{"id":6951,"date":"2020-07-27T16:08:04","date_gmt":"2020-07-27T14:08:04","guid":{"rendered":"https:\/\/www.milanzlokovic.org\/research\/modular-coordination\/"},"modified":"2020-08-04T16:03:24","modified_gmt":"2020-08-04T14:03:24","slug":"modular-coordination","status":"publish","type":"page","link":"https:\/\/www.milanzlokovic.org\/en\/research\/modular-coordination\/","title":{"rendered":"Modular coordination"},"content":{"rendered":"\t\t
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Modular coordination<\/h1>\t\t\t\t<\/div>\n\t\t\t\t
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Iako su Zlokovi\u0107eva nau\u010dna istra\u017eivanja sistema proporcija u arhitekturi i modularne koordinacije ozvani\u010dena objavljivanjem prvih istra\u017eiva\u010dkih radova tek nakon Drugog svetskog rata, Zlokovi\u0107 se jo\u0161 od 1927. godine aktivno zalagao za uvo\u0111enje novih kompozicionih metoda i modularne koordinacije u savremenu arhitekturu. Za nau\u010dna promi\u0161ljanja arhitekture kroz sistem mera i proporcija zauzimao se ne samo kroz akademski i pedago\u0161ki rad na fakultetu, ve\u0107 je to \u010dinio i u praksi, posebno u svom projektantskom radu, pronalaze\u0107i i usavr\u0161avaju\u0107i metode za prakti\u010dnu primenu ovih principa. Pored toga ostao je i neumorni zagovornik ove teme kroz aktivna u\u010de\u0161\u0107a na savetovanjima, kongresima i u Internacionalnoj modularnoj grupi, \u010diji je bio stalni \u010dlan i predstavnik Jugoslavije. Skoro zaboravljenu i skrajnutu temu u arhitektonskim turbulencijama 20. veka, a koja je pak bila okosnica klasi\u010dne arhitekture, Zlokovi\u0107 o\u017eivljava u savremenoj arhitekturi, izdvajaju\u0107i mnogobrojne prednosti mera, proporcija i modula u neograni\u010denom podru\u010dju industrijske proizvodnje.<\/p>\n

Ve\u0107ina savremenih arhitekata je zazirala od zala\u017eenja u sisteme mera, a posebno proporcija, smatraju\u0107i ih i suvi\u0161e obavezuju\u0107im, pa \u010dak i ograni\u010davaju\u0107im, nerado prihvataju\u0107i da u svojim projektima primene neke od mogu\u0107nosti dimenzionih ili modularnih sistema. Tek kada su na me\u0111unarodnom planu prihva\u0107eni odre\u0111eni modeli (mera \u010detiri engleska palca za meru osnovnog modula od 10 cm), a u \u0161iroj projektantskoj praksi se pojavile potrebe za br\u017eom i efikasnijom izgradnjom, pre svega kroz uvo\u0111enje prefabrikovanih elemenata, arhitekti \u010de\u0161\u0107e pose\u017eu za prednostima modularnog projektovanja i izgradnje, i to naj\u010de\u0161\u0107e u domenu stambene izgradnje gde su potrebe i mogu\u0107nosti bile i najve\u0107e. Projekat zasnovan na modularnim postavkama sazdan je na merama jasno definisanim preferencijalnim multiplima osnovnog modula koji proizilazi iz datosti funkcije i konstrukcije. Projektantska koncepcija po kojoj modul predstavlja jedinicu mere odavno je poznata u arhitekturi. Jo\u0161 se u Antici smatralo da je \u010dovek mera svih stvari. <\/p>\n

