Vladimir Milenković, Keynoter


8th International Conference
Serbian Academy of Sciences and Arts, Gallery of Science and Technology
Belgrade, Serbia
4-5 December 2020


Vladimir Milenković is Associate Professor at the Department of Architecture University of Belgrade Faculty of Architecture (UBFA). An architect and music pedagogue, his field of academic interest includes theory of form, methodology of design and he is also active in practice.


Vladimir Milenković


Work on the project was divided into two segments: theoretical and experimental. Theoretical research referred to phenomenological and morphological aspect of scenic architectural presentation. Experimental part of the research was directed at the mobility study of architecture, where the aspect of production of oneiric atmosphere of elusive boundaries prevails. Methodological capacity of thus formulated research provides for an authentic base of a contemporary concept of interactivity of one, still classical (ancient-renaissance) understanding of the vision of Theater.


“The poet’s eye, in fine frenzy rolling,

Doth glance from heaven to earth, from earth to heaven;

And as imagination bodies forth

The forms of things unknown, the poet’s pen

Turns them to shapes and gives to airy nothing

A local habitation and a name.”*


On one hand, the life of an architectural concept is examined in reference to the esthetics of the new landscape, and on the other, to the kinetic architecture. Thus, the Theater program appears in a direct thematic and physical contact with the sky, water, ground and greenery of the Great War Island, Usce and Kalemegdan, while a daydream is named after the projected method.


“Some man or other must present Wall: and let him

have some plaster, or some loam, or some rough-cast

about him, to signify wall; and let him hold his

fingers thus, and through that cranny shall Pyramus

and Thisby whisper.”**


Precisely speaking, formal and functional or philosophical and esthetic thematization of this assignment includes interpretation of the oneiric character of architectural presentation – experience incorporated in a technological aspect of the projected. In that sense, A Midsummer Night’s Dream becomes architectural fiction, and the Theater becomes architectural reality, just as it was for Shakespeare: reality greater than reality.


* William Shakespeare. A Midsummer Night’s Dream. ACT V. SCENE I. Athens.  

** Ibid. ACT III. SCENE I. The wood.


Vladimir Milenković, PhD Arch, architect and music pedagogue, educated in Belgrade (Faculty of Architecture / Faculty of Music Arts), associate professor at the Department of Architecture UBFA (courses: Design Methodology, Methodical Practicum, Design Studio, Master Project, Conceptual Architecture). His field of academic interest includes theory of form, methodology of design and he is also active in practice. He is the author of books Architectural Form and Multi-Function (Belgrade 2004: Andrejević Endowment) and Form Follows Theme (Belgrade 2015: Museum of Applied Arts & UBFA), floor installation wohnlich (Pavilion of the Republic of Serbia, Venice Biennale 2008), as well as academic exhibitions All Inclusive H2O Volos (MMCA Thessaloniki2012, CCS Paris 2012) and Almost Transparent Blue (MDW Fort St. Elmo, La Valletta, Malta 2014). Awarded on many architectural competitions as well as for built work (Textil Commercial Building, Užice, Mies van der Rohe Award 2009 nominee & Villa Pavlovic, Zlatibor, Mies van der Rohe Award 2019 nominee, UAS Annual Award 2019), currently working on RTS Memorial Sixteen with the kinetic structure, Tašmajdan Park, Belgrade. Co-founder of the studio NEOARHITEKTI.

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