59 research outputs found
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 β 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), itβs (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 ββborrowedββ 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
IzloΕΎbeni potencijal nacionalnih paviljona na svetskim i bijenalnim izloΕΎbama
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 izloΕΎbama iz 19. veka nastavljena je i danas u okviru Svetskih izloΕΎbi ('Expo'') i Bijenala u Veneciji. U radu Δe biti razmatrana uloga i znaΔaj paviljona kao zasebne tipoloΕ‘ke kategorije u arhitekturi, kao i njegova instrumentalizacija na pomenutim manifestacijama. Paviljoni Δe 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 prateΔe scenografije do samostalnog objekta, biΔe razmatrana i njihova pozicija u institucionalnom okviru svetskih izloΕΎbi i Bijenala u Veneciji. U radu Δe se razmatrati i dve koncepcije paviljona - kao privremenih struktura (svetske izloΕΎbe) 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 personβs 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 KrvaviΔi-BoΕ‘kina
U ovom radu bit Δe prezentirani konzervatorsko-restauratorski radovi na dolijama koje potjeΔu iz I.- II. stoljeΔa, a pronaΔene su tijekom istraΕΎivanja djelatnika Hrvatskog restauratorskog zavoda na lokalitetu KrvaviΔi-BoΕ‘kina. Dolije su keramiΔke posude velikih dimenzija koje se najΔeΕ‘Δe veΕΎu uz gospodarske objekte. SluΕΎile su za skladiΕ‘tenje hrane i tekuΔina, a upotrebljavale su se joΕ‘ od helenistiΔkog razdoblja. Te su posude izraΔivane na nekoliko naΔina. Treba istaknuti rad uz pomoΔ drvenog kalupa te izradu uz pomoΔ 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 mehaniΔki oΔiΕ‘Δeni od naslaga zemlje i kalcitnih naslaga. PovrΕ‘inskom impregnacijom nije se postigao zadovoljavajuΔi uΔinak stabilizacije keramiΔkih ulomaka, pa su zato svi fragmenti impregnirani u vakuumskoj komori, za Ε‘to se koristila otopina polivinil-acetata u acetonu. Uslijedilo je spajanje fragmenata lijepljenjem uz pomoΔ armatura radi osiguravanja stabilnosti posude, te rekonstrukcija nedostajuΔih dijelova gipsom i na kraju toniranje gipsanih integracija. BuduΔi da predmeti nisu rekonstruirani u svojim izvornim dimenzijama, idealne rekonstrukcije napravljene su na osnovi analogija sliΔnih posuda uz pomoΔ raΔunalnih programa.The paper presents the conservation-restoration works on dolia, dating from the 1st-2nd c., which were discovered on the site of KrvaviΔi-BoΕ‘kina 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 izloΕΎbi odrΕΎanih u Jugoslaviji (SFRJ) i njihov danaΕ‘nji znaΔaj
