by Martino Stierli (Author, Editor), Vladimir Kulić (Author, Editor), Tamara Bjažić Klarin (Author), Vladimir Deskov(Author), Andrew Herscher (Author), Sanja Horvatinčić (Author), Theodossis Issaias (Author), Ana Ivanovska Desakova(Author), Jovan Ivanovski (Author), Jelica Jovanović (Author), Anna Kats (Author), Juliet Kinchin (Author), Martina Malešič (Author), Maroje Mrduljaš (Author), Arber Sadiki (Author), Luka Skansi (Author), Lukasz Stanek (Author)
In Yugoslavia’s “Third Way” architecture, Brutalism meets the fantastical.
Squeezed between the two rival Cold War blocs, Yugoslav architecture consistently adhered to a modernist trajectory. 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. 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. This remarkable body of work has sparked recurrent international interest, yet a rigorous interpretative study never materialized in the United States until now.