are contributed to visual facts of its duration as of the moment of its materialization in space and time of the  culture. It seems that the aesthetic aspect of the object is thus truly  crystalized and able to obtain a  sense of objective value only in the atmosphere filled with divergent movements between semi-conscious, conscious and unconscious markers. This is the atmosphere which resolutely signifies  alliteration of ideally shaped architecture and breaking of its conceptual unity. (Gillo Dorfles, Elogio della disarmonia, 1986) To be honest, precisely the trust in visual totality of things is one of the icons of modern architecture and is entirely contrary to the feeling that the petrified ships are melting on their own on the sunny modernistic horizon. Although in an aesthetic sense the architectural design still relies on the methodology the coordinates of which were established by the modern movement, (Rafael Moneo on John Soane and building on history, 2018) in order to overcome the paradox of material reality, the modern narrative constantly examined new figures of speech, thus creating difference within. Such aesthetic procedure turns practice into theory, and theory into practice. Programmatic idealism, which would verify the identity or the role of a modern architect, is now reflected in shifted identity, in non-identical or even anti-identical. This altered status activates the aesthetic capacities of not only (one) architect but the architecture itself, offering the possibility to rematerialize own duration. (Nicolas Bourriaud, L’exform, 2017)",
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",
title = "Making Objects of Altered Aesthetics",
pages = "202-205",
url = "https://hdl.handle.net/21.15107/rcub_raf_869"
}

Milenković, V.. (2019). Making Objects of Altered Aesthetics. in Possible worlds of contemporary aesthetics: aesthetics between history, geography and media, 21st International Congress of Aesthetics ICA 2019
Belgrade : University of Belgrade, Faculty of Architecture., 202-205.
https://hdl.handle.net/21.15107/rcub_raf_869

Milenković V. Making Objects of Altered Aesthetics. in Possible worlds of contemporary aesthetics: aesthetics between history, geography and media, 21st International Congress of Aesthetics ICA 2019. 2019;:202-205.
https://hdl.handle.net/21.15107/rcub_raf_869 .

Milenković, Vladimir, "Making Objects of Altered Aesthetics" in Possible worlds of contemporary aesthetics: aesthetics between history, geography and media, 21st International Congress of Aesthetics ICA 2019 (2019):202-205,
https://hdl.handle.net/21.15107/rcub_raf_869 .

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  - JOUR
AU  - Mojsilović, Mila
AU  - Milenković, Vladimir
PY  - 2018
UR  - https://raf.arh.bg.ac.rs/handle/123456789/289
AB  - Drawing on the idea that abstraction of architectural design is repeatedly demonstrated by new concepts, and that the idea of the design contains a fragment of its internal laws, the paper raises the question of alteration of forms towards new time-space categories. In contrast to Euclidean geometry based on the continuity of geometric forms, fragmented forms draw upon deformations and variability, operating in the limit zones, for the design, zones of the greatest creativity and potentiality. A new understanding of reality shaped by digitization of all systems has created the basis for forms of self-organization, openness, contingency, and emergence. What we have before us is basically a new aesthetics that goes beyond the horizon of visible in a way that allows the whole world and all its parts to be seen in a completely new, immaterial way. This means that architectural forms appear in the visibility zones, together with the forms of their systemic dislocation.
AB  - Polazeći od ideje da se apstrakrnost arhitektonskog projektovanja svaki put iznova dokazuje novim konceptima, I da je u ideji o projektu sadržan fragment njegovih internih zakonitosti, rad otvara pitanje alteracije oblika na putu ka novim prostorno vremenskim kategorijama. Nasuprot Euklidovoj geometriji koja počiva na stalnosti geometrijskih oblika, fragmentisane forme počivaju na deformacijama I promenljivosti, operišući u graničnim zonama, za projekat, zonama najveće kreativnosti I potencijalnosti. Novo razumevanje realnosti oblikovano digitalizacijom svih sistema stvorilo je osnov za oblike samoorganizacije, otvorenosti, kontigentnosti, emergentnosti. U suštini pred nama je nova estetika koja prevazilazi horizont vidljivosti na način koji otvara omogućava da se čitav svet I svi njegovi delovi, sagledaju na potpuno Nov nematerijalan način. To znači da se u zonama vidljivosti naziru arhitektonski oblici zajedno sa oblicima svoje sistemske dislociranosti.
PB  - Univerzitet u Nišu, Niš
T2  - Facta universitatis - series: Architecture and Civil Engineering
T1  - The Concept of Fragmentation: Between Form and Formless
T1  - Koncept fragmentarnosti - između forme I neforme
VL  - 16
IS  - 3
SP  - 517
EP  - 528
DO  - 10.2298/FUACE181130026M
ER  - 

