Architecture of Serbia

The architecture of Serbia has a long, rich and diverse history. Some of the major European style from Roman to Postmodern are demonstrated, including renowned examples of Raška, Serbo-Byzantine with its revival, Morava, Baroque, Classical and Modern architecture, with prime examples in Brutalism and Streamline Moderne.

Centuries of turbulent history of Serbia caused a great regional diversity and favored vernacular architecture. This made for a heterogeneous and diverse architectural style, with architecture differing from town to town. While this diversity may still be witnessed in small towns, the devastation of architectural heritage in the larger cities during World War II, and subsequent socialist influence on architecture resulted in specific mix of architectural styles.

Prehistoric period

Numerous civilizations and cultures resided on the territory of Serbia prior to the arrival of the Romans. Best known ones were Starčevo, Iron Gates and Vinča cultures, dating between 7000 BCE to 4500 BCE. The oldest human remains were found in Sićevo believed to be up to 525,000–397,000 years old.

Prehistoric structures are simple in design, using local materials such as wood, mud, straw, rocks and earth for building, with simple geometric patters such as pyramidal huts and round mounts.

File:Lepenski Vir (1).JPG, Lepenski Vir, Iron Gates culture, 9500–6000 BCE
File:Lepenski Vir, muzej 32.jpg, Replica of Lepenski Vir houses
File:Плочник 01.jpg, Pločnik, Vinča culture, 5500–4700 BCE
File:Kurgan near Novi Knezevac, Serbia (Trivunova humka).JPG, Kurgan mount near Novi Kneževac, 3000 BCE

Ancient period

The northernmost Ancient Macedonian town was Kale-Krševica, which still today have the foundations of the Ancient Greek 5th-century BC town.
The Scordisci built the stone fortress of Singidunum, the Kalemegdan at Belgrade in the 3rd century BC, It has since been built on by Romans, Serbs, Turks, Austrians and show an example of continuing 2,300-year-old architecture, serving as one of the best landmarks in Belgrade.

The Romans left many traces of their six centuries of rule in the Serbian lands, including several fortifications and complexes such as the 3rd century AD Imperial palace of Galerius at Gamzigrad ('' Felix Romuliana'') that was built at his birthplace after the victory against the Persians, the Mediana site in Niš ('' Naissus'') from the 4th century and the Dardania capital, the ruins of the Moesia Superior capital Viminacium, former Roman capital and birthplace of several Roman Emperors Sirmium, and Byzantine city Justiniana Prima built by Justinian I, which was the seat of the Archbishopric of Justiniana Prima, Justiniana Secunda, Remesiana, Gratiana etc.

Roman, and later Byzantine architecture would inspire architecture of medieval Serbia, especially fortifications and religious buildings.

File:Maketa Sirmijuma.JPG, Sirmium city model in Sremska Mitrovica
File:Carska palata Sirmijum1.JPG, Sirmium was proclaimed one of four capitals of the Roman Empire and it was also the capital of the Praetorian prefecture of Illyricum and of Pannonia Secunda
File:Singidunum ostaci2.jpg, Singidunum Roman city remains at Fortress in Belgrade
File:Romuliana, from air.jpg, Felix Romuliana near Zaječar, UNESCO World Heritage Site
File:Felix Romuliana, built in 298 AD by Emperor Galerius, Dacia Ripensis, Serbia (42906001422).jpg, Felix Romuliana model
File:Medijana mozaik.jpg, Mediana in Niš
File:Виминацијум24.jpg, Viminacium city model near Kostolac, capital of Moesia Superior
File:Viminatium.jpg, Viminacium thermae ruins near Kostolac
File:Виминацијум, Костолац, Римска вила DSC 3295.JPG, Viminacium reconstructed villa near Kostolac
File:Царичин град-Caričin grad 2.jpg, Justiniana Prima near Lebane
File:ULPIANA-lokaliteti arkeologjik.jpg, Justiniana Secunda near Lipjan
File:Trajan's Bridge Across the Danube, Modern Reconstruction.jpg, Trajan's Bridge reconstruction art, 1904
File:Remains of the Trajan's Bridge on the right bank of Danube, Serbia (27251575447).jpg, Trajan's Bridge on the Serbian border side
File:Traian's Table (Tabula Traiana).jpg, Tabula Traiana

Medieval period

Prohor Pčinjski Monastery was founded 1067–1071 by the Byzantine emperor Romanus IV in honor of Saint Prohor of Pčinja.

;Schools of architecture
* Raška architectural school
*Morava architectural school
*Vardar architectural school

Early Church architecture

Church of the Holy Apostles Peter and Paul is one of the few remaining building from early Middle Ages and UNESCO World Cultural Heritage site. Prohor Pčinjski Monastery was founded 1067–1071 by the Byzantine emperor Romanus IV in honor of Saint Prohor of Pčinja.
Church architecture mostly developed under the patronage of the Serbian state. The most distinctive piece of medieval Serbian architecture was the Studenica monastery founded by Stefan Nemanja, the founder of medieval Serbia in c. 1190. This monastery also featured significant works of art including its Byzantine style fresco paintings. Its church also features extensive sculptures based on Psalms and the Dormition of the Theotokos. UNESCO added this monastery to its list of World Cultural Heritage sites in 1986. It was the model for other monasteries at Mileševa, Sopoćani and the Visoki Dečani.

The influence of Byzantine art became more influential after the capture of Constantinople in 1204 in the Fourth Crusade when many Greek artists fled to Serbia. Their influence can be seen at the Church of the Ascension at Mileševa as well as in the wall paintings at the Church of the Holy Apostles at Peć and at the Sopoćani Monastery. Icons also formed a significant part of church art.

The influence of Byzantine architecture reached its peak after 1300 including the rebuilding of the Our Lady of Ljeviš (c1306-1307) and Church of St. George at Staro Nagoričane as well as the Gračanica monastery. Church decorative paintings also developed further in the period.

The Visoki Dečani monastery in Metohija was built between 1330 and 1350. Unlike other Serbian monasteries of the period, it was built with Romanesque features by master-builders under the monk Vitus of Kotor. Its frescoes feature 1000 portraits portraying all of the major themes of the New Testament. The cathedral features iconostasis, hegumen's throne and carved royal sarcophagus. In 2004, UNESCO listed the Dečani Monastery on the World Heritage List.

There was a further spate of church building as the Serbian state contracted to the Morava basin in the late 14th century. Prince Stefan Lazarević was a poet and patron of the arts who founded the church at Resava at Morava with the wall paintings having a theme of parables of Christ with the people portrayed wearing feudal Serbian costumes.

