出版社：Zavod za zaštitu spomenika kulture grada Beograda
摘要：The building of the Museum of Contemporary Art in Belgrade, erected after a design of Ivan Antić and Ivanka Raspopović, occupies a prominent place in the Serbian architecture of the second half of the twentieth century. It drew public attention even during construction (1961-65), and its opening on 20 October 1965 was seen as a feast of culture. Thus in the mid-1960s on the city-engendering site at the confluence (Ušće) of the Sava and Danube rivers opposite the centuries-old Fortress of Belgrade yet another monument grew - a singular architectural work and an outstanding institution of culture. The MCA building testifies to the intermingling of various influences, artistic and cultural trends, social and economic forces. The story of the Museum originally named Modern Gallery, begins in the early 1950s. The state leadership and relevant departments endorsed the idea of founding an institution competent to collect and study twentieth-century Yugoslav and Serbian art, and the search for a suitable building began. The search proved fruitless and it was only in the late 1950s that Miodrag B. Protić, a painter, art critic and administrator - the main champion of the idea of founding the Museum and its first director - succeeded in securing the outstanding location at the confluence of the two rivers, and the design competition for the Modern Gallery building was soon launched. In 1961 construction began after the revised winning design of Ivan Antić and Ivanka Raspopović. The building was renamed Museum of Contemporary Art a few months before its completion in 1965. The MCA building has been appraised as one of the worthiest and most interesting works of recent Serbian architecture. Antić and Raspopović's inventive creation, apt manner of connecting transforming and modifying plastic elements resulted in a recognizable and inspiring architectural work. The MCA building is a clustered form consisting of six upright two-story cuboids - reinforced concrete frame construction - rotated at an angle of 45o in relation to the oblong-shaped ground-floor. This rotation and the obliquely truncated upper corners of the cuboids produce a distinct crystallomorphic impression which is additionally enhanced by the white-gray marble facing. An original contribution in the interior is the cascading rhythm of half-stories and intermediate levels enabling easy circulation, producing spaces of various heights, and additionally enriching the interior with successive panoramic views of the exterior surroundings. Architectural qualities of the building are observable at various levels from the diagrammatic structure of the plan, rational geometric forms and carefully studied logic of movement to an effective spatial solution. By virtue of being a high architectural achievement, the MCA building has been designated immovable cultural property. One of the most difficult tasks the building faced was how to balance diverse, complex, even contradictory requirements imposed by the complexity of architectural articulation, an ambitious museum conception and the representation strategy of modern and contemporary art. As a result, it happened that where architects saw extraordinary qualities and original contributions, artists tended to see shortcomings prone to demean the exhibits or distract the viewer's attention. At once an architectural, artistic and museum structure, the MCA building tends to elicit intricate, even contradictory responses. In addition, the distinctive view from Kalemegdan makes the MCA building an essential element of the cityscape, just as Belgrade is an exhibit in its collections. This never-ending and intriguing process of discovering new relationships meanings and syntheses incessantly produced by the MCA building is its finest quality.
