1. This article results from my long-term interest in Byzantine architecture and its relevance to modern and contemporary architectural practices. Various versions of this research were presented at the 2012 Yale conference “Byzantium/Modernism,” at the School of Design at Iowa State University in fall 2012, and at the 2013 convention of the Association for Slavic, East European, and Euroasian Studies, held in Boston. I am immensely grateful to JSAH editor Pat Morton and to the reviewers for their suggestions and questions that helped me improve this essay. Thanks are also due to Miloš R. Perović, Aleksandar Kadijević, Thomas Leslie, April Eisman, Kurt Forster, Ljubomir Milanović, Marina Mihaljević, Irina Subotić, Tanja Damljanović-Conley, Erin Kalish, Lilien Filipovitch Robinson, Ljubica D. Popovich, Elena Konstantinovna Murenina, Elena Boeck, Anna Sokolina, Maria Taroutina, Jane Sharp, Mikesch Muecke, Ulrike Passe, Karen Bermann, Kimberly Zarecor, Matthew Gordy, Heidi Reburn, Joyce Newman, Trudy Jacoby, Anna Pauli, Danielle Peltakian, Gordana Stanišić, Dragana Ćorović, and Dušan Danilović. This research was supported by a grant from the Center for Excellence in Arts and Humanities at Iowa State University.
2. On tradition and modernism, see Leen Meganck, Linda van Santvoort, and Jan de Maeyer, eds., Regionalism and Modernity: Architecture in Western Europe 1914-1940 (Leuven: Leuven University Press, 2013)
3. Richard Etlin, Modernism in Italian Architecture, 1890-1940 (Cambridge, Mass.: MIT Press, 1991), 165-376
4. Michelangelo Sabatino, Pride in Modesty: Modernist Architecture and the Vernacular Tradition in Italy (Toronto: University of Toronto Press, 2010), 57-127.
5. On the early interest in Byzantine architecture, see Auguste Choisy, L'art de bâtir chez les Byzantins (Paris: Société anonyme de publications périodiques, 1883); Auguste Choisy, Histoire de l'architecture, 2 vols. (Paris: Gauthier-Villars, 1899); Josef Strzygowski, Kleinasien, ein Neuland der Kunstgeschichte (Leipzig: J. C. Hinrichs, 1903).