Modernism with Flower Pots

€100–€600

EN

          The architect of this building was clearly a follower of Mies van der Rohe. The rhythm of the windows, the strict grid, the dark metal façade — everything speaks in favor of that famous modernist maxim: Less is more. No ornament, no unnecessary gestures, no sentimentality. Only discipline and geometry.

          And then the contractors arrived.

          And decided to give Mies a little sunshine. The balconies were painted in various shades of yellow — as if someone wished to add a dose of vitamin D to an otherwise serious composition. Not quite Venturi yet, but already a hint of rebellion.

          True postmodernism, however, begins when the residents take matters into their own hands. White air-conditioning units start to appear — small, tireless cubes protruding from the plane of the façade, as if echoing Venturi’s ironic remark: “Less is a bore.” Cables discreetly hang, the rhythm begins to stumble ever so slightly, order develops fine cracks.

          Then come the flower pots. Red. Green. Turquoise. One balcony decides to be an individualist. Another responds. A third remains silent, but its air-conditioning unit speaks on its behalf.

          And so, on a single façade, two ideologies collide: the modernist desire for order and the human need for a personal touch. The architect designed a system. The residents designed life.

          Perhaps the truth lies somewhere in between.
If it had remained only “less,” it would have been too calm.
If it were all “more,” it would be unbearably loud.

          This way — we have Belgrade.

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SR

          Arhitekta ove zgrade očigledno je sledbenik Miesa van der Rohea. Ritam prozora, strogi raster, tamna metalna fasada — sve govori u prilog onoj čuvenoj modernističkoj maksimi: Manje je više. Nema ukrasa, nema suvišnih gestova, nema sentimentalnosti. Samo disciplina i geometrija.

          A onda su došli izvođači.

          I rešili da Miesu podare malo sunca. Terase su ofarbane u raznim nijansama žute — kao da je neko poželeo da u ozbiljnu kompoziciju unese malo vitamina D. Nije to još Venturi, ali već nagoveštava pobunu.

          Pravi postmodernizam, međutim, nastaje tek kada stanari preuzmu stvar u svoje ruke. Pojavljuju se beli klima uređaji — mali, neumorni kubusi koji iskaču iz ravni fasade kao da žele da poruče Venturijevu ironičnu opasku: „Less is a bore“ (Manje je dosadno).

          A onda dolaze saksije. Crvene. Zelene. Tirkizne. Jedna terasa odlučuje da bude individualista. Druga joj odgovara. Treća ćuti, ali klima uređaj govori u njeno ime.

          I tako se na jednoj fasadi sudaraju dve ideologije: modernistička želja za redom i ljudska potreba za ličnim pečatom. Arhitekta je projektovao sistem. Stanari su projektovali život.

          Možda je istina negde između.
          Jer da je ostalo samo „manje“, bilo bi suviše mirno.
          A da je sve „više“, bilo bi previše glasno.

          Ovako — imamo Beograd.