@article{
author = "Mojsilović, Mila and Milenković, Vladimir",
year = "2018",
abstract = "Drawing on the idea that abstraction of architectural design is repeatedly demonstrated by new concepts, and that the idea of the design contains a fragment of its internal laws, the paper raises the question of alteration of forms towards new time-space categories. In contrast to Euclidean geometry based on the continuity of geometric forms, fragmented forms draw upon deformations and variability, operating in the limit zones, for the design, zones of the greatest creativity and potentiality. A new understanding of reality shaped by digitization of all systems has created the basis for forms of self-organization, openness, contingency, and emergence. What we have before us is basically a new aesthetics that goes beyond the horizon of visible in a way that allows the whole world and all its parts to be seen in a completely new, immaterial way. This means that architectural forms appear in the visibility zones, together with the forms of their systemic dislocation., Polazeći od ideje da se apstrakrnost arhitektonskog projektovanja svaki put iznova dokazuje novim konceptima, I da je u ideji o projektu sadržan fragment njegovih internih zakonitosti, rad otvara pitanje alteracije oblika na putu ka novim prostorno vremenskim kategorijama. Nasuprot Euklidovoj geometriji koja počiva na stalnosti geometrijskih oblika, fragmentisane forme počivaju na deformacijama I promenljivosti, operišući u graničnim zonama, za projekat, zonama najveće kreativnosti I potencijalnosti. Novo razumevanje realnosti oblikovano digitalizacijom svih sistema stvorilo je osnov za oblike samoorganizacije, otvorenosti, kontigentnosti, emergentnosti. U suštini pred nama je nova estetika koja prevazilazi horizont vidljivosti na način koji otvara omogućava da se čitav svet I svi njegovi delovi, sagledaju na potpuno Nov nematerijalan način. To znači da se u zonama vidljivosti naziru arhitektonski oblici zajedno sa oblicima svoje sistemske dislociranosti.",
publisher = "Univerzitet u Nišu, Niš",
journal = "Facta universitatis - series: Architecture and Civil Engineering",
title = "The Concept of Fragmentation: Between Form and Formless, Koncept fragmentarnosti - između forme I neforme",
volume = "16",
number = "3",
pages = "517-528",
doi = "10.2298/FUACE181130026M"
}

Mojsilović, M.,& Milenković, V.. (2018). The Concept of Fragmentation: Between Form and Formless. in Facta universitatis - series: Architecture and Civil Engineering
Univerzitet u Nišu, Niš., 16(3), 517-528.
https://doi.org/10.2298/FUACE181130026M

Mojsilović M, Milenković V. The Concept of Fragmentation: Between Form and Formless. in Facta universitatis - series: Architecture and Civil Engineering. 2018;16(3):517-528.
doi:10.2298/FUACE181130026M .

Mojsilović, Mila, Milenković, Vladimir, "The Concept of Fragmentation: Between Form and Formless" in Facta universitatis - series: Architecture and Civil Engineering, 16, no. 3 (2018):517-528,
https://doi.org/10.2298/FUACE181130026M . .

TY  - JOUR
AU  - Mitrovic, Jelena
AU  - Milenkovic, Vladimir
PY  - 2017
UR  - https://raf.arh.bg.ac.rs/handle/123456789/866
AB  - It is without doubt that style, as one of the primary artistic categories for Ancient Greeks, is also their legacy to European architecture. The Parthenon represented an example of both the meaning and the scope of style for generations of Modernists. It should not be forgotten that the aims of architecture always went further - beyond stylistic balance - they surpassed and even exhausted themselves, all in an attempt to grasp the idea of the whole. That one and the whole gave, and still give, the basic direction to architecture. The question of modernity has always referred the actual reality to this. Can we observe it differently? Can we design outside of necessity to grasp the whole? Can we understand that necessity differently today? Could an architectural act be part of the whole while maintaining its own wholeness? The answers might be found on the path of their morphological origin, the path taken by many a ‘forgotten’ Modernist. Modernism was indeed invited to answer these global questions for the first time. The story of globalization in architecture was never anything but a story of the whole within itself, to which the modernist idea of the general within the particular belongs. The modernist attempt to answer this question refers to the ornament, but from todays perspective it seems that the answer always lay in the geometry. The origin of such striving of architecture is visible in Ancient Greece, even if not exactly at the point to which Le Corbusier turned in his Voyage d’Orient. Seemingly, all roads do lead to Rome
PB  - Beograd : Srpsko filozofsko društvo
T2  - THEORIA
T1  - The Architecture of Dome: Mapping the W/Hole
T1  - Arhitektura kupole: mapiranje nebeske dubine
VL  - 60
IS  - 1
SP  - 163
EP  - 175
DO  - 10.2298/THEO1701163M
ER  - 

@article{
author = "Mitrovic, Jelena and Milenkovic, Vladimir",
year = "2017",
abstract = "It is without doubt that style, as one of the primary artistic categories for Ancient Greeks, is also their legacy to European architecture. The Parthenon represented an example of both the meaning and the scope of style for generations of Modernists. It should not be forgotten that the aims of architecture always went further - beyond stylistic balance - they surpassed and even exhausted themselves, all in an attempt to grasp the idea of the whole. That one and the whole gave, and still give, the basic direction to architecture. The question of modernity has always referred the actual reality to this. Can we observe it differently? Can we design outside of necessity to grasp the whole? Can we understand that necessity differently today? Could an architectural act be part of the whole while maintaining its own wholeness? The answers might be found on the path of their morphological origin, the path taken by many a ‘forgotten’ Modernist. Modernism was indeed invited to answer these global questions for the first time. The story of globalization in architecture was never anything but a story of the whole within itself, to which the modernist idea of the general within the particular belongs. The modernist attempt to answer this question refers to the ornament, but from todays perspective it seems that the answer always lay in the geometry. The origin of such striving of architecture is visible in Ancient Greece, even if not exactly at the point to which Le Corbusier turned in his Voyage d’Orient. Seemingly, all roads do lead to Rome",
publisher = "Beograd : Srpsko filozofsko društvo",
journal = "THEORIA",
title = "The Architecture of Dome: Mapping the W/Hole, Arhitektura kupole: mapiranje nebeske dubine",
volume = "60",
number = "1",
pages = "163-175",
doi = "10.2298/THEO1701163M"
}