Stoga, Zlokovi\u0107 svojim prvim pisanim radom posle Drugog svetskog rata, objavljenim 1949. godine u Godi\u0161njaku Tehni\u010dkog fakulteta Univerziteta u Beogradu<\/em>, rasvetljava uticaj proporcijskog sistema Blondelove kapije Sv. Deni u Parizu, kao nedovoljno izu\u010denog problema proporcija u arhitekturi. Odmah potom, na Savetovanju arhitekata i urbanista Jugoslavije<\/em>, organizovanom u Dubrovniku novembra 1950. godine, izla\u017ee referat pod nazivom \u201eKriti\u010dki osvrt na zna\u010daj proporcijskih dijagrama i modularnih mre\u017ea u projektovanju\u201d, time se potpuno odvojiv\u0161i od aktuelnih paradigmi i pitanja izra\u017eajnosti i idejnosti u socijalisti\u010dkoj arhitekturi. Ostalo je zapa\u017eeno njegovo tematsko istra\u017eivanje o ulozi neprekidne podele ili \u201ezlatnog preseka\u201d u arhitektonskoj kompoziciji, objavljeno u tri dela u \u010dasopisu Pregled arhitekture<\/em>, kao i opse\u017ena studija o geometrijskoj analizi proporcijskog sklopa arhitektonskih redova po Vinjoli, u kojoj Zlokovi\u0107 sa\u017eimanjem glavnih mera arhitektonskih redova u jednostavne geometrijske dijagrame, i uvo\u0111enjem neprekidne podele mera i njihovih odnosa, dolazi do prikrivene proporcijske zakonitosti kojom se odlikuje Vinjolin modularni sistem. Zlokovi\u0107 se osim toga bavio i analizama primene antropomorfnih sistema mera i njihovog integrisanja u kompozicijske metode u elementima istorijske arhitekture Boke Kotorske, Kor\u010dule i Dubrovnika.<\/p>\n

Svakako najzna\u010dajniji korpus Zlokovi\u0107evih istra\u017eivanja u domenu modularne koordinacije obuhvata njenu primenu u savremenoj arhitekturi. Polaze\u0107i od toga da je modularna koordinacija, naro\u010dito u klasi\u010dnoj arhitekturi, bila logi\u010dan osnov svakoj kompoziciji arhitektonskog i likovnog stvarala\u0161tva, Zlokovi\u0107 postavlja osnov za primenu modularne koordinacije u projektovanju, uz jasno nagla\u0161avanje estetske komponente u postavljenoj koncepciji. Upori\u0161te sistema modularne koordinacije po\u010diva u promi\u0161ljenom utvr\u0111ivanju projektantskog modula, to jest vi\u0161estruke mere osnovnog modula. Na projektantskoj modularnoj mre\u017ei zasnivaju se bitni funkcionalni i konstruktivni aspekti projekta, a veli\u010dina projektnog modula je uslovljena namenom objekta i pretpostavljenim konstruktivnim sklopom. Zlokovi\u0107 je smatrao da samo korenita promena izvo\u0111a\u010dke tehnike mo\u017ee omogu\u0107iti ubrzanje i pojeftinjenje procesa izgradnje. Projektovanjem \u0161kolskog kompleksa u Prizrenu i turisti\u010dkog naselja u Ulcinju, Zlokovi\u0107 je i prakti\u010dno potvrdio kako se na temelju prefabrikacije elemenata i njihove fleksibilne primene mogu realizovati razli\u010diti tipovi zgrada, u najraznovrsnijim kombinacijama i s relativno malim asortimanom prostih i slo\u017eenih gra\u0111evinskih elemenata.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Sources<\/h4>\t\t\t\t<\/div>\n\t\t\t\t
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\u201e\u0423\u0442\u0438\u0446\u0430\u0458 \u043f\u0440\u043e\u043f\u043e\u0440\u0446\u0438\u0441\u043a\u043e\u0433 \u0441\u0438\u0441\u0442\u0435\u043c\u0430 \u0411\u043b\u043e\u043d\u0434\u0435\u043b\u043e\u0432\u0435 \u043a\u0430\u043f\u0438\u0458\u0435 \u0421\u0432. \u0414\u0435\u043d\u0438-\u0430 \u0443 \u041f\u0430\u0440\u0438\u0437\u0443 \u043d\u0430 \u043d\u0435\u0434\u043e\u0432\u043e\u0459\u043d\u043e \u0440\u0430\u0441\u0432\u0435\u0442\u0459\u0435\u043d \u043f\u0440\u043e\u0431\u043b\u0435\u043c \u043f\u0440\u043e\u043f\u043e\u0440\u0446\u0438\u0458\u0430 \u0443 \u0430\u0440\u0445\u0438\u0442\u0435\u043a\u0442\u0443\u0440\u0438 (The influence of the proportional system of Blondel’s gate of St. Denia in Paris on the insufficiently unraveling problem of proportions in architecture)\u201d, \u0413\u043e\u0434\u0438\u0448\u045a\u0430\u043a \u0422\u0435\u0445\u043d\u0438\u0447\u043a\u043e\u0433 \u0444\u0430\u043a\u0443\u043b\u0442\u0435\u0442\u0430 \u0423\u043d\u0438\u0432\u0435\u0440\u0437\u0438\u0442\u0435\u0442\u0430 \u0443 \u0411\u0435\u043e\u0433\u0440\u0430\u0434\u0443 \u0437\u0430 1946. \u0438 1947.<\/em> (1949), 45-58.<\/a><\/p>\n

