Baština u međuprostoru: percepcija modernosti kao antagonista u identifikaciji kulturnih dobara

The release of Modernism from its temporal markers created an illusion of contemporaneity. The tendencies of Modernism sought to achieve timelessness in objects, with the intentions still evident today. Current societal debates demonstrate that this illusionary status of contemporaneity often leads to a lack of recognition regarding the historical values of Modernist objects. By valorizing heritage, it appears that the concepts of contemporaneity and modernity frequently collide under the perception of the passage of time. By examining the Belgrade oeuvre of Croatian architects, including the emergence of Viktor Kovačić, we can clearly observe the Modernist trajectories that were guided under the influence of the European schools from which these architects emerged. The research problematizes the perception of heritage, focusing on the shift in the appearance of objects that occurred during the development of Modernism. Specifically, the loss of ornamentation between Wagner and Loos, or in the context of Belgrade, between Kovačić and the subsequent work of Hugo Ehrlich, leads to abrupt changes in the perception of urban design. The research examines shifts in the acceptance of modernity by identifying key phenomena that emerged
\nduring the Modernist movement. Moreover, the treatment of heritage from this period is explored through the reassessment of the reception to modernity, with the intention to conduct comparative case study research focused thematically on the objects of early forms of Modernism and its later manifestations. The findings aim to reveal the extent of awareness regarding the significance of historical urban elements and furthermore define models of cultural heritage perception. The conclusions drawn would then contribute to strategies in architectural history education and provide new guidelines for professionals in the treatment of built heritage.