Иван Р. Марковић
историчар уметности, Београд


Зборник 4/5/2008/2009 (Музеј примењене уметности), страна 85-97

782.37(497.11) ; 72.071.1:929 Несторовић Б.

Анализа архитектуре породичне куће архитекте Богдана Несторовића – једне од најзначајнијих градитељских остварења из области стамбеног градитељства међуратног Београда – представља покушај правилне атрибуције, али и адекватног вредновања архитектуре кућа београдских неимара. У раду је наглашен значај индивидуалистичке конотације аутора, усаглашене са владајућим конструктивним, функционалним и естетским нормама владајуће епохе. Кућа Богдана Несторовића у том погледу намеће се истовремено и као један од најадекватнијих модела у процесу ревалоризације специ-фичног типа архитектуре кућа београдских градитеља.

Кључне речи:
Богдан Несторовић, Београд, породична кућа, архитектура

Belgrade architecture between the two World Wars was marked by building development of family houses and villas besides representative public objects. Architecture of family houses as designed by Belgrade architects represents specific typological models which excel among common more-thanone family housing. Within the frame of the epoch and in accordance with their individual inhibitions, the architects designed their own houses according to their individual needs and manifestly insisted on recognizable marks they left on the type and intensity of the visual approach to the exterior mainly. One of the outstanding examples of this concept is the interesting architectural design of the family villa of the architect Bogdan Nestorović located on 69, Kneza Miloša Street. Save for the recognizable “Belgrade flats” type, the construction of the Nestorović home is not inferior to the construction framework of most of the houses built in Belgrade at the period. However it introduces no innovative characteristics into the original concept of a house. On the other hand, when the intensity of the aesthetic connotations of the localized facade elements in the exterior is concerned, the Nestorović house embodies the recognizable personal affinity of the architect as the author and owner of the space. Refined by facing brickwork as reminescence of their domestic medievistic origin the cubic setting of the Nestorović villa construction represents undoubtedly a contribution to its interesting visual effect but also to the visual perceptions of the author or commissioner. Using models from the authenthic vernacular architecture architect Nestorović proved himself once again a pronounced scholar having original plan for designig his own home. By exogamy of different forms of decoration consisting of minutely shaped motfis, placing details and elements within modern cubic form he accomplished harmony of proportions and combinations of mass and surface which are a recognizable mark of the Belgrade opus of the arhchitect. In his brilliant approach to designing his own space, Nestorović was led by his personal romantic views without noticeable reference to his previous building achievements. Although Nestorović had created more than ten private houses commissioned by different owners, he managed the original and unharmonized concepts for these objects mainly in order to satisfy diverse requests of the commissioners but also in the attempt to avoid monotony and unfavourable effects of serial production. When designing his own house Nestorović proved equally innovative and followed his personal and evident fascination with architectural stone plastic of the eastern Adriatic. Having been built as one of the last housing objects in Kneza Miloša Street in the eve of the World War II, villa Nestorović is in the same time an important model of inverted approach to the issue of permanent relation between the artist and his work.

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