Mitrovic, J.,& Milenkovic, V.. (2017). The Architecture of Dome: Mapping the W/Hole. in THEORIA
Beograd : Srpsko filozofsko društvo., 60(1), 163-175.
https://doi.org/10.2298/THEO1701163M

Mitrovic J, Milenkovic V. The Architecture of Dome: Mapping the W/Hole. in THEORIA. 2017;60(1):163-175.
doi:10.2298/THEO1701163M .

Mitrovic, Jelena, Milenkovic, Vladimir, "The Architecture of Dome: Mapping the W/Hole" in THEORIA, 60, no. 1 (2017):163-175,
https://doi.org/10.2298/THEO1701163M . .

TY  - JOUR
AU  - Kostić, Miloš
AU  - Milenković, Vladimir
PY  - 2017
UR  - https://raf.arh.bg.ac.rs/handle/123456789/272
AB  - Considering both the visual and narrative character of architectural discourse it is possible to examine the capacity of a drawing as an autonomous form, but also as one assigned to it throughout the course of creation of new architecture. This paper's intent is to examine the place and the role of the architectural drawing of the detail within design research. Thematically different, the narratives are instruments used for creating a relationship between the project as a whole and its parts, while the detail defines the path from an idea to the realization of architecture, that is, from abstraction to concretization within the above-mentioned process. The notion of scalar imagination has been introduced in order to indicate the relationship between the traditional modernist understanding of the roles of detail and scale have, while the question of the real size of designed architecture has been moved aside. The scalar imagination reveals the relationships between the elements of architecture, while its visibility reveals the architect's ability to build the necessary information network while moving throughout the diverse levels of those relationships. The goal is to avoid vagueness of architecture represented by the drawing and favor the polyvalence of its meaning by presenting concrete information. In that sense, for the benefit of achieving clarity within the methodological approach, we researched the conditions of visibility within the relationship between the drawing and its meaning. Therefore, this paper focuses on the scale as a direct connection between the drawing of the detail and the continuity of the idea of architecture.
AB  - Imajući u vidu i vizuelni i narativni karakter arhitektonskog diskursa moguće je ispitivati kapacitet koji crtež ima kao autonomna forma, ali i onaj koji mu se pretpostavlja tokom postupka stvaranja nove arhitekture. Namera je da se ovim radom ispita mesto i uloga crteža arhitektonskog detalja u istraživačkom projektovanju. Tematski odvojeno, narativi su instrumentalizovani kao konstruisanje odnosa između celine i delova projekta, dok se detaljem definiše put od ideje do realizacije arhitekture, odnosno od apstrakcije do konkretizacije unutar pomenutog postupka. Skalarna imaginacija pojmovno je uvedena kao veza između tradicionlno modernistički shvaćenih uloga detalja i razmere, dok je pitanje realne veličine projektovane arhitekture pomereno u stranu. Skalarana imaginacija je uzeta za manifestaciju odnosa između elemenata arhitekture, a njena vidljivost za sposobnost arhitekte da, krećući se kroz različite nivoe tih odnosa, gradi neophodnu mrežu informacija. Cilj je da se konkretnošću informacija izbegne zamagljenost crtežom predstavljene arhitekture u korist polivalentnosti njenih značenja. U tom smislu, zarad jasnoće metodološkog postupka, istraženi su uslovi vidljivosti veze između nacrtanog i označenog, a ovaj rad u fokus stavlja razmeravanje kao direktnu konekciju između nacrtanog detalja i kontinuiteta ideje o jednoj arhitekturi.
PB  - Univerzitet u Nišu, Niš
T2  - Facta universitatis - series: Architecture and Civil Engineering
T1  - Contemporary detail in zoom-in-zoom-out technique: God and scale
T1  - Savremeni detalj u zoom-in-zoom-out tehnici - Bog i razmera
VL  - 15
IS  - 3
SP  - 307
EP  - 316
DO  - 10.2298/FUACE160712027K
ER  - 

