Exhibitionary Complex : Architecture as an Exhibit

Within this research, the exhibitions are considered primarily as institutions, and as a place of interaction among different identities through choice of exhibits, their presentation, spatial layout and the selection and use of the accompanying texts. The context of the research thus put into place will attempt to answer the question of how it is possible to construct a history of the exhibitions – which are forgotten, often without sufficient documentation or records about them. In addition, it will be reconsidered in which manner the exhibitions helped to create and promote the idea of architecture during the 20th century, overlapping with the shifting of discourses, broader philosophical debates and technological innovations

Urban Narratives

Diverging notions of what is meant with and under narrative(s), it’s (their) function and use has been in the centre of research and practical attention in previous years especially regarding the narrative and rhetorical structure of urban theory, planning and design. The concept of narrative is ’’borrowed’’ from literary theory, where notion of narratology is commonly described as the study of narrative structure, looking at what narratives have in common and what makes one different from another

Izložbeni potencijal nacionalnih paviljona na svetskim i bijenalnim izložbama

By examining the role of exhibition pavilions with a particular focus on the World Fairs and the Venice Biennale (including visual arts and architecture), questions arise as to the nature and importance of the pavilions as a specific type of architectural objects. Having in mind that contemporary pavilions could be considered as architecture items or installations, boundaries between these two are questioned within this research. At what exact moment does something cease to be an architectural space in the classical sense of the term to become an art project? Pavilions are examined both as exhibition spaces hosting the content, and the content itself. Most probably the answer is somewhere in between and the pavilions are both exhibition spaces and the exhibits per se. They are very often small scale in size but are very important in idea.Tradicija izlaganja u okviru nacionalnih paviljona, koja je uspostavljenja na izložbama iz 19. veka nastavljena je i danas u okviru Svetskih izložbi ('Expo'') i Bijenala u Veneciji. U radu će biti razmatrana uloga i značaj paviljona kao zasebne tipološke kategorije u arhitekturi, kao i njegova instrumentalizacija na pomenutim manifestacijama. Paviljoni će biti razmatrani kao mesta izlaganja, i kao autonomni objekti koji kroz svoju formu i oblikovanje imaju hibridnu ulogu da govore o arhitekturi, umetnosti i nacionalnom identitetu. Uz istorijat paviljona, od prateće scenografije do samostalnog objekta, biće razmatrana i njihova pozicija u institucionalnom okviru svetskih izložbi i Bijenala u Veneciji. U radu će se razmatrati i dve koncepcije paviljona - kao privremenih struktura (svetske izložbe) i trajnih prostora za izlaganje (Bijenale) i posledica ovakve podele na arhitekturu paviljona

Cultural Identity

Cultural identity is most certainly sociologically and ideologically constructed and in most cases it is part of person’s self-conception and self-perception that is linked with nationality, ethnicity, religion, social or cultural class, or any other kind of particular group or identity. The concept of identity is ambiguous and it relates with the construction of a shared narrative that defines a community and differentiates them from others. At the same time culture provides diverse ways of interpreting the environment and the world, and given that identity explains and interprets the structure of the relationship between man, community and society, it can be said that identity is a kind of social mechanism of labelling and conceptualization that applies to individuals and groups and society as a whole

Conservation-restoration works on ceramic dolia from the site of Krvavići-Boškina

U ovom radu bit će prezentirani konzervatorsko-restauratorski radovi na dolijama koje potječu iz I.- II. stoljeća, a pronađene su tijekom istraživanja djelatnika Hrvatskog restauratorskog zavoda na lokalitetu Krvavići-Boškina. Dolije su keramičke posude velikih dimenzija koje se najčešće vežu uz gospodarske objekte. Služile su za skladištenje hrane i tekućina, a upotrebljavale su se još od helenističkog razdoblja. Te su posude izrađivane na nekoliko načina. Treba istaknuti rad uz pomoć drvenog kalupa te izradu uz pomoć cjevasto oblikovanih komada gline koji su slagani jedan na drugi. Konzervatorsko-restauratorski radovi na tim predmetima bili su zahtjevan projekt, iako predmeti nisu u cijelosti rekonstruirani. Nakon razvrstavanja, fragmenti su mehanički očišćeni od naslaga zemlje i kalcitnih naslaga. Površinskom impregnacijom nije se postigao zadovoljavajući učinak stabilizacije keramičkih ulomaka, pa su zato svi fragmenti impregnirani u vakuumskoj komori, za što se koristila otopina polivinil-acetata u acetonu. Uslijedilo je spajanje fragmenata lijepljenjem uz pomoć armatura radi osiguravanja stabilnosti posude, te rekonstrukcija nedostajućih dijelova gipsom i na kraju toniranje gipsanih integracija. Budući da predmeti nisu rekonstruirani u svojim izvornim dimenzijama, idealne rekonstrukcije napravljene su na osnovi analogija sličnih posuda uz pomoć računalnih programa.The paper presents the conservation-restoration works on dolia, dating from the 1st-2nd c., which were discovered on the site of Krvavići-Boškina during explorations carried out by the staff of the Croatian Conservation Institute. Dolia are large earthenware containers, used mostly on farms. Their function was that of foodstuffs and liquid storage, and they had been in use since the Hellenistic period. Containers of this kind were produced in several ways, of note among which are manufacture with a wooden mould, and formation from tube-shaped pieces of clay that were placed on top of one another. The conservation and restoration of these items were very demanding, although the artefacts have not been fully reconstructed. First of all, the fragments were classified and mechanically cleaned of dirt and calcareous sediment. The surface impregnation did not result in a satisfactory stabilization of pottery shards, which is why all the shards were impregnated in a vacuum chamber, with a solution of polyvinyl acetate in acetone being used. Thereafter the shards were glued together with the assistance of reinforcements, aimed at securing the stability of the container, and the missing parts were reconstructed from gypsum, and finally toned. Since the dolia have not been reconstructed in their original dimensions, ideal reconstructions were made on the basis of analogies with similar containers, with the help of computer programs