\u201e\u041a\u0440\u0438\u0442\u0438\u0447\u043a\u0438 \u043e\u0441\u0432\u0440\u0442 \u043d\u0430 \u0437\u043d\u0430\u0447\u0430\u0458 \u043f\u0440\u043e\u043f\u043e\u0440\u0446\u0438\u0458\u0441\u043a\u0438\u0445 \u0434\u0438\u0458\u0430\u0433\u0440\u0430\u043c\u0430 \u0438 \u043c\u043e\u0434\u0443\u043b\u0430\u0440\u043d\u0438\u0445 \u043c\u0440\u0435\u0436\u0430 \u0443 \u043f\u0440\u043e\u0458\u0435\u043a\u0442\u043e\u0432\u0430\u045a\u0443 (A critical review of the importance of proportional diagrams and modular networks in design)\u201d, in: \u0420\u0435\u0444\u0435\u0440\u0430\u0442\u0438 \u0437\u0430 I \u0421\u0430\u0432\u0435\u0442\u043e\u0432\u0430\u045a\u0435 \u0430\u0440\u0445\u0438\u0442\u0435\u043a\u0430\u0442\u0430 \u0438 \u0443\u0440\u0431\u0430\u043d\u0438\u0441\u0442\u0430 \u0408\u0443\u0433\u043e\u0441\u043b\u0430\u0432\u0438\u0458\u0435, \u041f\u0440\u0432\u0438 \u0434\u0435\u043e<\/em>, \u0414\u0443\u0431\u0440\u043e\u0432\u043d\u0438\u043a 23. \u0434\u043e 25. XI 1950. (\u0411\u0435\u043e\u0433\u0440\u0430\u0434: \u041d\u0430\u0443\u0447\u043d\u0430 \u043a\u045a\u0438\u0433\u0430, 1950), 161-168.<\/a><\/p>\n

\u201eO problemu modularne koordinacije mera u arhitektonskom projektovanju (On the problem of modular coordination of measures in architectural design)\u201d, Tehnika: organ Saveza in\u017eenjera i tehni\u010dara FNRJ<\/em> (Beograd), Vol. IX, No. 2 (1954), 169-182.<\/a><\/p>\n

\u201eUticaj recipro\u010dnog zalan\u010davanja harmonijskih razmera na proporcijski sklop izvesnog fasadnog sistema, I (Influence of reciprocal chaining of harmonic dimensions on the proportional assembly of a certain facade system I)\u201d, Tehnika<\/em>, Vol. IX, No. 6 (1954), 833-840.<\/a><\/p>\n

\u201eUticaj recipro\u010dnog zalan\u010davanja harmonijskih razmera na proporcijski sklop izvesnog fasadnog sistema, II (Influence of reciprocal chaining of harmonic dimensions on the proportional assembly of a certain facade system II)\u201d, Tehnika<\/em>, Vol. IX, No. 7 (1954), 1001-1006. <\/a><\/p>\n

\u201eUloga neprekidne podele ili \u201ezlatnog preseka\u201c u arhitektonskoj kompoziciji (I deo) (The role of continuous division or “golden section” in architectural composition (Part I))\u201d, \u041f\u0440\u0435\u0433\u043b\u0435\u0434 \u0430\u0440\u0445\u0438\u0442\u0435\u043a\u0442\u0443\u0440\u0435: \u0432\u0435\u0441\u043d\u0438\u043a \u0434\u0440\u0443\u0448\u0442\u0432\u0430 \u0430\u0440\u0445\u0438\u0442\u0435\u043a\u0430\u0442\u0430 \u0421\u0440\u0431\u0438\u0458\u0435<\/em> (Belgrade), No. 1 (1954), 11-17.<\/a><\/p>\n

\u201eUloga neprekidne podele ili \u201ezlatnog preseka\u201c u arhitektonskoj kompoziciji (II deo) (The role of continuous division or “golden section” in architectural composition (Part II))\u201d, \u041f\u0440\u0435\u0433\u043b\u0435\u0434 \u0430\u0440\u0445\u0438\u0442\u0435\u043a\u0442\u0443\u0440\u0435<\/em>, No. 2 (1954), 44-48.<\/a><\/p>\n