@article{
author = "Kostić, Miloš and Milenković, Vladimir",
year = "2017",
abstract = "Considering both the visual and narrative character of architectural discourse it is possible to examine the capacity of a drawing as an autonomous form, but also as one assigned to it throughout the course of creation of new architecture. This paper's intent is to examine the place and the role of the architectural drawing of the detail within design research. Thematically different, the narratives are instruments used for creating a relationship between the project as a whole and its parts, while the detail defines the path from an idea to the realization of architecture, that is, from abstraction to concretization within the above-mentioned process. The notion of scalar imagination has been introduced in order to indicate the relationship between the traditional modernist understanding of the roles of detail and scale have, while the question of the real size of designed architecture has been moved aside. The scalar imagination reveals the relationships between the elements of architecture, while its visibility reveals the architect's ability to build the necessary information network while moving throughout the diverse levels of those relationships. The goal is to avoid vagueness of architecture represented by the drawing and favor the polyvalence of its meaning by presenting concrete information. In that sense, for the benefit of achieving clarity within the methodological approach, we researched the conditions of visibility within the relationship between the drawing and its meaning. Therefore, this paper focuses on the scale as a direct connection between the drawing of the detail and the continuity of the idea of architecture., Imajući u vidu i vizuelni i narativni karakter arhitektonskog diskursa moguće je ispitivati kapacitet koji crtež ima kao autonomna forma, ali i onaj koji mu se pretpostavlja tokom postupka stvaranja nove arhitekture. Namera je da se ovim radom ispita mesto i uloga crteža arhitektonskog detalja u istraživačkom projektovanju. Tematski odvojeno, narativi su instrumentalizovani kao konstruisanje odnosa između celine i delova projekta, dok se detaljem definiše put od ideje do realizacije arhitekture, odnosno od apstrakcije do konkretizacije unutar pomenutog postupka. Skalarna imaginacija pojmovno je uvedena kao veza između tradicionlno modernistički shvaćenih uloga detalja i razmere, dok je pitanje realne veličine projektovane arhitekture pomereno u stranu. Skalarana imaginacija je uzeta za manifestaciju odnosa između elemenata arhitekture, a njena vidljivost za sposobnost arhitekte da, krećući se kroz različite nivoe tih odnosa, gradi neophodnu mrežu informacija. Cilj je da se konkretnošću informacija izbegne zamagljenost crtežom predstavljene arhitekture u korist polivalentnosti njenih značenja. U tom smislu, zarad jasnoće metodološkog postupka, istraženi su uslovi vidljivosti veze između nacrtanog i označenog, a ovaj rad u fokus stavlja razmeravanje kao direktnu konekciju između nacrtanog detalja i kontinuiteta ideje o jednoj arhitekturi.",
publisher = "Univerzitet u Nišu, Niš",
journal = "Facta universitatis - series: Architecture and Civil Engineering",
title = "Contemporary detail in zoom-in-zoom-out technique: God and scale, Savremeni detalj u zoom-in-zoom-out tehnici - Bog i razmera",
volume = "15",
number = "3",
pages = "307-316",
doi = "10.2298/FUACE160712027K"
}

Kostić, M.,& Milenković, V.. (2017). Contemporary detail in zoom-in-zoom-out technique: God and scale. in Facta universitatis - series: Architecture and Civil Engineering
Univerzitet u Nišu, Niš., 15(3), 307-316.
https://doi.org/10.2298/FUACE160712027K

Kostić M, Milenković V. Contemporary detail in zoom-in-zoom-out technique: God and scale. in Facta universitatis - series: Architecture and Civil Engineering. 2017;15(3):307-316.
doi:10.2298/FUACE160712027K .

Kostić, Miloš, Milenković, Vladimir, "Contemporary detail in zoom-in-zoom-out technique: God and scale" in Facta universitatis - series: Architecture and Civil Engineering, 15, no. 3 (2017):307-316,
https://doi.org/10.2298/FUACE160712027K . .

TY  - CONF
AU  - Milenković, Vladimir
AU  - Vesnić, Snežana
AU  - Stratimirović, Tatjana
PY  - 2014
UR  - https://raf.arh.bg.ac.rs/handle/123456789/682
AB  - There are 800 towers in Belgrade, mostly built in the 20th century, at the time of
Modernism. In relation to the prominent tradition of their construction, the current
situation can be defined as a paradox of continuity – which can be expressed through
two contradictions. The first contradiction is related to the comparison of the number
of high-rise structures completed during the industrial development and the fact that
after 1990 the number of realized structures of eight storeys or higher is insignificant.
The second contradiction is related to the ratio of the height of the tallest existing
structures and the maximum height allowed for the new structures, as defined by the
current normative acts. In this context Belgrade has a tradition of high-rise
construction, yet at present there is no awareness, and no professional or social
consensus on the need for the high-rise developments. The restraints of height and
land zoning for high-rise development are not only constraining factors in strategic
planning and expansion of the city, but they create an economic problem by opposing
the very concept of prosperity. Additionally, in terms of the cultural context, they limit
the possibilities for fulfilment of Belgrade’s contemporary demands and its iconic
future. The high-rise structures can be translated into a tool used to emphasize the
clear intentions of progress. The city turns into a metaphor for economic and cultural
status - between the visual symbol and the symbol of power. Most of all, from the
architectural point of view, it becomes the physical parameter of inventiveness,
knowledge, capacity, technical and overall achievements of a community. The
mythological capacity of such a situation can be simply translated into a necessity for
Belgrade to construct at least one extremely tall structure – a tower of no less than
150m high.
PB  - Belgrade : Faculty of Architecture
C3  - Places and Technologies 2014 [Elektronski izvor] : keeping up with technologies to improve places : conference proceedings : 1st international academic conference, Belgrade, 3-4. April 2014
T1  - Belgrade skyline: continuity, paradoxes & desires
SP  - 416
EP  - 423
UR  - https://hdl.handle.net/21.15107/rcub_raf_682
ER  - 

