I have never seen the particular appeal of Soviet architecture. In Berlin, the rundown prewar buildings wilt, but the Communist-era bastions endure with grim and solid fortitude. They are the housing projects on the outskirts of the city with a bad reputation for neo-Nazis, they’re the anonymous gray lengths of Frankfurter Allee or the blocky rows of balconies made of prickled concrete that only ever seem to be decorated with dying red geraniums.
In Belgrade, these buildings of a bygone time are almost whimsical. The ones capping corners curve, leaning in at odd angles. They feature functional-looking, yet utterly superfluous girding or iron-work, and even when they’re geometric, there’s something just slightly off about them – they’re too long or too squat, every apartment has a different set of windows, or there’s a sudden shock of glass in a surprising location. Plenty of these buildings are deserted – many don’t look architecturally sound – and there’s something eerie about the alien-looking metals and alloys butted up against gracefully swirling slabs of concrete that house nothing on the inside.
It was mesmerizing to walk around Belgrade’s crumbling streets and stumble upon these concrete treasures wedged between the small, 19th century Neoclassical buildings in the city center and the newer facades going up all over the place. It seems that all of Belgrade is under construction – whole streets are being ripped out, clusters of girders yawn to the sky wherever you look, and the skyline itself is marred by endless rows of cranes. Nowhere is the divide between this new construction and the old Belgrade more visually striking than along the waterfront, where a bird’s eye view shows the surreal discrepancy.
Daniel and I had just finished a fifteen-mile walk down the Danube – from our hotel near the city center through the Bloks of New Belgrade and nearly all the way to Zemun. » Continue reading this post…