Velika ili mala razmera - tipologija arhitektonskih izložbi održanih u Jugoslaviji (SFRJ) i njihov današnji značaj

With the notion that exhibitions, independently of their format or content, can always be considered as both discursive and visual platforms for the study of specific time periods, this research will provide an insight into a possible typology of architecture exhibitions that were organised socialist Yugoslavia between 1945 and 1991. The exhibitions in question were considered as collective activities, and they provide an insight into a wider context of social, economic, political and cultural events in Yugoslavia after World War Two as well as the status that architecture as practice held within them. Having in mind that we speak about various exhibitions with a large number of parameters according to which they were similar or different, this paper will point out the process of forming an exhibition typology in order to enable the classification for their systematic study. A specific study will be used to create the typology that will be applied in the process of researching the architectural exhibitions, their role and importance at the specific range in the specific time period.S obzirom na to da se izložbe, nezavisno od svog formata ili sadržaja, uvek mogu smatrati i diskurzivnom i vizuelnom platformom za proučavanje određenih vremenskih perioda, ovo istraživanje će dati uvid u moguću tipologiju izložbi arhitekture koje su organizovane u socijalističkoj Jugoslaviji između 1945. i 1991. godine. Predmetne izložbe su posmatrane kao kolektivna aktivnost, čija analiza omogućava uvid u širi kontekst društvenih, ekonomskih, političkih i kulturnih dešavanja u Jugoslaviji posle Drugog svetskog rata, kao i status koji je arhitektura kao praksa imala u njima. Imajući u vidu da se govori o različitim izložbama, sa velikim brojem parametara po kojima su bile slične ili različite, u ovom radu će se ukazati na proces formiranja izložbene tipologije, kako bi se omogućila klasifikacija za njihovo sistematsko proučavanje. U posebnoj studiji će biti urađena tipologija koja će se primenjivati u procesu istraživanja arhitektonskih izložbi, njihove uloge i značaja na određenom rasponu u određenom vremenskom periodu

Изложбене праксе архитектуре у Југославији и југословенски културни простор од 1945. до 1991.

The subject of the proposed research are architecture exhibitions that were organized within the framework of socialist Yugoslavia in the period after the Second World War. Having in mind the growing number of researches that are related to architectural exhibitions, as a special form of manifestations on a global scale from one, and researches relating to the history of socialist Yugoslavia, with a special emphasis on architecture and urbanism, on the other side, exhibitions in question are considered as collective activities whose research allows insight into the broader context of social, economic, political and cultural events within the post-war Yugoslavia, and the status that architecture has had within them. The focus of the research is on the potential of the exhibition to be part, and at the same time to shape the discourse of architecture primarily as a place of debate between the architectural profession and the public, or as a place of promotion or criticism of ideas within the domain of architecture. Architectural exhibitions will be seen as a cause, but also as a consequence of certain changes and developments in a wider social, cultural, political and economic context. Defined in this way, the framework of the proposed research allows additional research and analysis of topics of exhibition practice in the domain of architecture, as well as the modalities of post-war architecture in Yugoslavia. During the discussion of exhibition practices, the exhibitions are not analyzed as isolated events of the presentation of architectural works in certain periods of socialist Yugoslavia, but as a framework for production, reception and evaluation of architecture, through analysis of the entire process of organization of exhibitions, selection criteria, thematic framework and place of exibiting. By researching the exhibitions of architecture created within socialist Yugoslavia at all stages of its existence, as a larger interdependent system, phenomena and changes within the theory and practice of architecture can be monitored, which can show us the status of architecture in the Yugoslav society and what it was like her role within the Yugoslav cultural space.Предмет истраживања су изложбе архитектуре које су организоване у оквиру социјалистичке Југославије у периоду након Другог светског рата. Имајући у виду све већи број истраживања која се односе на изложбе архитектуре, као посебну форму манифестација на глобалном нивоу са једне, и истраживања која се односе на историју социјалистичке Југославије, са посебним нагласком на архитектуру и урбанизам који су настали на том простору, са друге стране, изложбе су разматране као колективне активности чијом се анализом омогућава увид у шири контекст друштвених, економских, политичких и културних дешавања у оквиру Југославије након Другог светског рата, и статуса који је архитектура имала у оквиру њих. Фокус истраживања је на потенцијалу изложби да истовремено буду део, али и да обликују дискурс архитектуре првенствено као место дебате између архитектонске струке и јавности, односно као место промоције или критике идеја у оквиру домена архитектуре. Изложбе архитектуре биће посматране као узрок, али и као последица одређених промена и дешавања у ширем друштвеном, културном, политичком и економском контексту. Дефинисан на овај начин, оквир предложеног истраживања омогућава да се теме изложбених пракси у домену архитектуре, као и модалитети послератне архитектуре у Југославији, додатно истраже и анализирају. Приликом разматрања изложбених пракси, изложбе се не анализирају као изоловани догађаји презентације архитектонских дела у појединим раздобљима социјалистичке Југославије, већ као оквир за производњу, рецепцију и евалуацију архитектуре, кроз анализу целокупног процеса организације изложби, укључујићи критеријум селекције, тематски оквир и место одржавања. Посматрањем изложби архитектуре, насталих у социјалистичкој Југославији у свим фазама њеног постојања, као већег међузависног система, могу се пратити појаве и промене у теорији и пракси архитектуре, које нам могу показати какав је статус имала архитектура у југословенском друштву и каква је била њена улога у југословенском културном простору