;Ecclesiastical monuments

*Petrova church, 800 AD, Stari Ras
* Đurđevi stupovi, 1166, Novi Pazar
* Our Lady of Ljeviš, 12th century, Prizren
*Studenica monastery, 1190, Kraljevo
*Patriarchate of Peć, 13th century, Peć
*Sopoćani monastery, 1265, Stari Ras
*Mileševa monastery, 1236, Prijepolje
*Visoki Dečani, 1327, Dečani
*Gračanica Monastery, 1321, Gračanica is an example of the Serbo-Byzantine Style (UNESCO World Heritage Site)
* Saint Archangels Monastery, 1343, Prizren

File:Студеница.jpg, Studenica monastery (1196), an example of unique medieval Serbian architecture, UNESCO World Heritage Site
File:Manastir Žiča.jpg, Žiča Monastery (1207-1217), the coronational site of the Serbian kings
File:Patrikana e Pejës.jpg, The Patriarchate of Peć is the historical residence of Serbian Archbishops, UNESCO World Heritage Site
File:Manastir Visoki Dečani (Манастир Високи Дечани) - by Pudelek..jpg, Serbian Orthodox Visoki Dečani monastersy, built in the 14th century, UNESCO World Heritage Site
File:Gracanica_1.jpg, Serbian Orthodox Gračanica monastery, built in the 14th century, UNESCO World Heritage Site

Serbo-Byzantine Style

This is an ecclesiastical architectural style that flourished in the Serbian Late Middle Ages, which was developed through fusing contemporary Byzantine architecture with Raskan influences to form a new style. By the end of 13th and in the first half of 14th century the Serbian state enlarged over Macedonia, Epirus and Thessaly up to the Aegean Sea. On these new territories Serbian art was even more influenced by the Byzantine art tradition.

Gračanica, which was entirely rebuilt by King Milutin in 1321, is the most beautiful monument of Serbian architecture from the 14th century. The church of this monastery is an example of a construction that achieved the highest degree of architecture not only in the Byzantine form but in the creation of an original and freestyle exceeding its models. The wall creation in steps is one of the basic characteristics of this temple. ''The Kings's Church'' in Studenica, characterized as an ideal church, was built in the first decades of the 14th century.

By the end of the third decade of the 14th century the Patriarchate of Peć had finally been shaped. The exterior of the Patriarchate is a vision of shapes characteristic of contemporary Serbian architecture. On the major part of the outer walls paint decoration was used instead of stone relief and brick and stone decoration. A typical Serbo-Byzantine church has a rectangular foundation, with a major dome in the center with smaller domes around the center one. The inside of the church is covered with frescos that illustrate various biblical stories and portrays Serbian saints.

Ottoman architecture in Serbia

The territory of what is now the Republic of Serbia was part of the Ottoman Empire throughout the Early Modern period, especially Central Serbia, unlike Vojvodina which has passed to Habsburg rule starting from the end of the 17th century (with several takeovers of Central Serbia as well).
Ottoman culture significantly influenced the region, in architecture, cuisine, language, and dress, especially in arts, and Islam.

Homes and manor houses of wealthier individuals in Serbia during Ottoman rule have distinct Turkish-style in their design. These ''konaks'' would fall from style in the later half of the 19th century, due to Serbia's independence from the Ottoman Empire and the shift to more western European trends in culture and architecture. Very few examples of Ottoman architecture survived after the 19th century due to this shift in culture and architectural appeal, mostly preserved in southern Serbia (such as Vranje) and in areas with a large Muslim population (such as Novi Pazar).

File:Wiki.Đerdap IV Kladovski Grad 143.jpg, Fetislam Fortress near Kladovo, 1524
File:Bajraklidzamija.jpg, Bajrakli Mosque in Belgrade, 1575
File:Novi Pazar at the Pester Plateau in Serbia 8244.NEF 18.jpg, Altun-Alem Mosque in Novi Pazar, 1516/28
File:Česma_Mehmed_Paše_Sokolovića_(1).jpg, Mehmed Paša Sokolović's Fountain in Belgrade, 1576/77
File:Islam-agina_džamija,_Niš,_Srbija,_14.JPG, Islam-aga's Mosque in Niš, 1720
File:Museum of Vuk and Dositej, Belgrade, Serbia.jpg, Building of the Museum of Vuk and Dositej in Belgrade, 1739
File:Pašin konak, salemluk 10.jpg, Pasha's Residence in Vranje, 1765
File:Wiki Šumadija XI Amidžin konak 671.jpg, Amidža Residence in Kragujevac, 1824
File:Konak kneginje Ljubice, Bgd.JPG, Princess Ljubica's Residence in Belgrade, 1830
File:Prince Miloš's Residence, Topčider, Belgrade, Serbia.jpg, Prince Miloš' Residence in Topčider, Belgrade, 1833
File:Beli most.JPG, White Bridge in Vranje, 1844
File:Kuća Bore Stanković - panoramio.jpg, House of Borisav Stanković in Vranje, 1855
File:Belgrade Planetarium closeup.jpg, Belgrade Planetarium, 1867

Modernity period

Modernity period between the late 18th to the early 20th century showcased the most rapid shift in architectural styles in Revolutionary Serbia, as well as areas controlled by the Habsburg Empire. Trying to cut ties from Ottoman influence, both politically, culturally and architectural, Serbia would shift towards more western European styled architecture and city planning that were common in Serb populated areas of the Habsburg Empire. Skilled architects from what would later be known as Vojvodina province, as well as educated architects from the Principality and later Kingdom of Serbia, would contribute in reshaping the visual appearances of most liberated Serbian cities south of the Danube. Ottoman inspired architectural styles persisted in the southern most areas, particularly in Sandžak and Kosovo and Metohija, mostly areas with larger muslim populations.

Folk and Vernacular Styles

Folk and vernacular architecture from Serb villages remains relatively preserved and recreated in several instances. This architectural style typically features wooden structures, sometimes plastered, in areas south of the Danube, typically secluded villages where Ottoman influence was less prevalent. These types of villages date from between 14th to 19th centuries. Southern Serbia also has a wide array of wooden churches build during these periods. These are also areas where Zapis, sacred trees in Serbian traditions, are widely practiced, due to most churches and places of christian worship being demolished by the Ottomans.

In contemporary Serbia, most of these types of villages are open-air museums ("ethno villages"), showcasing what life was like prior to westernization and industrialization.

File:Ves Kostunici pod Ravnou Gorou - stary mlyn.jpg, Koštunići, between 14th and 19th century
File:Staro Selo - Sirogojno5.JPG, Sirogojno, between 18th and 19th century
File:Sopotnica3.jpg, Sopotnica village and old watermill
File:Манастир Покајница 2.jpg, Wooden Orthodox Church of Pokajnica Monastery in Staro Selo
File:2014-08-04 13-32-34 Dub.jpg, Wooden Orthodox Church in Dub, 1792
File:2014-08-04 13-23-18 Dub.jpg, Interior of the Wooden Church in Dub
File:Drvengrad.jpg, Küstendorf ethno village recreation by Emir Kusturica near Mokra Gora, 2004

Salaš Style

Salaš are traditional type of farms in Vojvodina province (particularly Bačka and Srem) prior to mid-19th century, with some farms and villages recreating and preserving salaš aesthetic for village tourism. They use local materials such as mud, bricks, wood, and reed, with finer details crafted and built by traditional artists often utilizing motifs of the many different ethnic groups of Vojvodina. Some Vojvodina cities and towns still showcase salaš architecture, ether through preserved houses or museum models such as those in the Museum of Vojvodina in Novi Sad. In contemporary Serbia, most of these types of farms are open-air museums, restaurants, and/or hotels, showcasing what life was in this region prior to mass industrialization.