@conference{
author = "Milenković, Vladimir and Vesnić, Snežana and Stratimirović, Tatjana",
year = "2014",
abstract = "There are 800 towers in Belgrade, mostly built in the 20th century, at the time of
Modernism. In relation to the prominent tradition of their construction, the current
situation can be defined as a paradox of continuity – which can be expressed through
two contradictions. The first contradiction is related to the comparison of the number
of high-rise structures completed during the industrial development and the fact that
after 1990 the number of realized structures of eight storeys or higher is insignificant.
The second contradiction is related to the ratio of the height of the tallest existing
structures and the maximum height allowed for the new structures, as defined by the
current normative acts. In this context Belgrade has a tradition of high-rise
construction, yet at present there is no awareness, and no professional or social
consensus on the need for the high-rise developments. The restraints of height and
land zoning for high-rise development are not only constraining factors in strategic
planning and expansion of the city, but they create an economic problem by opposing
the very concept of prosperity. Additionally, in terms of the cultural context, they limit
the possibilities for fulfilment of Belgrade’s contemporary demands and its iconic
future. The high-rise structures can be translated into a tool used to emphasize the
clear intentions of progress. The city turns into a metaphor for economic and cultural
status - between the visual symbol and the symbol of power. Most of all, from the
architectural point of view, it becomes the physical parameter of inventiveness,
knowledge, capacity, technical and overall achievements of a community. The
mythological capacity of such a situation can be simply translated into a necessity for
Belgrade to construct at least one extremely tall structure – a tower of no less than
150m high.",
publisher = "Belgrade : Faculty of Architecture",
journal = "Places and Technologies 2014 [Elektronski izvor] : keeping up with technologies to improve places : conference proceedings : 1st international academic conference, Belgrade, 3-4. April 2014",
title = "Belgrade skyline: continuity, paradoxes & desires",
pages = "416-423",
url = "https://hdl.handle.net/21.15107/rcub_raf_682"
}

Milenković, V., Vesnić, S.,& Stratimirović, T.. (2014). Belgrade skyline: continuity, paradoxes & desires. in Places and Technologies 2014 [Elektronski izvor] : keeping up with technologies to improve places : conference proceedings : 1st international academic conference, Belgrade, 3-4. April 2014
Belgrade : Faculty of Architecture., 416-423.
https://hdl.handle.net/21.15107/rcub_raf_682

Milenković V, Vesnić S, Stratimirović T. Belgrade skyline: continuity, paradoxes & desires. in Places and Technologies 2014 [Elektronski izvor] : keeping up with technologies to improve places : conference proceedings : 1st international academic conference, Belgrade, 3-4. April 2014. 2014;:416-423.
https://hdl.handle.net/21.15107/rcub_raf_682 .

Milenković, Vladimir, Vesnić, Snežana, Stratimirović, Tatjana, "Belgrade skyline: continuity, paradoxes & desires" in Places and Technologies 2014 [Elektronski izvor] : keeping up with technologies to improve places : conference proceedings : 1st international academic conference, Belgrade, 3-4. April 2014 (2014):416-423,
https://hdl.handle.net/21.15107/rcub_raf_682 .

TY  - CONF
AU  - Popović, Mihailo
AU  - Milenković, Vladimir
PY  - 2014
UR  - https://raf.arh.bg.ac.rs/handle/123456789/703
AB  - Although it might sound absurd, digitalization of the world is a natural process.
Notions like technological or biological evolution, as well as digital and post-digital
age have their origins in other disciplines. For architecture, the reflection on
digitalization is clear and straightforward methodological relationship between the
real, the virtual and the actual, overlapping of which is a spatial category. It is easy to
consider broader context of such deliberation to be cultural, political, economic or
neo-liberal, super-modern or post-postmodern can be easy, but, however the future
of architecture is seen, it is crucial to redefine the spatiality of human body whose
borders got blurred by technology. In order not to step too far away into the territory of
anthropology of such defined topic, we should limit our exploration to the analogies
closer to architecture such as relationship between software and hardware, nature
and technology, or myth and abstraction. In thus formulated sequence of things
states, such as, neoliberal capitalism, religiosity, or even more general like sense of
abstraction or inclination to surreal, can be classified as nature that confirms itself
through the thesis that What survives is allowed. However, architecture always
presented a radical cut in relation to nature, with a desire to redesign it. Bearing in
mind that architectural dreams always surpassed the possibilities of their fulfilment,
thus growing into the myths of power and infinity, the transfer between the real and
the virtual, on the road to actual that occurs today, can be considered as the same
process but two-way without being mediated by other media. This means that the
relationship of human towards oneself is the same as the one generating one's
relationship towards the nature, as well as the wish to adjust to oneself the same
dream that lead one to understand, by the nature of things, given role. According to
Heidegger etymological origin of the word being comes from the word to settle or
adjust (the environment). According to Donald Mertzel and Meg Harris Williams
architecture is comprised of petrified dreams. Per Gilles Deleuze actual becomes only
when the real transfers into the virtual and gains its new purport. For Maurice Merlo-
Ponty invisibility is an integral part of perception, while for Juhani Pallasmaa it is
more than that, it is the part of prelevance itself. According to Vincent Mosco sublime
infinity is the necessary depth of human image of the world, the same world in which
the evolutions of the creator and the created, according to Bergson, became equal.While Decartus' infinite series of unattainable returns us to the nature of Plato's
primordial-space.
PB  - Belgrade : University, Faculty of Architecture
C3  - Places and Technologies 2014 [Elektronski izvor] : keeping up with technologies to improve places : conference proceedings : 1st international academic conference, Belgrade, 3-4. April 2014
T1  - Evolution digitized: architecture of the sublime dream
SP  - 846
EP  - 852
UR  - https://hdl.handle.net/21.15107/rcub_raf_703
ER  - 