Exhibitionary practices of architecture in Yugoslavia and Yugoslav cultural space from 1945 to 1991.

Предмет истраживања су изложбе архитектуре које су организоване у оквиру социјалистичке Југославије у периоду након Другог светског рата. Имајући у виду све већи број истраживања која се односе на изложбе архитектуре, као посебну форму манифестација на глобалном нивоу са једне, и истраживања која се односе на историју социјалистичке Југославије, са посебним нагласком на архитектуру и урбанизам који су настали на том простору, са друге стране, изложбе су разматране као колективне активности чијом се анализом омогућава увид у шири контекст друштвених, економских, политичких и културних дешавања у оквиру Југославије након Другог светског рата, и статуса који је архитектура имала у оквиру њих. Фокус истраживања је на потенцијалу изложби да истовремено буду део, али и да обликују дискурс архитектуре првенствено као место дебате између архитектонске струке и јавности, односно као место промоције или критике идеја у оквиру домена архитектуре. Изложбе архитектуре биће посматране као узрок, али и као последица одређених промена и дешавања у ширем друштвеном, културном, политичком и економском контексту. Дефинисан на овај начин, оквир предложеног истраживања омогућава да се теме изложбених пракси у домену архитектуре, као и модалитети послератне архитектуре у Југославији, додатно истраже и анализирају. Приликом разматрања изложбених пракси, изложбе се не анализирају као изоловани догађаји презентације архитектонских дела у појединим раздобљима социјалистичке Југославије, већ као оквир за производњу, рецепцију и евалуацију архитектуре, кроз анализу целокупног процеса организације изложби, укључујићи критеријум селекције, тематски оквир и место одржавања. Посматрањем изложби архитектуре, насталих у социјалистичкој Југославији у свим фазама њеног постојања, као већег међузависног система, могу се пратити појаве и промене у теорији и пракси архитектуре, које нам могу показати какав је статус имала архитектура у југословенском друштву и каква је била њена улога у југословенском културном простору.The subject of the proposed research are architecture exhibitions that were organized within the framework of socialist Yugoslavia in the period after the Second World War. Having in mind the growing number of researches that are related to architectural exhibitions, as a special form of manifestations on a global scale from one, and researches relating to the history of socialist Yugoslavia, with a special emphasis on architecture and urbanism, on the other side, exhibitions in question are considered as collective activities whose research allows insight into the broader context of social, economic, political and cultural events within the post-war Yugoslavia, and the status that architecture has had within them. The focus of the research is on the potential of the exhibition to be part, and at the same time to shape the discourse of architecture primarily as a place of debate between the architectural profession and the public, or as a place of promotion or criticism of ideas within the domain of architecture. Architectural exhibitions will be seen as a cause, but also as a consequence of certain changes and developments in a wider social, cultural, political and economic context. Defined in this way, the framework of the proposed research allows additional research and analysis of topics of exhibition practice in the domain of architecture, as well as the modalities of post-war architecture in Yugoslavia. During the discussion of exhibition practices, the exhibitions are not analyzed as isolated events of the presentation of architectural works in certain periods of socialist Yugoslavia, but as a framework for production, reception and evaluation of architecture, through analysis of the entire process of organization of exhibitions, selection criteria, thematic framework and place of exibiting. By researching the exhibitions of architecture created within socialist Yugoslavia at all stages of its existence, as a larger interdependent system, phenomena and changes within the theory and practice of architecture can be monitored, which can show us the status of architecture in the Yugoslav society and what it was like her role within the Yugoslav cultural space