File:Oldest house in Bački Petrovac (3).jpg, Salaš in Bački Petrovac, 1799
File:Oldest house in Bački Petrovac - inside.jpg, Salaš interior in Bački Petrovac
File:Dida Hornjakov salaš 06.jpg, Dida Hornjakov salaš near Sombor, 1901
File:Dida Hornjakov salaš 12.jpg, Interior of Dida Hornjakov salaš
File:Dida Hornjakov salaš 13.jpg, Embroidery display in Dida Hornjakov salaš
File:016 Naš salaš, Gradina 16.jpg, Naš salaš in Gradina, Sombor, 1925
File:004 Naš salaš, Gradina 04.jpg, Interior of Naš salaš
File:Salaš Isailovi 28.07.2018 163.jpg, Isailovi salaš between Ruma and Sremska Mitrovica, 1965

Baroque and Rococo

During the short-lived Austrian rule over Belgrade, a Baroque quarter was built, with a square and several monumental buildings. After the reconquest of city by Ottoman Turks, all Baroque buildings were demolished.

Most Serbian Orthodox churches were built with all the characteristics of Baroque churches built in the Austrian and Hungarian administered regions. The churches usually had a bell tower (or two bell towers), and a single nave building with the iconostasis inside the church covered with Renaissance-style paintings. Most baroque churches would include elements of neo-classical architecture, contributing to a more eclectic design. These churches can mostly be found in Vojvodina province. Monasteries of Fruška Gora are an exceptional in their baroque religious architecture, with Krušedol, Grgeteg, Jazak, Velika Remeta and others being the best examples of Orthodox church architecture in the baroque style. Modern Orthodox religious architecture in Vojvodina would rarely recreate baroque styles, often opting for Serbo-Byzantine Revival style instead. There are also examples of Catholic and Protestant churches in this style, though communities from these christian denominations would often opt in designing churches in different revival styles, such as neo-gothic and neo-romanesque.

Non-religious baroque architecture is prevalent in areas around or north the Danube, mostly in areas of modern Vojvodina province that were under the Habsburg Empire. Bastion forts of Belgrade, Niš, Petrovaradin, Pančevo and Sremska Rača were built during these periods, often with baroque styled buildings. Petrovaradin Fortress and it's Old town is the best preserved settlement and fortification in Serbia with baroque styled architecture.

Novi Sad had a wider mix of architecture before the Hungarian Revolution of 1848. Most of the city was raise to the ground (2004 out of 2812 were destroyed) by Hungarian revolutionaries bombarding it from Petrovaradin Fortress. After that period, the architectural legacy of Novi Sad would mostly be preserved in baroque styled architecture and subsequent historic revival styles. However, most of the baroque styled buildings would have less richer architectural significance compared to the ones preserved in Petrovaradin.

Sremski Karlovci, besides Petrovaradin, is one of the best preserved settlement with baroque styled architecture in Serbia, which was a religious and political center of all Serbs in Habsburg Empire. The settlement also has one of the rare examples of Rococo in Serbia, with Sabov-Dejanović's House (one of the oldest preserved buildings in Sremski Karlovci).

File:Reconstructed facades in Petrovaradin.jpg, Most buildings in the old part of Petrovaradin in Novi Sad is in the baroque style
File:Wiki.Vojvodina IX Kapela Svetog Jovana Nepomuka 122.jpg, Rococo Chapel of St. John Nepoumuk in Sombor, 1751
File:Wiki.Vojvodina VI Vršac 215.jpg, Bishop's Court in Vršac, 1757
File:Saborna i Rimokatolička crkva - panoramio.jpg, Orthodox Cathedral of St. Nicholas (1758) and Catholic Church of the Holy Trinity (1768) in Sremski Karlovci
File:Petrovaradin Fortress (Péterváradi vár, Peterwardein).JPG, Petrovaradin Fortress by Mathias Keyserfeld, Luigi Ferdinando Marsigli, Sébastien Le Prestre de Vauban and Michael Wambergin in Novi Sad, 1780
File:Sremski Karlovci, 2010-10-24 - panoramio (2).jpg, Sabov-Dejanović's Rococo House in Sremski Karlovci, 1790
File:Subotica (Szabadka, Суботица) - catholic cathedral.JPG, St. Theresa of Avila Catholic Cathedral in Subotica, 1797
File:Serbia-0290 - Orthodox Cathedral of Saint George.jpg, Orthodox Cathedral of St. George by Milan Michal Harminc in Novi Sad, 1805
File:Church of the Assumption in Pancevo.jpg, Orthodox Church of the Dormition of the Holy Virgin in Pančevo, 1810

Historic Styles

Gothic Revival

Neo-gothic architecture is mostly relegated to Vojvodina province, usually used for catholic churches, with some examples of manor and town houses incorporating the style such as the Kapetanovo castle. Due to their height, neo-gothic churches are still among the tallest structures in Serbia.

File:Wiki.Vojvodina VII Subotica 4503 01.jpg, Franciscan monastery of St. Michael in Subotica, 1729
File:Belgrad - Museum Zemun (Spirtina Haus).jpg, Spirta House by Heinrich von Ferstel in Zemun, Belgrade, 1855
File:Wiki.Vojvodina VI Vršac 444.jpg, Catholic Church of St. Gerard the Bishop and Martyr by Franz Brandeissin in Vršac, 1863
File:Tekije snezna marija.JPG, The Our Lady of Snow Ecumenic Church by Hermann Bollé in Petrovaradin, Novi Sad, 1881
File:Reformatska crkva u Zrenjaninu, severna fasada sa tornjem.jpg, Reformation Church by Ferenca Zaboreckog in Zrenjanin, 1891
File:Crkva imena Marijinog.jpg, Catholic Name of Mary Church by György Molnár in Novi Sad, 1894
File:Pinova vila u Zrenjaninu, 1939.god.jpg, Pin's Villa in Zrenjanin by Laslo Đaluš, 1894
File:Wiki.Vojvodina VII Subotica 5427 01.jpg, Catholic Church of St. Roch in Subotica, 1896
File:Rutizam-com-452 2093uk obj obj-01-p3250076.jpg, Kapetanovo Castle in Stari Lec, 1904
File:Sarlós Boldogasszony Templom - Topolya.jpg, Catholic Church of St. Virgin Mary in Bačka Topola, 1906
File:Futog - Serbia - catholic church.JPG, Catholic Church of the Heart of Jesus in Futog, Novi Sad, 1908
File:Dvorac Fantast 13.jpg, Fantast Castle in Bečej, 1925

Romanesque Revival

Romanesque Revival Style mostly relegated to Vojvodina province, specifically Catholic and Protestant areas.