\u201eUloga neprekidne podele ili \u201ezlatnog preseka\u201c u arhitektonskoj kompoziciji (III deo) (The role of continuous division or “golden section” in architectural composition (Part III))\u201d, \u041f\u0440\u0435\u0433\u043b\u0435\u0434 \u0430\u0440\u0445\u0438\u0442\u0435\u043a\u0442\u0443\u0440\u0435<\/em>, No. 3 (1955), 80-85.<\/a><\/p>\n

\u201eDivina proportio \u2260 sectio aurea\u201d, \u041f\u0440\u0435\u0433\u043b\u0435\u0434 \u0430\u0440\u0445\u0438\u0442\u0435\u043a\u0442\u0443\u0440\u0435<\/em>, \u0411\u0440. 4-5 (1955-1956), 126-127.<\/a><\/p>\n

\u201e\u041ariti\u010dki osvrt na modularne mere standardnih elemenata \u201eDurisol\u201c putem analize dve fasadne kombinacije u oktametarskom sistemu (Critical review of modular measures of standard elements “Durisol” by analyzing two facade combinations in an octametric system)\u201d, Tehnika<\/em>, Vol. X, No. 3 (1955), 331-337.<\/a><\/p>\n

\u201e\u0410\u043d\u0442\u0440\u043e\u043f\u043e\u043c\u043e\u0440\u0444\u043d\u0438 \u0441\u0438\u0441\u0442\u0435\u043c\u0438 \u043c\u0435\u0440\u0430 \u0443 \u0430\u0440\u0445\u0438\u0442\u0435\u043a\u0442\u0443\u0440\u0438 \u2013 \u040a\u0438\u0445\u043e\u0432\u043e \u0438\u043d\u0442\u0435\u0433\u0440\u0438\u0441\u0430\u045a\u0435 \u0443 \u043a\u043e\u043c\u043f\u043e\u0437\u0438\u0446\u0438\u0441\u043a\u0435 \u043c\u0435\u0442\u043e\u0434\u0435 \u043f\u0440\u043e\u0448\u043b\u043e\u0441\u0442\u0438, \u043f\u043e\u0441\u0435\u0431\u043d\u043e \u043e\u0431\u0458\u0430\u0448\u045a\u0435\u043d\u043e \u043d\u0430 \u043d\u0435\u043a\u043e\u043b\u0438\u043a\u043e \u043a\u0430\u0440\u0430\u043a\u0442\u0435\u0440\u0438\u0441\u0442\u0438\u0447\u043d\u0438\u0445 \u043f\u0440\u0438\u043c\u0435\u0440\u0430 \u0434\u0440\u0443\u0433\u043e\u0441\u0442\u0435\u043f\u0435\u043d\u0435 \u043a\u0430\u043c\u0435\u043d\u0435 \u043f\u043b\u0430\u0441\u0442\u0438\u043a\u0435 \u0411\u043e\u043a\u0435 \u041a\u043e\u0442\u043e\u0440\u0441\u043a\u0435, \u041a\u043e\u0440\u0447\u0443\u043b\u0435 \u0438 \u0414\u0443\u0431\u0440\u043e\u0432\u043d\u0438\u043a\u0430 (Anthropomorphic systems of measures in architecture – their integration into the compositional methods of the past, a special explanation of several characteristic examples of stone sculpture of the Bay of Kotor, Kor\u010dula and Dubrovnik)\u201d, \u0417\u0431\u043e\u0440\u043d\u0438\u043a \u0437\u0430\u0448\u0442\u0438\u0442\u0435 \u0441\u043f\u043e\u043c\u0435\u043d\u0438\u043a\u0430 \u043a\u0443\u043b\u0442\u0443\u0440\u0435 \u0421\u0430\u0432\u0435\u0437\u043d\u043e\u0433 \u0438\u043d\u0441\u0442\u0438\u0442\u0443\u0442\u0430 \u0437\u0430 \u0437\u0430\u0448\u0442\u0438\u0442\u0443 \u0441\u043f\u043e\u043c\u0435\u043d\u0438\u043a\u0430 \u043a\u0443\u043b\u0442\u0443\u0440\u0435<\/em> (Belgrade), Vol. IV-V (1953\/54), 181-216.<\/a><\/p>\n

