Goran Polovina was born on 14 February 1965 in Belgrade .He graduated at the Belgrade Faculty of Architecture in 1991 with the grade 10 (of 10). His mentor was the Professor of Architecture Milan Lojanica.Since 1992 Goran Polovina has worked as Project Designer in the elaboration of town planning, preliminary and final architectural and interior designs. Beside designing, he deals as well with painting, graphic design and illustrations.Moreover, during 1996, he was engaged as consultant at the channel TV Politika in the programme “My Home”.In December 1997, within terms for practical lessons at the Belgrade Faculty of Architecture, he lectured on “Characteristics of Public Town Palaces Forms in Belgrade during 1914-1919”.In April 2001, within the course of master art studies titled ”Architectural /Town Planning Designing” at the same Faculty, he has lectured on “Modeling of Architectural Form in Transition”.He acquired the Master Degree at the Belgrade Faculty of Architecture in September 2001 with the topic “Transition of Architectural Form Viewed on Belgrade Public Buildings”
In contrast to recognisable periods in the history of architecture, there are times when new idea... more In contrast to recognisable periods in the history of architecture, there are times when new ideas have not yet crystallised (e.g. proto-Romanesque, Mannerism) but which produce noteworthy structures nonetheless. Such intermediate periods are characterised by the transition of form. Transitional concepts arise as a reflection of the community's progress and as such differ from eclecticism which freely combines different historical styles and in that way manifests its decadence. In the twentieth century, transition swayed between two poles, two diametrically opposed principles of constructing form: classical and modern. "Modernized academism", an updated variant of academism, reflected in the best possible way the spirit of an age of transition, from the particular to the general, from the national and traditional to the supranational and modern. Similarly to its interwar counterpart, postmodernism also reflected an age of transition, but this time moving in the opposite direction: from the modern and supranational to the more traditional and national-oriented. Transitional architectures in Serbia have often remedied the consequences of earlier periods: interwar architecture substituted for the chaotic Oriental legacy, and postmodern alleviated aggressive modern interpolations. Buildings in the modernised (and standard) academic and postmodern styles have conferred upon Belgrade the appearance of a consistent urban whole in the classical sense of the word, with blocks, streets, squares. Transitional concepts are products of a compromise resulting from the conflicting dichotomies autonomous/heterogeneous and contextual/acontextual as an architectural design issue. "Modernized academism" and postmodernism, as concepts, succeeded in making a bridge from the avant-guard towards a wider circle of users. Transitional design concepts point to a new, middle way in thinking about form, but they also reveal a tendency towards an evolutionary synthesis of knowledge and the limited achievement of revolutionary approaches to architectural design. They certainly point to the perpetual necessity of building a humane space, an environment that communicates with its users.
In contrast to recognisable periods in the history of architecture, there are times when new idea... more In contrast to recognisable periods in the history of architecture, there are times when new ideas have not yet crystallised (e.g. proto-Romanesque, Mannerism) but which produce noteworthy structures nonetheless. Such intermediate periods are characterised by the transition of form. Transitional concepts arise as a reflection of the community's progress and as such differ from eclecticism which freely combines different historical styles and in that way manifests its decadence. In the twentieth century, transition swayed between two poles, two diametrically opposed principles of constructing form: classical and modern. "Modernized academism", an updated variant of academism, reflected in the best possible way the spirit of an age of transition, from the particular to the general, from the national and traditional to the supranational and modern. Similarly to its interwar counterpart, postmodernism also reflected an age of transition, but this time moving in the opposite direction: from the modern and supranational to the more traditional and national-oriented. Transitional architectures in Serbia have often remedied the consequences of earlier periods: interwar architecture substituted for the chaotic Oriental legacy, and postmodern alleviated aggressive modern interpolations. Buildings in the modernised (and standard) academic and postmodern styles have conferred upon Belgrade the appearance of a consistent urban whole in the classical sense of the word, with blocks, streets, squares. Transitional concepts are products of a compromise resulting from the conflicting dichotomies autonomous/heterogeneous and contextual/acontextual as an architectural design issue. "Modernized academism" and postmodernism, as concepts, succeeded in making a bridge from the avant-guard towards a wider circle of users. Transitional design concepts point to a new, middle way in thinking about form, but they also reveal a tendency towards an evolutionary synthesis of knowledge and the limited achievement of revolutionary approaches to architectural design. They certainly point to the perpetual necessity of building a humane space, an environment that communicates with its users.
Uploads
Transitional concepts arise as a reflection of the community's progress and as such differ from eclecticism which freely combines different historical styles and in that way manifests its decadence.
In the twentieth century, transition swayed between two poles, two diametrically opposed principles of constructing form: classical and modern. "Modernized academism", an updated variant of academism, reflected in the best possible way the spirit of an age of transition, from the particular to the general, from the national and traditional to the supranational and modern. Similarly to its interwar counterpart, postmodernism also reflected an age of transition, but this time moving in the opposite direction: from the modern and supranational to the more traditional and national-oriented.
Transitional architectures in Serbia have often remedied the consequences of earlier periods: interwar architecture substituted for the chaotic Oriental legacy, and postmodern alleviated aggressive modern interpolations. Buildings in the modernised (and standard) academic and postmodern styles have conferred upon Belgrade the appearance of a consistent urban whole in the classical sense of the word, with blocks, streets, squares.
Transitional concepts are products of a compromise resulting from the conflicting dichotomies autonomous/heterogeneous and contextual/acontextual as an architectural design issue. "Modernized academism" and postmodernism, as concepts, succeeded in making a bridge from the avant-guard towards a wider circle of users.
Transitional design concepts point to a new, middle way in thinking about form, but they also reveal a tendency towards an evolutionary synthesis of knowledge and the limited achievement of revolutionary approaches to architectural design. They certainly point to the perpetual necessity of building a humane space, an environment that communicates with its users.
Transitional concepts arise as a reflection of the community's progress and as such differ from eclecticism which freely combines different historical styles and in that way manifests its decadence.
In the twentieth century, transition swayed between two poles, two diametrically opposed principles of constructing form: classical and modern. "Modernized academism", an updated variant of academism, reflected in the best possible way the spirit of an age of transition, from the particular to the general, from the national and traditional to the supranational and modern. Similarly to its interwar counterpart, postmodernism also reflected an age of transition, but this time moving in the opposite direction: from the modern and supranational to the more traditional and national-oriented.
Transitional architectures in Serbia have often remedied the consequences of earlier periods: interwar architecture substituted for the chaotic Oriental legacy, and postmodern alleviated aggressive modern interpolations. Buildings in the modernised (and standard) academic and postmodern styles have conferred upon Belgrade the appearance of a consistent urban whole in the classical sense of the word, with blocks, streets, squares.
Transitional concepts are products of a compromise resulting from the conflicting dichotomies autonomous/heterogeneous and contextual/acontextual as an architectural design issue. "Modernized academism" and postmodernism, as concepts, succeeded in making a bridge from the avant-guard towards a wider circle of users.
Transitional design concepts point to a new, middle way in thinking about form, but they also reveal a tendency towards an evolutionary synthesis of knowledge and the limited achievement of revolutionary approaches to architectural design. They certainly point to the perpetual necessity of building a humane space, an environment that communicates with its users.