File:Zrenjanin Cathedral.jpg, Catholic Cathedral of St. John of Nepomuk by László Német in Zrenjanin, 1867
File:Zgrada suda u Zrenjaninu.jpg, Court House by Sándor Eigner in Zrenjanin, 1908
File:Catholic church in Ecka.jpg, Catholic Church of St. John the Baptist in Ečka, 1864
File:Salašarska crkva posvećena Uznesenju Bogorodice u Bikovu.jpg, Catholic Church of the Assumption in Bikovo, 1912
File:Novisad8.jpg, Catholic Church of St. Elizabeth by Mihajl Plavec in Novi Sad, 1931
File:Európa kollégium.jpg, Hungarian Student Dorm "Europe" by Bela Migoi in Novi Sad, 2015

Eclecticism and Academic Style

Eclecticism was a common architectural movement in throughout Serbia in the later half of the 19th and early 20th century. It was a mixture of several historic revival styles common in Western Europe at the time, such as neo-classical, neo-renaissance, neo-romanticic, neo-baroque styles, even Serbo-Byzantine Revival. Most revival styles tended to incorporate eclecticism in exterior and interior designs.

File:National Museum of Serbia (DSC04612).jpg, National Museum of Serbia by Andra Stevanović and Nikola Nestorović in Belgrade, 1844
File:Beograd - Stari Dvor (29994124437) (crop).jpg, Obrenović Palace by Aleksandar Bugarski and Jovan Ilkić in Belgrade, 1884
File:Wiki.Vojvodina III Dvorac Eđšeg 297.jpg, Eđšeg Castle by Molnár György and Karl Lehrer in Novi Sad, 1890
File:Zimonyi emlékmű1896-38.JPG, Gardoš Tower in Zemun, Belgrade, 1896
File:Gimnazija Jovan Jovanović Zmaj Novi Sad.jpg, Jovan Jovanović Zmaj Gymnasium by Vladimir Nikolić in Novi Sad, 1900
File:Vladičanski dvor1.jpg, Bishop's Court by Vladimir Nikolić in Novi Sad, 1901
File:Matica Srpska - panoramio (1).jpg, Matica Srpska by Momčilo Tapavica in Novi Sad, 1912

Classical Revival

Neoclassicism movement was concentrated in large city centers such as Belgrade, used for important institutions and religious buildings between the 18th and early 20th centuries. It would often be used as a basis design element for other historic revival styles at the time, contributing to eclecticism. Pure classical revival architecture of Western Rome and ancient Greece as seen in other European countries is rare in Serbia, due to the more common movement towards Eastern Roman, or Byzantine, architectural designs also reminiscent of medieval Serbian architecture.

File:Stara Gradska kuca.jpg, Old City Hall in Sombor, 1749
File:Kikinda main square nr 21.jpg, People's Museum in Kikinda, 1839
File:Саборна црква у Београду DSC 0017 Saborna crkva.jpg, Orthodox Cathedral of St. Michael by Adam Friedrich Kwerfeld in Belgrade, 1840
File:Univerzitetska biblioteka, Beograd 10.jpg, University Library Svetozar Marković by Dragutin Đordjević and Nikola Nestorović in Belgrade, 1844
File:Folk Theater Subotica Serbia.JPG, National Theatre in Subotica, 1854
File:Sombor-Theater-20160404.jpg, National Theater by Adolf Vajte in Sombor, 1882
File:Belgrade Main railway station (železnička stanica Beograd glavna).jpg, Main railway station by Dragutin Milutinović in Belgrade, 1884

Renaissance Revival

Renaissance Revival architecture was a short lived movement at the end of the 19th century, mostly relegated to few buildings in Vojvodina province, with fewer examples in southern cities, such as Belgrade and Niš.

File:Nis University.JPG, Morava Banovina Palace in Niš, 1886
File:Palata zgrade Narodne banke (Kralja Petra 12 Beograd).jpg, National Bank Building by Konstantin and Anastas Jovanović in Belgrade, 1890
File:Beograd Narodna banka Srbije Kralja Petra 12 01.jpg, Interior of the National Bank Building in Belgrade, 1890
File:Gradsko jezgro Kikinde 08.jpg, City Hall in Kikinda, 1893
File:Gradska kuca u Novom Sadu.jpg, City Hall by Molnár György in Novi Sad, 1895
File:Wiki.Vojvodina IX Preparandija 167.jpg, Preparandija by Georgije Branković in Sombor, 1895
File:Palata „Atina“ 1.JPG, Palace Atina by Dimitrije T. Leko in Belgrade, 1902

Baroque Revival

Neo-baroque movement occurred at in the late 19th century, often mixing classic baroque architecture elements with existing architecture movements at the time.

File:Serbia, Belgrade - National Theatre, 01.04.2011.jpg, National Theatre in Belgrade, 1869
File:Belgrade_Cooperative,_front_view.jpg, Belgrade Cooperative by Andra Stevanović and Nikola Nestorović, 1882
File:Beogradska zadruga-03.jpg, Interior of Belgrade Cooperative, 1882
File:Sombor (Zombor) - town hall.JPG, City Hall by Gyula Pártos in Sombor, 1882
File:Patriarchate Court in Sremski Karlovci 04.jpg, Patriarchate Court by Vladimir Nikolić in Sremski Karlovci, 1895
File:Грчкошколска 2.JPG, Central credits bureau building by Franc Vorud and Đorđe Jovanović in Novi Sad, 1896
File:Centar I, Subotica, Serbia - panoramio (2).jpg, City Library by Feren J. Raichle in Subotica, 1896
File:Ugao Grčkoškolske i Svetozara Miletića - panoramio.jpg, Town House of Jaša Dunđerski in Novi Sad

Romanticism and Byzantine Revival

Neo-romanticism was mostly inspired by French architecture at the time. It would develop in parallel with Serbia's own national romanticism revival movement, often blending the two revival movements.

File:Uzice 23.avgust 2009 004.jpg, Orthodox Church of St. George by Jan Nevole in Užice, 1844
File:Pancevo oldchurch.jpg, Orthodox Church of Holy Transfiguration by Svetozar Ivačković in Pančevo, 1873
File:Crkva Svetog Dimitrija, Zemun 04.jpg, Church of St. Demetrius by Svetozar Ivačković in Zemun, Belgrade, 1878
File:Wiki Šumadija XIV Crkva Svete Trojice (Grocka) 101.jpg, Orthodox Church of the Holy Trinity in Belgrade, 1883
File:Belgrade - Centre for Climate Change.jpg, Astronomical and Meteorological Observatory of Belgrade University by Dimitrije T. Leko in Belgrade, 1891
File:Crkva na Novom Groblju.JPG, Church of St. Nicholas by Svetozar Ivačković in Belgrade, 1893
File:Kuća kod gvozdenog čoveka - panoramio.jpg, Iron Man Palace by Bеlа Pаklо in Novi Sad, 1909
File:Kalemegdan - panoramio (10).jpg, Big Staircase in Kalemegdan Park in Belgrade, 1928

Serbo-Byzantine Revival

The 19th century was a time of development of Serbian nationalism, which sought to develop a "national style" in architecture too, in line with national romanticism ideas. Within the broader movement of historicism, in parallel to neoclassical architecture, Serbia saw the development in particular of a Byzantine Revival architecture style.

