Creating a concrete future in Towards a Concrete U. MoMAs visitors and many future readers of the (already) award-winning catalogue of Toward a Concrete Utopia will indeed most likely owe their discovery.Hilma af Klint, "The Paintings for the Temple" at."Hiroko Koshino: A Touch of Bauhaus" at WhiteBox.“Thunderbird” by Christine Rebet at Bureau.A moving Middle Eastern myth in Thunderbird at Bureau.With this Eastern lens, Towards a Concrete Utopia sets the stage for broader scholarship of modernist architecture and its relation to post-war socialism in the twentieth century. It was in these memorials to fallen soldiers and anti-fascism that Yugoslav architects tested the limits of reinforced concrete as both a material and as a representation of globalist, utopian and nationalist ideas. Perhaps the most intriguing part is the final section covering monumental architecture the forms become more organic, open, and flowing rather than rigid and angular. The exhibition is organized around several major themes, including modernization, public buildings, global networks, and everyday life. With this material, the show really requires more than one visit to fully absorb it all. Photographs, models, renderings, plans, and video all serve to illustrate the ideation, creation, and function of Yugoslav architecture. Geometry, civic construction, and, of course, concrete, were the elements that formed the post-war building boom surveyed in MoMA’s show. The Museum of Modern Art’s exhibition, Towards a Concrete Utopia: Architecture in Yugoslavia, 1948-1980, explores how Yugoslav designers used architecture to express the optimism of a new era, one of collectivity bound by socialism. Concrete, it seems, was the best grammatical framework. Featuring new scholarship and previously unpublished archival materials, this richly illustrated publication sheds light on key ideological concepts of Yugoslav architecture, urbanism and society by delving into the exceptional projects and key figures of the era, among them Bogdan Bogdanovic, Zoran Bojovic, Drago Galic, Janko Konstantinov, Georgi Konstantinovski, Niko Kralj, Boris Magas, Juraj Neidhardt, Joze Plecnik, Svetlana Kana Radevic, Edvard Ravnikar, Vjenceslav Richter, Milica Steric, Ivan Straus and Zlatko Ugljen.After World War II, Yugoslavia was looking for an architectural language to unify their new country. Published in conjunction with a major exhibition on the architectural production of Yugoslavia between 19, this is the first publication to showcase an understudied but important body of modernist architecture. This remarkable body of work has sparked recurrent international interest, yet a rigorous interpretative study never materialized in the United States until now. By merging a variety of local traditions and contemporary international influences in the context of a unique Yugoslav brand of socialism, often described as the "Third Way," local architects produced a veritable "parallel universe" of modern architecture during the 45 years of the country's existence. As a founding nation of the Non-Aligned Movement, Yugoslavia became a major exporter of modernist architecture to Africa and the Middle East in a postcolonial world. Squeezed between the two rival Cold War blocs, Yugoslav architecture consistently adhered to a modernist trajectory.
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