@conference{
author = "Popović, Mihailo and Milenković, Vladimir",
year = "2014",
abstract = "Although it might sound absurd, digitalization of the world is a natural process.
Notions like technological or biological evolution, as well as digital and post-digital
age have their origins in other disciplines. For architecture, the reflection on
digitalization is clear and straightforward methodological relationship between the
real, the virtual and the actual, overlapping of which is a spatial category. It is easy to
consider broader context of such deliberation to be cultural, political, economic or
neo-liberal, super-modern or post-postmodern can be easy, but, however the future
of architecture is seen, it is crucial to redefine the spatiality of human body whose
borders got blurred by technology. In order not to step too far away into the territory of
anthropology of such defined topic, we should limit our exploration to the analogies
closer to architecture such as relationship between software and hardware, nature
and technology, or myth and abstraction. In thus formulated sequence of things
states, such as, neoliberal capitalism, religiosity, or even more general like sense of
abstraction or inclination to surreal, can be classified as nature that confirms itself
through the thesis that What survives is allowed. However, architecture always
presented a radical cut in relation to nature, with a desire to redesign it. Bearing in
mind that architectural dreams always surpassed the possibilities of their fulfilment,
thus growing into the myths of power and infinity, the transfer between the real and
the virtual, on the road to actual that occurs today, can be considered as the same
process but two-way without being mediated by other media. This means that the
relationship of human towards oneself is the same as the one generating one's
relationship towards the nature, as well as the wish to adjust to oneself the same
dream that lead one to understand, by the nature of things, given role. According to
Heidegger etymological origin of the word being comes from the word to settle or
adjust (the environment). According to Donald Mertzel and Meg Harris Williams
architecture is comprised of petrified dreams. Per Gilles Deleuze actual becomes only
when the real transfers into the virtual and gains its new purport. For Maurice Merlo-
Ponty invisibility is an integral part of perception, while for Juhani Pallasmaa it is
more than that, it is the part of prelevance itself. According to Vincent Mosco sublime
infinity is the necessary depth of human image of the world, the same world in which
the evolutions of the creator and the created, according to Bergson, became equal.While Decartus' infinite series of unattainable returns us to the nature of Plato's
primordial-space.",
publisher = "Belgrade : University, Faculty of Architecture",
journal = "Places and Technologies 2014 [Elektronski izvor] : keeping up with technologies to improve places : conference proceedings : 1st international academic conference, Belgrade, 3-4. April 2014",
title = "Evolution digitized: architecture of the sublime dream",
pages = "846-852",
url = "https://hdl.handle.net/21.15107/rcub_raf_703"
}

Popović, M.,& Milenković, V.. (2014). Evolution digitized: architecture of the sublime dream. in Places and Technologies 2014 [Elektronski izvor] : keeping up with technologies to improve places : conference proceedings : 1st international academic conference, Belgrade, 3-4. April 2014
Belgrade : University, Faculty of Architecture., 846-852.
https://hdl.handle.net/21.15107/rcub_raf_703

Popović M, Milenković V. Evolution digitized: architecture of the sublime dream. in Places and Technologies 2014 [Elektronski izvor] : keeping up with technologies to improve places : conference proceedings : 1st international academic conference, Belgrade, 3-4. April 2014. 2014;:846-852.
https://hdl.handle.net/21.15107/rcub_raf_703 .

Popović, Mihailo, Milenković, Vladimir, "Evolution digitized: architecture of the sublime dream" in Places and Technologies 2014 [Elektronski izvor] : keeping up with technologies to improve places : conference proceedings : 1st international academic conference, Belgrade, 3-4. April 2014 (2014):846-852,
https://hdl.handle.net/21.15107/rcub_raf_703 .

TY  - JOUR
AU  - Milenković, Vladimir
PY  - 2011
UR  - https://raf.arh.bg.ac.rs/handle/123456789/471
AB  - Contemporariness of architecture can be interpreted in diverse
ways. Starting from a basically formulated modern context,
which is even nowadays understood as such, in which the limits
of stability of the architectural profession are examined, our
concern is the designer’s intention to research within a wider
cultural context. We are actually considering the capacities of
the profession for continuous development of its own critical
apparatus. Through the question of the relation between the
general and the individual, followed by the question of integrity
and proportion of architectural effect, but also by the role of
media and digitalization of the world, in the focus of this text
projected are the scenes of reality filled with the values of
architecture willing to develop, within itself, the analytical and
synthetic concepts relying on the contextual, but also on the
own indetermination and instability regarding the concept of the
space and time.
PB  - Belgrade : University of Belgrade, Faculty of Architecture
T2  - SAJ : Serbian architectural journal
T1  - Contingency of an Architectural Critical Approach
VL  - 3
IS  - 3
SP  - 200
EP  - 213
UR  - https://hdl.handle.net/21.15107/rcub_raf_471
ER  - 