Serbia's modern sacral architecture got its main impetus from the dynastic burial church in Oplenac which was commissioned by member of the Karađorđević dynasty in 1909. With the arrival of Russian émigré artist after the October revolution, Belgrade's main governmental edifices were planned by eminent Russian architects trained in Russian Empire. It was King Aleksandar I. who was the patron of the neobyzantine movement. Its main proponents were Aleksandar Deroko, Momir Korunović, Branko Krstić, Petar Krstić, Grigorijji Samojlov and Nikolay Krasnov. Their main contribution were Beli dvor, the Church of Saint Sava, St. Mark's Church, Belgrade. After the communist era ended Mihailo Mitrović and Nebojša Popović were proponents of new tendencies in sacral architecture which used classic examples in the Byzantine tradition. The style would even incorporate elements of Art Nouveau and Secession with national motifs.

Serbo-Byzantine Revival is still prevalent in contemporary Serbia, especially with religious buildings such as churches and monasteries.

File:Saint Mark church (DSC04685).jpg, St. Mark's Church, Belgrade in Belgrade, 1835
File:Dom Vukove zadužbine 2.jpg, House of Vuk's Foundation by Branko Tanazević in Belgrade, 1879
File:Palais des nations étrangères, la Serbie.jpg, Pavilion of Serbia at the Exposition Universelle in Paris, France, 1900
File:Kirche des Hl. Georg in Topola (Oplenac) Serbien.jpg, Orthodox Church of St. George by Konstantin Jovanović in Topola, 1910
File:Church_of_St._George_in_Topola_(by_Pudelek)_1.JPG, Crypt of Oplenac mausoleum by Nikolay Krasnov, 1910
File:Zgrada stare Telefonske centrale u Kosovskoj ulici, Beograd 01.jpg, Old telephone exchange by Branko Tanazević in Belgrade, 1923
File:Old Post Office in Belgrade during winter.jpg, Old Post Office by Momir Korunović in Belgrade, 1929
File:Зграда Соколског дома „Матица“ 1.JPG, Falconry building ''Matica'' by Momir Korunović in Belgrade, 1935

Art Nouveau and Secession Style

The Art Nouveau and Vienna Secession style flourished in Serbia, especially in the north of the country at the turn of the 20th century, when the Vojvodina region was still part of the Hungarian kingdom under the Habsburgs. Subotica hosts particularly remarkable buildings from the period, inspired by Hungarian Szecesszió. Other cities such as Novi Sad Zrenjanin and Belgrade were not immune from the architectural novelty either.

During the first decade of the 20th century, more monumental, but also smaller, objects were built in Novi Sad, which we now classify as secessionist. The residential palaces of the Menrat, Winkle and Adamović families, then the new premises of Synagog, City Hospital, Iodine Spa, Hungarian Gymnasium and a whole range of other buildings were created under the influence of the new style. These buildings fitted into the city's historic core, spread to still unbuilt plots of new streets, and were built in the years after the First World War, heralding the modern architecture of the 20th century. Thanks to the principles of secession, new materials have been introduced into the architecture (concrete, glass, forged iron, ceramics), functional residential and public spaces have been created, facades have been revived with imaginative constructive solutions and new decorative repertoire, and the urban matrix has acquired its present-day appearance. Most notable examples of secession architecture in Novi Sad are from the Vienna secession style.

* Novi Sad: Bank of Vojvodina (1904), Novi Sad Synagogue (1909), Tomin's Palace (1909),

File:Zyrfadawaxdk.jpg, Iodine Spa in Novi Sad, 1897
File:Vojvodanskabanka (Novi Sad EX version).jpg, Bank of Vojvodina in Novi Sad, 1904
File:Ihreqdoauwhk.jpg, Novi Sad Synagogue by Lipót Baumhorn, 1905
File:Wiki.Vojvodina II Ulica Kralja Aleksandra 235.jpg, Winkle Family Palace by Károly Kovács in Novi Sad, 1906/07
File:Novisad7.jpg, Menrat Family Palace by Lipót Baumhorn in Novi Sad, 1908
File:Wiki.Vojvodina II Trg Marije Trandafil 275.jpg, Tomin's Palace in Novi Sad, 1909
File:Adamovićeva palata - panoramio (1).jpg, Adamović Family Palace by Geza Markuš i Friđeš Špigel in Novi Sad, 1911
File:ETŠ Mihajlo Pupin Novi Sad 1.jpg, Mihajlo Pupin secondary school of electrical engineering by Bеlа Pаklо i Štrоb Мikšа in Novi Sad, 1921

Subotica has about 100 buildings built in the style of secession, that the style arrived in Subotica via Budapest and that there are two styles. One has looked to such European flows as in Munich, Paris, Vienna, while the other is more committed, national, and what they call the Hungarian version of secession (Szecesszió). Among them are the most famous in the protected core of the city of Subotica, such as the City Hall, Synagogue, Former Savings Bank, and more, which were designed by Marcell Komor and Dezső Jakab. Subotica Synagogue is exceptional even among other Synagogues of Europe, being the only one in the Hungarian Szecesszió style.

* Subotica: Synagogue (1901), Raichle Palace (1904), City Hall (1910),
* Sombor: Arena (Sombor) Movie Theater (1912),

File:Wiki.Vojvodina VII Subotica 4599 03.jpg, Subotica Synagogue by Marcell Komor and Dezső Jakab, 1901
File:Subotica Synagogue, interior.jpg, Subotica Synagogue Interior by Marcell Komor and Dezső Jakab, 1901
File:Centar I, Subotica, Serbia - panoramio (3).jpg, Raichle Palace in Subotica, 1904
File:Wiki.Vojvodina VII Subotica 4593 01.jpg, Municipal Museum by Vágó Brothers in Subotica, 1906
File:Centar I, Subotica, Serbia - panoramio (1).jpg, Former Savings Bank by Marcell Komor and Dezső Jakab in Subotica, 1907
File:Centar I, Subotica, Serbia - panoramio (4).jpg, Subotica City Hall by Dezső Jakab, 1910
File:Serbia - Palić - tower.JPG, Water Tower by Marcell Komor and Dezső Jakab in Palić, Subotica, 1910
File:Wiki.Vojvodina VII Ženski paviljon 4291 05.jpg, Women's Pavilion by Marcell Komor and Dezső Jakab in Palić, Subotica, 1910
File:Biskop Arena01.jpg, Arena Movie Theater in Sombor, 1912

Most of the Zrenjanin secession buildings were built at the end of the 19th century, at a time of intense economic growth and very vibrant construction activity, which is particularly accelerated before the start of the First World War. Both Vienna and Hungarian Szecesszió styles were prevalent in the city for both residential homes, villas, and important institutional buildings such as the City Hall. Karlo Helmbold's House, also known as Šeherezada, is a rare example of Moorish Revival style in Serbia, with both secession and oriental elements.