\u201e\u0413\u0435\u043e\u043c\u0435\u0442\u0440\u0438\u0441\u043a\u0430 \u0430\u043d\u0430\u043b\u0438\u0437\u0430 \u043f\u0440\u043e\u043f\u043e\u0440\u0446\u0438\u0441\u043a\u043e\u0433 \u0441\u043a\u043b\u043e\u043f\u0430 \u0430\u0440\u0445\u0438\u0442\u0435\u043a\u0442\u043e\u043d\u0441\u043a\u0438\u0445 \u0440\u0435\u0434\u043e\u0432\u0430 \u043f\u043e \u0412\u0438\u045a\u043e\u043b\u0438 (Geometric analysis of the proportional set of architectural works according to Vignola)\u201d, \u0417\u0431\u043e\u0440\u043d\u0438\u043a \u0410\u0440\u0445\u0438\u0442\u0435\u043a\u0442\u043e\u043d\u0441\u043a\u043e\u0433 \u0444\u0430\u043a\u0443\u043b\u0442\u0435\u0442\u0430 \u0423\u043d\u0438\u0432\u0435\u0440\u0437\u0438\u0442\u0435\u0442\u0430 \u0443 \u0411\u0435\u043e\u0433\u0440\u0430\u0434\u0443<\/em>, Vol. II (1956), 35-73.<\/a><\/p>\n

\u201e\u041f\u0440\u0438\u043c\u0435\u043d\u0430 \u043d\u0430 \u0441\u0442\u0430\u043d\u0434\u0430\u0440\u0434\u043d\u0438\u043e\u0442 \u043c\u0434\u0443\u043b 1\u041c=10cm \u0432\u043e \u0430\u0440\u0445\u0438\u0442\u0435\u043a\u0442\u043e\u043d\u0441\u043a\u043e\u0442\u043e \u043f\u0440\u043e\u0435\u043a\u0442\u0438\u0440\u0430\u045a\u0435 (Application of the standard modulus 1M = 10cm in architectural design)\u201d, \u0417\u0431\u043e\u0440\u043d\u0438\u043a \u043d\u0430 \u0422\u0435\u0445\u043d\u0438\u0447\u043a\u0438\u043e\u0442 \u0444\u0430\u043a\u0443\u043b\u0442\u0435\u0442 \u0423\u043d\u0438\u0432\u0435\u0440\u0437\u0438\u0442\u0435\u0442 \u0432\u043e \u0421\u043a\u043e\u043f\u0458\u0435<\/em>, Vol. I (1955\/56), 177-190.<\/a><\/p>\n

Sur le choix d`une dimensionnelle dans la coordination modulaire en architecture<\/em>, Belgrade, 1957. (manuscript handed over to the participants of the congress of the International Organization for Standardization, held in June 1957 in Paris, vid.: Letoslaw Piolun-Noyszewski, Zasady koordynacji modularnej w budownictwie<\/em>, Warszawa (1961), 27, 63, 65. i tab. 22.<\/p>\n

[Z. M. i \u0110or\u0111e Zlokovi\u0107], Coordination modulaire applique en architecture. Pipes touristiques en Yougoslavie, Cote Adriatique, Littoral Montenegrin<\/em>, Jugoslavenski zavod za produktivnost rada (Beograd), 1961.<\/p>\n

Multiples du module de base Essai d`une systematisation des nombres preferientiels dans le domaine de la coordination modulaire<\/em>, Jugoslavenski zavod za produktivnost rada, 1962. (announcement made at the IMG meeting in Bamberg in 1961)<\/a><\/p>\n

Multiples modulaires de preference. Superposition de rescaux modulaires<\/em>, Jugoslavenski zavod za produktivnost rada, 1962. (a statement made at the IMG meeting in Paris in 1962)<\/a><\/p>\n

Sur l`application partique d`une coordination semimodulaire en batiment,<\/em> Jugoslavenski zavod za produktivnost rada, 1962. (announcement made at the IMG meeting in Stockholm in 1963)<\/p>\n

\u201eStara ravnila poznata pod imenom \u00bbterazije\u00ab\u201d, Na\u0161e starine:<\/em> godi\u0161njak Zemaljskog zavoda za za\u0161titu spomenika kulture i prirodnih rijetkosti NR Bosne i Hercegovine<\/em> (Sarajevo), Knj. IV (1957), 298-300.<\/a><\/p>\n

\u201eInterpretazione modulare degli ordini del Vignola\u201d, La Casa: Quaderni di architettura e di critica<\/em> (Roma), Nu. 4 (1957), 162-169.<\/p>\n

\u201eUticaj modularne koordinacije na estetsku komponentu u arhitekturi\u201d, Savetovanje o modularnoj koordinaciji u gra\u0111evinarstvu<\/em>, Beograd, 30. septembar \u2013 2. oktobar 1958. (Beograd: Savezni zavod za produktivnost rada, 1958), 5-21, Prilog 1: Sl. 1-16<\/a><\/p>\n