@article{
author = "Milenković, Vladimir",
year = "2011",
abstract = "Contemporariness of architecture can be interpreted in diverse
ways. Starting from a basically formulated modern context,
which is even nowadays understood as such, in which the limits
of stability of the architectural profession are examined, our
concern is the designer’s intention to research within a wider
cultural context. We are actually considering the capacities of
the profession for continuous development of its own critical
apparatus. Through the question of the relation between the
general and the individual, followed by the question of integrity
and proportion of architectural effect, but also by the role of
media and digitalization of the world, in the focus of this text
projected are the scenes of reality filled with the values of
architecture willing to develop, within itself, the analytical and
synthetic concepts relying on the contextual, but also on the
own indetermination and instability regarding the concept of the
space and time.",
publisher = "Belgrade : University of Belgrade, Faculty of Architecture",
journal = "SAJ : Serbian architectural journal",
title = "Contingency of an Architectural Critical Approach",
volume = "3",
number = "3",
pages = "200-213",
url = "https://hdl.handle.net/21.15107/rcub_raf_471"
}

Milenković, V.. (2011). Contingency of an Architectural Critical Approach. in SAJ : Serbian architectural journal
Belgrade : University of Belgrade, Faculty of Architecture., 3(3), 200-213.
https://hdl.handle.net/21.15107/rcub_raf_471

Milenković V. Contingency of an Architectural Critical Approach. in SAJ : Serbian architectural journal. 2011;3(3):200-213.
https://hdl.handle.net/21.15107/rcub_raf_471 .

Milenković, Vladimir, "Contingency of an Architectural Critical Approach" in SAJ : Serbian architectural journal, 3, no. 3 (2011):200-213,
https://hdl.handle.net/21.15107/rcub_raf_471 .

TY  - JOUR
AU  - Milenković, Vladimir
PY  - 2011
UR  - https://raf.arh.bg.ac.rs/handle/123456789/93
AB  - Contemporariness of architecture can be interpreted in diverse ways. Starting from a basically formulated modern context, which is even nowadays understood as such, in which the limits of stability of the architectural profession are examined, our concern is the designer's intention to research within a wider cultural context. We are actually considering the capacities of the profession for continuous development of its own critical apparatus. Through the question of the relation between the general and the individual, followed by the question of integrity and proportion of architectural effect, but also by the role of media and digitalization of the world, in the focus of this text projected are the scenes of reality filled with the values of architecture willing to develop, within itself, the analytical and synthetic concepts relying on the contextual, but also on the own indetermination and instability regarding the concept of the space and time.
AB  - Savremenost arhitekture se može tumačiti na različite načine. Polazeći od još uvek bazično formulisanog modernog konteksta u kojem se ispituju granice stabilnosti arhitektonske profesije radi se o projektantskoj nameri da se u širem kulturnog kontekstu istraže kapaciteti profesije za razvijanje sopstvenog kritičkog aparata. Kroz pitanje odnosa opšteg i pojedinačnog, zatim pitanja integriteta i razmere arhitektonskog delovanja, ali i uloge medija i digitalizacije sveta, u centru istraživanja projektuju se kadrovi stvarnosti čiji prostorno-vremenski sadržaj ispunjavaju vrednosti arhitekture spremne da u sebi razvija analitičke i sintetičke koncepte oslonjene na kontekstualnu, ali i sopstvenu neodređenost i nestabilnost.
PB  - Univerzitet u Beogradu - Arhitektonski fakultet, Beograd i Centar za etiku, pravo i primenjenu filozofiju, Beograd
T2  - SAJ - Serbian Architectural Journal
T1  - Contingency of an architectural critical approach
T1  - Neizvesnost kritičkog u arhitektonskom projektovanju
VL  - 3
IS  - 3
SP  - 200
EP  - 213
UR  - https://hdl.handle.net/21.15107/rcub_raf_93
ER  - 

@article{
author = "Milenković, Vladimir",
year = "2011",
abstract = "Contemporariness of architecture can be interpreted in diverse ways. Starting from a basically formulated modern context, which is even nowadays understood as such, in which the limits of stability of the architectural profession are examined, our concern is the designer's intention to research within a wider cultural context. We are actually considering the capacities of the profession for continuous development of its own critical apparatus. Through the question of the relation between the general and the individual, followed by the question of integrity and proportion of architectural effect, but also by the role of media and digitalization of the world, in the focus of this text projected are the scenes of reality filled with the values of architecture willing to develop, within itself, the analytical and synthetic concepts relying on the contextual, but also on the own indetermination and instability regarding the concept of the space and time., Savremenost arhitekture se može tumačiti na različite načine. Polazeći od još uvek bazično formulisanog modernog konteksta u kojem se ispituju granice stabilnosti arhitektonske profesije radi se o projektantskoj nameri da se u širem kulturnog kontekstu istraže kapaciteti profesije za razvijanje sopstvenog kritičkog aparata. Kroz pitanje odnosa opšteg i pojedinačnog, zatim pitanja integriteta i razmere arhitektonskog delovanja, ali i uloge medija i digitalizacije sveta, u centru istraživanja projektuju se kadrovi stvarnosti čiji prostorno-vremenski sadržaj ispunjavaju vrednosti arhitekture spremne da u sebi razvija analitičke i sintetičke koncepte oslonjene na kontekstualnu, ali i sopstvenu neodređenost i nestabilnost.",
publisher = "Univerzitet u Beogradu - Arhitektonski fakultet, Beograd i Centar za etiku, pravo i primenjenu filozofiju, Beograd",
journal = "SAJ - Serbian Architectural Journal",
title = "Contingency of an architectural critical approach, Neizvesnost kritičkog u arhitektonskom projektovanju",
volume = "3",
number = "3",
pages = "200-213",
url = "https://hdl.handle.net/21.15107/rcub_raf_93"
}