* Zrenjanin: Lipot Goldšmit's House (1870s), City Hall (1887), Karađorđević Bridge (1904), Dunđerski Family Palace (1906), Bence House (1909),

File:Zgrada Lipota Goldšmita.jpg, Lipot Goldšmit's House in Zrenjanin, 1870s
File:Županijska palata u Zrenjaninu.jpg, City Hall by Gyula Pártos in Zrenjanin, 1887
File:Šeherezada.jpg, Karlo Helmbold's House (Šeherezada) by Ištvan Bart in Zrenjanin, 1900
File:Wiki.Vojvodina IV Staro jezgro Zrenjanina 078.jpg, Dunđerski Family Palace in Zrenjanin, 1906
File:Small Bridge in Zrenjanin, Serbia..jpg, Karađorđević Bridge (previously named Franz Josef Bridge) in Zrenjanin, 1904
File:Benceova_robna_kuća.jpg, Bence House in Zrenjanin, 1909
File:Kuća profesora Borjanovića šezdesetih godina.jpg, Professor Borjanović's House by János Pányi in Zrenjanin, 1913

Belgrade at the turn of the 20th century would showcase a wide array of secessionist architecture, both international and local styles. Most common international style was from Vienna, with buildings of Merchant Stamenković, Uroš Predić and Leona Panajot showcasing this style's common visual patterns. The local style evolved from Serbo-Byzantine Revival, adding Serbian national motifs with secessionist sensibilities. Building such as the House of Vuk's Foundation and Old telephone exchange by Branko Tanazević, and Old Post Office by Momir Korunović, showcase the blend of medieval church motifs with modern art nouveau. Most non-religious Serbo-Byzantine Revival architecture had secessionist motifs in its design, such as the Courthouse in Niš.

* Belgrade: Hotel Moskva (1908), Vučo’s House on the Sava River (1908), Uros Predic's Studio (1908), Mika Alas's House (1910),
* Pančevo: Pučka Bank (1868),
* Niš: Courthouse (1910).

File:Pančevo Banka2.JPG, Pučka Bank in Pančevo by Albert Kálmán Kőrössy and Ullmann Gyula, 1868
File:Beograd Kuca trgovca Stamenkovica Kralja Petra 41.jpg, Building of Merchant Stamenković in Belgrade by Andra Stevanović and Nikola Nestorović, 1907
File:Hotel Moskva (Belgrade).jpg, Hotel Moskva in Belgrade by Jovan Ilkić, 1908
File:Атеље Уроша Предића.jpg, Uros Predic's Studio built in Vienna Secession style in Belgrade, 1908
File:Vuco's house (61-61a Karadjordjeva street, Belgrade) 02.jpg, Vučo’s House on the Sava River, 1908
File:Кућа Леоне Панајот 2012-09-29 10-33-29.jpg, House of Leona Panajot by Đura Bajalović in Belgrade, 1908
File:House of Mika Alas in 2020 (2).jpg, Mika Alas's House in Belgrade by Petar Bajalović, 1910
File:A town hall wannabe..jpg, Courthouse by Jovan Novaković in Niš, 1910

Royalist Yugoslav period

Yugoslav architecture emerged in the first decades of the 20th century before the establishment of the state; during this period a number of South Slavic creatives, enthused by the possibility of statehood, organized a series of art exhibitions in Serbia in the name of a shared Slavic identity. Following governmental centralization after the 1918 creation of the Kingdom of Yugoslavia, this initial bottom-up enthusiasm began to fade. Yugoslav architecture became more dictated by an increasingly concentrated state authority which sought to establish a unified state identity.

Beginning the 1920s, Yugoslav architects began to advocate for architectural modernism, viewing the style as the logical extension of progressive national narratives. The Group of Architects of the Modern Movement, an organization founded in 1928 by architects Branislav Kojić, Milan Zloković, Jan Dubovy, and Dušan Babić pushed for the widespread adoption of modern architecture as the "national" style of Yugoslavia to transcended regional differences. Despite these shifts, differing relationships to the west made the adoption of modernism inconsistent in Yugoslavia WWII. Of all Yugoslavian cities, Belgrade and Novi Sad have the highest concentration of modernist structures. Air Force Command by Dragiša Brašovan is one of the biggest interwar modernist buildings in Belgrade, and Danube Banovina in Novi Sad of the same architect being the best example of stripped classicism in Serbia.

Interwar Academic Style

A continuation of the pre-war Eclectic Styles, the interwar Academic Style was spearheaded by architects from the Serbian Academy of Sciences and Arts as well as white émigré from the Russian Empire, fleeing the Soviets. It uses all historic revival styles from the past century in its visual design.

File:KnezMihailova_ped.jpg, Serbian Academy of Sciences and Arts building in Belgrade, 1922
File:Novi Dvor (1).JPG, Karađorđević Palace by Stojan Titelbah and Momir Korunović in Belgrade, 1922
File:Bâtiment_officiel.jpg, Ministries of Forestry and Agriculture, façade by Nikolay Krasnov in Belgrade, 1923
File:Zgrada vlade - panoramio.jpg, Ministry of Finance of Serbia Building by Nikolay Krasnov in Belgrade, 1926-28
File:Museum of Nikola Tesla, Belgrade, Serbia-cropped.JPG, Nikola Tesla Museum by Dragiša Brašovan in Belgrade, 1927
File:Zgrada Ministarstva saobraćaja u Beogradu.JPG, Railway Museum by Svetozar Jovanović in Belgrade, 1931
File:ParlamentBelgrad.jpg, The Parliament of Serbia, and the headquarters of the Serbian Post in Belgrade, 1938

Art Nouveau and Art Deco

There was a short continuation of Art Nouveau in the interwar period, mostly replaced by other modernism movements. Art Deco in Serbia was not as popular of a architectural style as Art Nouveau was. Only few buildings took design elements from the movement, with an emphasis on statues, figure and word reliefs as part of the building's design. The Embassy of France in Belgrade by Roger-Henri Expert and Josif Najman is the best example of Art Deco present in Serbia. Other examples took elements of existing modernism designs, contributing to a more eclectic approach to Art Deco in Serbia.

File:Street_Knez_Mihailova.png, Ruski car Tavern by Petar Popović and Dragiša Brašovan in Belgrade, 1926
File:Embassy of France, Belgrade, Serbia.jpg, Embassy of France by Roger-Henri Expert and Josif Najman in Belgrade, 1933
File:Zgrada_Pravnog_fakulteta_u_Beogradu_(DSC04691).jpg, University of Belgrade Faculty of Law by Petar Bajalović, 1937
File:Staro sajmište 3.jpg, Old Fair Complex in Belgrade, 1937
File:Spomenik neznanom junaku, Avala, Beograd.JPG, Monument to the Unknown Hero by Ivan Meštrović and Stevan Živanović in Avala, 1938
File:Игуманова палата у Биограду 2021. са обновљеном скулптуром, коју су "ослободиоци" скојевци разбили чекићима.jpg, Igumanov's Palace by Lojze Dolinar, Petar and Branko Krstić in Belgrade, 1938
File:D.Brašovan Zgrada BIGZ-a 2.JPG, BIGZ building by Dragiša Brašovan in Belgrade, 1940
File:Pozoriste na Terazijama, Beograd. Centralni hol.jpg, Interior of the Terazije Theatre by Georgije Samoylov in Belgrade, 1949

Interwar Modernism

Interwar Modernism in Serbia consists of buildings stripped from most decorative elements. Some were reminiscent of classicism, while others incorporated a few elements from Serbo-Byzantine Revival.