\u201eVeli\u010dina projektnog modula u odnosu na osnovni gra\u0111evinski modul u oblasti funkcionalnog prou\u010davanja normiranog stana\u201d, Dokumentacija za gra\u0111evinarstvo i arhitekturu<\/em> (Beograd), God. II, Br. 74, (1959), 1-12.<\/a><\/p>\n

Considerations compositionnelles sur la necessite d`une application raisonne de la coordination modulaire dnas le batiment<\/em>, rukopis za Kongres CIB<\/em>, Rotterdam 1959.<\/a><\/p>\n

\u201e\u0417\u0430 \u0443\u043b\u043e\u0433\u0430\u0442\u0430 \u0438 \u0437\u043d\u0430\u0447\u0435\u045a\u0435\u0442\u043e \u043d\u0430 \u043f\u0440\u043e\u043f\u043e\u0440\u0446\u0438\u043e\u043d\u0438\u0442\u0435 \u0448\u0435\u0441\u0442\u0430\u0440\u0438 \u0432\u043e \u043a\u043e\u043c\u043f\u043e\u0437\u0438\u0446\u0438\u0441\u043a\u0438\u0442\u0435 \u043c\u0435\u0442\u043e\u0434\u0438 \u043d\u0430 \u0430\u043d\u0442\u0438\u0447\u043a\u0430\u0442\u0430 \u043b\u0438\u043a\u043e\u0432\u043d\u0430 \u0443\u043c\u0435\u0442\u043d\u043e\u0441\u0442\u201d, \u0417\u0431\u043e\u0440\u043d\u0438\u043a \u043d\u0430 \u0422\u0435\u0445\u043d\u0438\u0447\u043a\u0438\u043e\u0442 \u0444\u0430\u043a\u0443\u043b\u0442\u0435\u0442 \u0423\u043d\u0438\u0432\u0435\u0440\u0437\u0438\u0442\u0435\u0442 \u0432\u043e \u0421\u043a\u043e\u043f\u0458\u0435<\/em> 1957\/1958. \u0433\u043e\u0434\u0438\u043d\u0430, 43-94.<\/a><\/p>\n

\u201eIntegrisanje \u201eModulora\u201c-a u internacionalni modularni sistem\u201d, Arhitektura<\/em>–<\/em>urbanizam<\/em>: \u010dasopis za arhitekturu, urbanizam, primenjenu umetnost i industrisko oblikovanje<\/em> (Beograd), God. I, Br. 6 (1960), 28-31.<\/a><\/p>\n

[M. Bajlon, Z. M. i B. Milenkovi\u0107], \u201eUputstva za projektovanje stanova u modularnoj koordinaciji\u201d, Dokumentacija za gra\u0111evinarstvo i arhitekturu<\/em>, God. IV, Sv. 23-24 (1961), 1-33.<\/a><\/p>\n

\u201eLa coordinazione modulare\u201d, u: Industrializzazione dell\u2019edilizia<\/em> (Bari: Dedalo libri, 1965), 140-196.<\/a><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

Iako su Zlokovi\u0107eva nau\u010dna istra\u017eivanja sistema proporcija u arhitekturi i modularne koordinacije ozvani\u010dena objavljivanjem prvih istra\u017eiva\u010dkih radova tek nakon Drugog svetskog rata, Zlokovi\u0107 se jo\u0161 od 1927. godine aktivno zalagao za uvo\u0111enje novih kompozicionih metoda i modularne koordinacije u savremenu arhitekturu. Za nau\u010dna promi\u0161ljanja arhitekture kroz sistem mera i proporcija zauzimao se ne samo kroz […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":6919,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"elementor_header_footer","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[],"tags":[],"class_list":["post-6951","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"\nModular coordination - Fondacija Milan Zlokovi\u0107<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.milanzlokovic.org\/en\/research\/modular-coordination\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Modular coordination - Fondacija Milan Zlokovi\u0107\" \/>\n<meta property=\"og:description\" content=\"Iako su Zlokovi\u0107eva nau\u010dna istra\u017eivanja sistema proporcija u arhitekturi i modularne koordinacije ozvani\u010dena objavljivanjem prvih istra\u017eiva\u010dkih radova tek nakon Drugog svetskog rata, Zlokovi\u0107 se jo\u0161 od 1927. godine aktivno zalagao za uvo\u0111enje novih kompozicionih metoda i modularne koordinacije u savremenu arhitekturu. 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