Milenković, V.. (2011). Contingency of an architectural critical approach. in SAJ - Serbian Architectural Journal
Univerzitet u Beogradu - Arhitektonski fakultet, Beograd i Centar za etiku, pravo i primenjenu filozofiju, Beograd., 3(3), 200-213.
https://hdl.handle.net/21.15107/rcub_raf_93

Milenković V. Contingency of an architectural critical approach. in SAJ - Serbian Architectural Journal. 2011;3(3):200-213.
https://hdl.handle.net/21.15107/rcub_raf_93 .

Milenković, Vladimir, "Contingency of an architectural critical approach" in SAJ - Serbian Architectural Journal, 3, no. 3 (2011):200-213,
https://hdl.handle.net/21.15107/rcub_raf_93 .

TY  - JOUR
AU  - Milenković, Vladimir
PY  - 2009
UR  - https://raf.arh.bg.ac.rs/handle/123456789/67
AB  - Assuming there is no architectural aesthetics beyond architecture, one could also claim that the triangle architecture - architectural form - architects is only the cornerstone of the whole structure consisting of relations of interest for architectural design theory. In this structure, architecture appears as a system of universal value, the shape presents a singular value the object of analysis in search for particular architecture, while architects are a part of the process of necessary value transformations. All happens on the way of an architectural idea, from its imaginative form to physical shape.
AB  - Pod pretpostavkom da nema arhitektonske estetike izvan arhitekture, može se takođe reći da je trougao arhitektura - arhitektonski oblici - arhitekti samo početak stvaranja čitave strukture odnosa zanimljivih za teoriju projektovanja. Arhitektura se u ovoj strukturi javlja kao sistem opštih vrednosti, oblik ima ulogu jedinične vrednosti - objekat analize u traganju za konkretnom arhitekturom, a arhitekti su deo procesa neophodnih transformacija vrednosti na putu jedne arhitektonske ideje od misaonog do fizičkog oblika.
PB  - Institut za arhitekturu i urbanizam Srbije, Beograd
T2  - Arhitektura i urbanizam
T1  - Architecture of imaginary landscape
T1  - Arhitektura imaginarnog predela
IS  - 24-25
SP  - 25
EP  - 28
UR  - https://hdl.handle.net/21.15107/rcub_raf_67
ER  - 

@article{
author = "Milenković, Vladimir",
year = "2009",
abstract = "Assuming there is no architectural aesthetics beyond architecture, one could also claim that the triangle architecture - architectural form - architects is only the cornerstone of the whole structure consisting of relations of interest for architectural design theory. In this structure, architecture appears as a system of universal value, the shape presents a singular value the object of analysis in search for particular architecture, while architects are a part of the process of necessary value transformations. All happens on the way of an architectural idea, from its imaginative form to physical shape., Pod pretpostavkom da nema arhitektonske estetike izvan arhitekture, može se takođe reći da je trougao arhitektura - arhitektonski oblici - arhitekti samo početak stvaranja čitave strukture odnosa zanimljivih za teoriju projektovanja. Arhitektura se u ovoj strukturi javlja kao sistem opštih vrednosti, oblik ima ulogu jedinične vrednosti - objekat analize u traganju za konkretnom arhitekturom, a arhitekti su deo procesa neophodnih transformacija vrednosti na putu jedne arhitektonske ideje od misaonog do fizičkog oblika.",
publisher = "Institut za arhitekturu i urbanizam Srbije, Beograd",
journal = "Arhitektura i urbanizam",
title = "Architecture of imaginary landscape, Arhitektura imaginarnog predela",
number = "24-25",
pages = "25-28",
url = "https://hdl.handle.net/21.15107/rcub_raf_67"
}

Milenković, V.. (2009). Architecture of imaginary landscape. in Arhitektura i urbanizam
Institut za arhitekturu i urbanizam Srbije, Beograd.(24-25), 25-28.
https://hdl.handle.net/21.15107/rcub_raf_67

Milenković V. Architecture of imaginary landscape. in Arhitektura i urbanizam. 2009;(24-25):25-28.
https://hdl.handle.net/21.15107/rcub_raf_67 .

Milenković, Vladimir, "Architecture of imaginary landscape" in Arhitektura i urbanizam, no. 24-25 (2009):25-28,
https://hdl.handle.net/21.15107/rcub_raf_67 .