File:Kuća Milana Zlokovića 5.JPG, Zloković House in Belgrade, 1927
File:Hotel na Avali, V. Lukomski.tif, ''Hotel Avala'' by Viktor Lukomski, modernism combined with traditional architectural elements, 1928
File:Ратнички дом (Дом ЈНА) 2012-09-17 17-38-08.jpg, Veterans' Club Building in Belgrade, 1939

File:Palace_Albania.jpg, Palace Albanija, 1939, the first skyscraper in Southeast Europe
File:Свјетлопис зграде владе Војводине Србије, Нови Сад.jpg, Danube Banovina Palace stripped classicism by Dragiša Brašovan in Novi Sad, 1939
File:Tanjug Beograd 3.JPG, PRIZAD Building stripped classicism by Bogdan Nestorović in Belgrade, 1939

Socialist Yugoslav period

The architecture of Yugoslavia was characterized by emerging, unique, and often differing national and regional narratives. As a socialist state remaining free from the Iron Curtain, Yugoslavia adopted a hybrid identity that combined the architectural, cultural, and political leanings of both Western liberal democracy and Soviet communism.

Socialist Realism (1945–48)

Immediately following the Second World War, Yugoslavia's brief association with the Eastern Bloc ushered in a short period of socialist realism, specifically in building architecture. Centralization within the communist model led to the abolishment of private architectural practices and the state control of the profession. During this period, the governing Communist Party condemned modernism as "bourgeois formalism," a move that caused friction among the nation's pre-war modernist architectural elite. Dom Sindikata built in 1947 is one of very few examples of socialist realism in building architecture. The movement would however persist in a large amount of World War II memorials and monuments, known as ''spomenik'', despite the Yugoslav-Soviet split in 1948.

File:Nikola Pašić (Marks i Engels) tér, szemben a Jugoszláv Szakszervezeti Székház (Dom sindikata Jugoslavije). Fortepan 31525.jpg, Dom Sindikata by Branko Petričić in Belgrade, 1947
File:BajinaBastaWWIIMonument.jpg, Monument to fallen fighters by Stevan Bodnarov in Bajina Bašta, 1952
File:Свјетлопис спомен комплеса, од комуниста називаног, ослободилаца Београда.jpg, Memorial cemetery of the Liberators of Belgrade in 1944 by Branko Bon and Radeta Stanković, 1954
File:Авијатичарски трг1.JPG, Monument to the fallen from the People's Revolution 1941–1945 by Jovan Kratohvil in Zemun, Belgrade, 1954
File:Део градског центра Ивањице, Споменик-мозаик „Револуцији“, 1957. година, Ђорђе Андрејевић Кун, 1.JPG, Monument to the Revolution by Đorđe Andrejević-Kun in Ivanjica, 1957
File:Spomenik u gradskom parku, Kraljevo 02.jpg, Monument of Resistance and the Fallen by Lojze Dolinar in Kraljevo, 1959
File:Venac, partyzánský památník.jpg, “Freedom” Monument by Sreten Stojanović in Iriški Venac, Fruška Gora, 1961

Modernism (1948–92)

Socialist realist architecture in Yugoslavia came to an abrupt end with Josip Broz Tito's 1948 split with Stalin. In the following years the nation turned increasingly to the West, returning to the modernism that had characterized pre-war Yugoslav architecture. During this era, modernist architecture came to symbolize the nation's break from the USSR (a notion that later diminished with growing acceptability of modernism in the Eastern Bloc). The nation's postwar return to modernism is perhaps best exemplified in Vjenceslav Richter's widely acclaimed 1958 Yugoslavia Pavilion at Expo 58, the open and light nature of which contrasted the much heavier architecture of the Soviet Union. A number of architects from Serbia made important modernistic buildings across Africa and Middle East. Architect Mihajllo Mitrović was one of the several notable authors from the period. He is best known for modernistic buildings inspired by Art-Nouveau and Western City Gate. This period is marked with breakthrough modernistic designs, some of which still hold international records to this day for their construction and architectural achievements.

File:SIV Building, 20120506 2.jpg, Palace of Serbia by Potočnjak and Janković in Belgrade, 1950
File:Belgrade Fair - Hall 1.jpg, Belgrade Fair – Hall 1, Europe's largest dome and the world's largest dome between 1957 and 1965
File:Ušće.JPG, Ušće Towers, 1964 and Museum of Contemporary Art (bottom left), 1958
File:Novi Sad railway station 2021.jpg, Railway station by Imre Farkas in Novi Sad, 1964
File:Beogradjanka, Belgrade, Serbia.jpg, Beograđanka Tower by Branko Pešić, 1974
File:Spens.jpg, SPC Vojvodina by Živorad Janković, Branko Bulić and Duško Bogunović in Novi Sad, 1981
File:Zgrada VMA (1).jpg, Military Medical Academy by Josip Osojnik and Slobodan Nikolić in Belgrade, 1981

Spomeniks in Serbia

During this period, the Yugoslav break from Soviet socialist realism combined with efforts to commemorate World War II, which together led to the creation of an immense quantity of abstract sculptural war memorials, known today as ''spomenik''

File:Da.se.ne.zaboravi.jpg, Šumarice Memorial Park by Miodrag Živković in Kragujevac, 1953
File:Spomen park Bubanj.JPG, "Three fists" Monument by Ivan Sabolić in Niš, 1963
File:Kosmaj spomenik2.jpg, Monument to Kosmaj Partisan Detachment by Vojin Stojić and Gradimir Stojaković in Belgrade, 1971
File:Leskovacpanoramic.jpg, Leskovac Memorial Park by Bogdan Bogdanović, 1971
File:Kosovska Mitrovica monument.jpg, Miners' monument by Bogdan Bogdanović in Kosovska Mitrovica, 1973
File:Vlasotince war monument.jpg, Shrine to the fallen freedom fighters by Bogdan Bogdanović in Vlasotince, 1975
File:Kadinjača 028.jpg, Kadinjača Memorial by Miodrag Živković and Aleksandar Đokić, 1979

Brutalism

In the late 1950s and early 1960s Brutalism began to garner a following within Yugoslavia, particularly among younger architects, a trend possibly influenced by the 1959 disbandment of the Congrès Internationaux d'Architecture Moderne. Besides numerous brutalist buildings in the capital, other notable examples can be found in Novi Sad, Priština, Požarevac, Arilje, Užice, Sremska Mitrovica and other parts of the country. Brutalism would be a prevalent architectural style in Serbia, changing the design, scale and use of concrete elements in building construction, up until the end of the 20th century with the breakup of Socialist Yugoslavia. Yugoslav Brutalism in Serbia incorporates elements of modernism, structuralism, metabolism, and constructivism.

