LIFE IN THE BLOCK

New Belgrade, as the political capital of the Socialist Federal Republic of Yugoslavia (SFRY), played a symbolic and functional role that distinguished it from other Yugoslav cities. Life in its residential blocks was seen as a privilege, representing the ideal of socialist living. The blocks themselves were born from winning designs in nationwide competitions, offering modernity and comfort. The integration of kindergartens, schools, health centers, playgrounds, and parks within these blocks further promoted the emancipation and modernization of family life. This blend of modern international urban planning and local Yugoslav values reflected the ideal model of self-managed socialism in the country.

The social structure of New Belgrade’s population was diverse, though dominated by the so-called socialist middle class, which consisted mainly of state officials, military personnel, and party administrators. According to official records from 1977, Block 45 was home to 17,500 residents, with 45% employed. One-third of the population was under 27 years old, and there were 840 retirees. Additionally, 3,200 members of the League of Communists, the political organization for communist ideology, resided in the block. Over the years, this demographic shifted, with younger families, often referred to as “yupps” (an abbreviation for “young urban professional parents”), now making up the majority.

Social and political life in these blocks was organized through local community centers. Volunteer initiatives and contributions from residents shaped decisions regarding their needs. This included managing educational, commercial, and cultural activities, environmental protection, as well as defense and civil safety. However, despite the forward-thinking urban design, public criticism arose due to the poor public transport, lack of shops, markets, and other amenities, leading some to label New Belgrade a “concrete dormitory” and a “land reserve for cheap housing construction.”

Despite these critiques, living in New Belgrade had many advantages. The apartments featured a distinct spatial organization developed by the so-called Belgrade School of Architecture. At the heart of each apartment were common spaces for the family’s activities, such as the dining and living rooms. This layout boosted comfort and aligned with the demands of the evolving socialist society. Flexibility in the apartment design was achieved through movable partitions and accordion doors, enabling the space to adapt to the needs of family life while fostering a sense of communal living.

The apartments designed by the “Belgrade School” were built under the guiding principle of “spatial minimum and functional maximum,” a concept that still holds up as a benchmark of efficient design. These apartments are often praised for their thoughtful layouts. However, some drawbacks emerged over time, particularly the windowless kitchens and long, narrow hallways. Starting in the 1980s, residents began renovating their homes, making changes such as dividing rooms, knocking down walls, enclosing balconies, and altering the façades to reflect personal preferences and adapt to evolving lifestyles.

At the heart of each block, communal buildings served essential social functions. These included kindergartens, elementary schools, and local community centers, which often housed a mix of craft workshops and small shops. Green spaces, playgrounds, and sports facilities, offering soccer, basketball, and bocce courts—later expanding to tennis—became key features of the blocks, fostering recreation and social interaction. These elements created a sense of cohesion, making the residential environment more than just a place to live, but a vibrant, self-contained community.

This organization of public spaces offered a relatively structured and comfortable life for residents of the New Belgrade blocks. However, from the very beginning, some downsides became apparent, such as weak transportation infrastructure. It wasn’t until 1984 that New Belgrade got its tram system, a development famously marked by the slogan “By Tram into the 21st Century.” Additionally, there was a notable lack of cultural amenities and many planned facilities—schools, shops, health centers—remained unfinished.

Blocks in the central zone enjoyed better connections to the city, and the construction of the Sava Center brought new cultural venues, enhancing the local cultural landscape. On the other hand, blocks on the left bank of the Sava River remained geographically distant from the city center for many years, leading to a sense of isolation from Belgrade’s cultural events and activities. This spatial division contributed to disparities in the quality of life across different parts of New Belgrade.

By the 1980s, as the economic crisis deepened, life in the blocks began to show its darker side. Crime, especially in the 1990s, escalated due to the war and the breakup of Yugoslavia. During this period of transition, New Belgrade acquired a new label, largely due to domestic cinema and popular culture, which drew inspiration for the “concrete western” genre from the blocks of New Belgrade.

The “incompleteness” of some blocks, particularly the undeveloped central areas, took on a negative dimension in the 1990s and into the 21st century. These open spaces became prime targets for large-scale capital investments. Developers, leveraging various legal loopholes, obtained construction permits for large commercial structures, altering the originally planned community spaces.