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dc.creatorMilenković, Vladimir
dc.date.accessioned2020-06-12T07:24:42Z
dc.date.available2020-06-12T07:24:42Z
dc.date.issued2019
dc.identifier.isbn978-86-7924-223-5
dc.identifier.urihttp://raf.arh.bg.ac.rs/handle/123456789/869
dc.description.abstractAesthetic 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)en
dc.language.isoensr
dc.publisherBelgrade : University of Belgrade, Faculty of Architecturesr
dc.relationinfo:eu-repo/grantAgreement/MESTD/Integrated and Interdisciplinary Research (IIR or III)/43007/RS//sr
dc.rightsopenAccesssr
dc.sourcePossible worlds of contemporary aesthetics: aesthetics between history, geography and media, 21st International Congress of Aesthetics ICA 2019sr
dc.subjectNon-sr
dc.subjectAnti-sr
dc.subjectArchitecturesr
dc.subjectAlteredsr
dc.subjectAlivesr
dc.titleMaking Objects of Altered Aestheticsen
dc.typeconferenceObjectsr
dc.rights.licenseARRsr
dcterms.abstractМиленковиц, Владимир;
dc.citation.spage202
dc.citation.epage205
dc.identifier.fulltexthttp://raf.arh.bg.ac.rs/bitstream/id/2457/bitstream_2457.pdf
dc.type.versionpublishedVersionsr


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