ESTETIČKI DISKURSI PROFESORA ARHITEKTA STANKA MANDIĆA
AESTHETIC DISCOURSES OF STANKO MANDIĆ, AN ARCHITECT AND A PROFESSOR

Summary/Abstract: The works of professor Stanko Mandic featured both Yugoslav and Serbian architecture of the period from 1950-1983. In order that his creative work be perceived as a whole, it is necessary to examine both theoretical and aesthetic pulses that featured and formed such a creative work. Unlike most of his colleagues, Mandic had the ability to express his theoretical and artistic attitudes. Fortunately, he was prone to express himself in writing. He nourished poetic syntax. His works help us understand the procedures he applied in his designing practice. Stanko Mandic chose the composition of spatial architecture for the subject of his methodology. He respected the importance of metaphysics, logic and abstract language of art, but he was intuitively prone to the phenomenology which explains his works. For him, architecture is art expressed through form, in spite of all of its particularities. Although the most important source, the architect’s works are not a sufficiently strong argument to make any assumptions as far as aesthetic discourses of professor Mandic are concerned. Theoretical frame of the study is widened to involve philosophical, aesthetic and artistic discourses of the first half of and mid XX century in Europe. In this regard, the features of the Yugoslav philosophy of the 60s (praxis) are referred to, as well as the discourse exchange between Benedetto Croce and Mandic. Croce’s influence was immediate; it was the base for Mandic’s aesthetic choice. The philosophy of Martin Heidegger had an intermediate influence on him, whose works and lectures had a vast influence on development of a new science – the theory of post-Art Nouveau architecture. This paper deals with some installations of Edmund Husserl, Heidgger, Nicolai Hartmann and of the critic and art historian Marangoni Matteo. Other sources used to understand the period observed are theoretical and research works of both foreign and domestic architects. The theoretical frame proposed clarifies the dichotomy of Mandic’s aesthetic ideals reflected in dialectic pairs such as: progressive/historical; classical/abstract; intuitive/logic; academic/memorial etc.

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