* Belgrade's Museum of Yugoslavia (1962) by Mihajlo Janković
* New Belgrade's town hall (1967) by Stojan Maksimovic and Branislav Jovin
* Belgrade's Toblerone building (1963) by Rista Šekerinski
* Belgrade's 25 May Sportcenter (1975) by Ivan Antić
* Belgrade's Eastern City Gate (1976) by Vera Ćirković
* Belgrade's Western City Gate (1977) by Mihajlo Mitrović
* Novi Sad's Elektrovojvodina (1977/78) by Milan Matović
* Belgrade's Sava Centar (1979) by Stojan Maksimović
* New Belgrade's Blocks 22, 23, 28, 30, 61, 62, 63
* Užice's Hotel Zlatibor (1981) by Svetlana Kana Radević
* Novi Sad's Liman 1, 2, 3, 4 (1960-1990)
** Novi Sad's University campus (1960-1990)

File:Bežanijski Blokovi crop.jpg, Bežanijski Blokovi in New Belgrade, Belgrade, 1948/90
File:Pravni fakultet UNS.jpg, Faculty of Law of the University of Novi Sad, 1960s
File:Novi Sad, bulevar Oslobođenija.jpg, Buildings at Liberation Boulevard in Novi Sad, 1960s
File:Avala_Tower.jpg, Avala Tower by Uglješa Bogunović and Slobodan Janjić, 1965
File:Kruševac - Hotel Rubin.JPG, Hotel Rubin in Kruševac, 1974
File:Свјетлопис Источне капије Биогрда, грађене у масонском пирамидалном стилу.jpg, Eastern City Gate by Vera Ćirković in Belgrade, 1976
File:Jugotours Beograd Dec 2003.jpg, Western City Gate by Mihajlo Mitrović in Belgrade, 1977
File:Novi Sad, Bulevar Oslobođenja, budova Elektrovojvodiny.jpg, Elektrovojvodina Building by Milan Matović in Novi Sad, 1977/78
File:Novo naselje03.jpg, Bistrica buildings at Bate Brkića Boulevard by Neimar enterprise, Blagoje and Natalija Nataša Reba in Novi Sad, 1978
File:Beograd, 2013-07-23 - panoramio (4).jpg, Sava Centar Stojan Maksimović in Belgrade, 1979
File:Užice, June 2013 (1).JPG, Hotel Zlatibor by Svetlana Kana Radević in Užice, 1981
File:Kule na Limanu.JPG, Liman 4 Towers by Neimar enterprise in Novi Sad, 1990

Decentralization

With 1950s decentralization and liberalization policies in SFR Yugoslavia, architecture became increasingly fractured along ethnic lines. Architects increasingly focused on building with reference to the architectural heritage of their individual socialist republics in the form of critical regionalism.
Growing distinction of individual ethnic architectural identities within Yugoslavia was exacerbated with the 1972 decentralization of the formerly centralized historical preservation authority, providing individual regions further opportunity to critically analyze their own cultural narratives.

International style

International style in Serbia in the later half of the 20th century mostly consists of buildings stripped from most decorative elements, having an emphasis on glass skyscraper styled designs. This trend would continue in the early decades of the 21st century, with some design variations starting to appear in the early 2010s.

File:Hotel Sloboda Šabac 002.jpg, Hotel Sloboda by Slobodan Janjić in Šabac, 1977
File:Continental_Hotel,_Belgrade,_Serbia._Looking_up.jpg, Crowne Plaza Belgrade by Stojan Maksimović, 1979
File:Novi_Beograd_-_Hotel_Hyatt_02.jpg, Hyatt Regency Belgrade, 1990
File:Belgrade-avio-museum.jpg, Museum of Aviation by Ivan Štraus, 1989
File:NISbuildingNS.jpg, NIS building by Aleksandar Keković in Novi Sad, 1998

Contemporary period

The international style, which had arrived in Yugoslavia already in the 1980s, took over the scene in Belgrade after the wars and isolation of the 1990s. Big real estate projects, including Sava City and the redevelopment of the Ušće Towers, led the ground, with little respect for the local architecturale heritage.

Before and also after the Yugoslav wars numerous architects left Serbia and continued their work in a number of European, American and African countries, creating several hundreds of building.

In 2015, an agreement was reached with Eagle Hills (a UAE company) on the Belgrade Waterfront (''Beograd na vodi'') deal, for the construction of a new part of the city on currently undeveloped wasteland by the riverside. This project, officially started in 2015 and is one of the largest urban development projects in Europe, will cost at least 3.5 billion euros.
According to Srdjan Garcevic, "Vaguely contemporary but somehow cheap-looking, it is planted illegally in the middle of the city on unstable soil – serving the interests of the anonymous lucky few."Balkan Insight
''Serbia’s History is Carved in Stone in Belgrade''

File:Belgrade Arena, south entrance 2, Feb 2011.jpg, Štark Arena by Vlada Slavica in Belgrade, 2004
File:Master Centar - panoramio.jpg, Novi Sad Fair Master Centar by Đorđe Grbić, 2007
File:Hala sportova Zrenjanin.jpg, City Hall in Zrenjanin, 2009
File:Савоград.JPG, Sava City (''Savograd'') by Mario Jobst and Miodrag Trpković in Belgrade, 2010
File:Aleksandar Bulevar Centar - panoramio.jpg, Aleksandar Bulevar Centar by Radonja Dabetić, Andraš Lukač and Milivoj Dajićin in Novi Sad, 2010
File:Novi_most.jpg, Ada Bridge by Viktor Markelj and Peter Gabrijelčić in Belgrade, 2011
File:Univerzitet u Novom Sadu.jpg, Rektorat of the University of Novi Sad by Darko Reba and Igor Maraš, 2013
File:Beograd na vodi (cropped).jpg, Belgrade Waterfront, 2014-ongoing
File:Erport siti Beograd1.jpg, Airport City Belgrade, 2016
File:Žeželj - novi.jpg, New Žeželj Bridge by Aleksandar Bojović in Novi Sad, 2018
File:Свјетлопис 2 Скајлајн куле у Биограду2.jpg, Skyline Belgrade, 2020-ongoing
File:Tower West 65 in Belgrade.jpg, West 65 by Fletcher-Priest Company and PSP-Farman Holding in Belgrade, 2021
File:Свјетлопис Куле Биоград.jpg, Belgrade Tower by Skidmore, Owings & Merrill, 2022

See also

*Architecture of Belgrade
* Tallest structures in Serbia
* Serbo-Byzantine architecture

References

Further reading

*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*

External links

Medieval Architecture of SerbiaA map of brutalist architecture in Belgrade

{{DEFAULTSORT:Architecture Of Serbia

Cultural history of Serbia