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 izloΕΎbe, nezavisno od svog formata ili sadrΕΎaja, uvek mogu smatrati i diskurzivnom i vizuelnom platformom za prouΔavanje odreΔenih vremenskih perioda, ovo istraΕΎivanje Δe dati uvid u moguΔu tipologiju izloΕΎbi arhitekture koje su organizovane u socijalistiΔkoj Jugoslaviji izmeΔu 1945. i 1991. godine. Predmetne izloΕΎbe su posmatrane kao kolektivna aktivnost, Δija analiza omoguΔava uvid u Ε‘iri kontekst druΕ‘tvenih, ekonomskih, politiΔkih i kulturnih deΕ‘avanja u Jugoslaviji posle Drugog svetskog rata, kao i status koji je arhitektura kao praksa imala u njima. ImajuΔi u vidu da se govori o razliΔitim izloΕΎbama, sa velikim brojem parametara po kojima su bile sliΔne ili razliΔite, u ovom radu Δe se ukazati na proces formiranja izloΕΎbene tipologije, kako bi se omoguΔila klasifikacija za njihovo sistematsko prouΔavanje. U posebnoj studiji Δe biti uraΔena tipologija koja Δe se primenjivati u procesu istraΕΎivanja arhitektonskih izloΕΎbi, njihove uloge i znaΔaja na odreΔenom rasponu u odreΔenom vremenskom periodu
ΠΠ·Π»ΠΎΠΆΠ±Π΅Π½Π΅ ΠΏΡΠ°ΠΊΡΠ΅ Π°ΡΡ ΠΈΡΠ΅ΠΊΡΡΡΠ΅ Ρ ΠΡΠ³ΠΎΡΠ»Π°Π²ΠΈΡΠΈ ΠΈ ΡΡΠ³ΠΎΡΠ»ΠΎΠ²Π΅Π½ΡΠΊΠΈ ΠΊΡΠ»ΡΡΡΠ½ΠΈ ΠΏΡΠΎΡΡΠΎΡ ΠΎΠ΄ 1945. Π΄ΠΎ 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.ΠΡΠ΅Π΄ΠΌΠ΅Ρ ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ° ΡΡ ΠΈΠ·Π»ΠΎΠΆΠ±Π΅ Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΡΡΠ΅ ΠΊΠΎΡΠ΅ ΡΡ ΠΎΡΠ³Π°Π½ΠΈΠ·ΠΎΠ²Π°Π½Π΅ Ρ ΠΎΠΊΠ²ΠΈΡΡ ΡΠΎΡΠΈΡΠ°Π»ΠΈΡΡΠΈΡΠΊΠ΅ ΠΡΠ³ΠΎΡΠ»Π°Π²ΠΈΡΠ΅ Ρ ΠΏΠ΅ΡΠΈΠΎΠ΄Ρ Π½Π°ΠΊΠΎΠ½ ΠΡΡΠ³ΠΎΠ³ ΡΠ²Π΅ΡΡΠΊΠΎΠ³ ΡΠ°ΡΠ°. ΠΠΌΠ°ΡΡΡΠΈ Ρ Π²ΠΈΠ΄Ρ ΡΠ²Π΅ Π²Π΅ΡΠΈ Π±ΡΠΎΡ ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ° ΠΊΠΎΡΠ° ΡΠ΅ ΠΎΠ΄Π½ΠΎΡΠ΅ Π½Π° ΠΈΠ·Π»ΠΎΠΆΠ±Π΅ Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΡΡΠ΅, ΠΊΠ°ΠΎ ΠΏΠΎΡΠ΅Π±Π½Ρ ΡΠΎΡΠΌΡ ΠΌΠ°Π½ΠΈΡΠ΅ΡΡΠ°ΡΠΈΡΠ° Π½Π° Π³Π»ΠΎΠ±Π°Π»Π½ΠΎΠΌ Π½ΠΈΠ²ΠΎΡ ΡΠ° ΡΠ΅Π΄Π½Π΅, ΠΈ ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ° ΠΊΠΎΡΠ° ΡΠ΅ ΠΎΠ΄Π½ΠΎΡΠ΅ Π½Π° ΠΈΡΡΠΎΡΠΈΡΡ ΡΠΎΡΠΈΡΠ°Π»ΠΈΡΡΠΈΡΠΊΠ΅ ΠΡΠ³ΠΎΡΠ»Π°Π²ΠΈΡΠ΅, ΡΠ° ΠΏΠΎΡΠ΅Π±Π½ΠΈΠΌ Π½Π°Π³Π»Π°ΡΠΊΠΎΠΌ Π½Π° Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΡΡΡ ΠΈ ΡΡΠ±Π°Π½ΠΈΠ·Π°ΠΌ ΠΊΠΎΡΠΈ ΡΡ Π½Π°ΡΡΠ°Π»ΠΈ Π½Π° ΡΠΎΠΌ ΠΏΡΠΎΡΡΠΎΡΡ, ΡΠ° Π΄ΡΡΠ³Π΅ ΡΡΡΠ°Π½Π΅, ΠΈΠ·Π»ΠΎΠΆΠ±Π΅ ΡΡ ΡΠ°Π·ΠΌΠ°ΡΡΠ°Π½Π΅ ΠΊΠ°ΠΎ ΠΊΠΎΠ»Π΅ΠΊΡΠΈΠ²Π½Π΅ Π°ΠΊΡΠΈΠ²Π½ΠΎΡΡΠΈ ΡΠΈΡΠΎΠΌ ΡΠ΅ Π°Π½Π°Π»ΠΈΠ·ΠΎΠΌ ΠΎΠΌΠΎΠ³ΡΡΠ°Π²Π° ΡΠ²ΠΈΠ΄ Ρ ΡΠΈΡΠΈ ΠΊΠΎΠ½ΡΠ΅ΠΊΡΡ Π΄ΡΡΡΡΠ²Π΅Π½ΠΈΡ
, Π΅ΠΊΠΎΠ½ΠΎΠΌΡΠΊΠΈΡ
, ΠΏΠΎΠ»ΠΈΡΠΈΡΠΊΠΈΡ
ΠΈ ΠΊΡΠ»ΡΡΡΠ½ΠΈΡ
Π΄Π΅ΡΠ°Π²Π°ΡΠ° Ρ ΠΎΠΊΠ²ΠΈΡΡ ΠΡΠ³ΠΎΡΠ»Π°Π²ΠΈΡΠ΅ Π½Π°ΠΊΠΎΠ½ ΠΡΡΠ³ΠΎΠ³ ΡΠ²Π΅ΡΡΠΊΠΎΠ³ ΡΠ°ΡΠ°, ΠΈ ΡΡΠ°ΡΡΡΠ° ΠΊΠΎΡΠΈ ΡΠ΅ Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΡΡΠ° ΠΈΠΌΠ°Π»Π° Ρ ΠΎΠΊΠ²ΠΈΡΡ ΡΠΈΡ
. Π€ΠΎΠΊΡΡ ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ° ΡΠ΅ Π½Π° ΠΏΠΎΡΠ΅Π½ΡΠΈΡΠ°Π»Ρ ΠΈΠ·Π»ΠΎΠΆΠ±ΠΈ Π΄Π° ΠΈΡΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½ΠΎ Π±ΡΠ΄Ρ Π΄Π΅ΠΎ, Π°Π»ΠΈ ΠΈ Π΄Π° ΠΎΠ±Π»ΠΈΠΊΡΡΡ Π΄ΠΈΡΠΊΡΡΡ Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΡΡΠ΅ ΠΏΡΠ²Π΅Π½ΡΡΠ²Π΅Π½ΠΎ ΠΊΠ°ΠΎ ΠΌΠ΅ΡΡΠΎ Π΄Π΅Π±Π°ΡΠ΅ ΠΈΠ·ΠΌΠ΅ΡΡ Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΠΎΠ½ΡΠΊΠ΅ ΡΡΡΡΠΊΠ΅ ΠΈ ΡΠ°Π²Π½ΠΎΡΡΠΈ, ΠΎΠ΄Π½ΠΎΡΠ½ΠΎ ΠΊΠ°ΠΎ ΠΌΠ΅ΡΡΠΎ ΠΏΡΠΎΠΌΠΎΡΠΈΡΠ΅ ΠΈΠ»ΠΈ ΠΊΡΠΈΡΠΈΠΊΠ΅ ΠΈΠ΄Π΅ΡΠ° Ρ ΠΎΠΊΠ²ΠΈΡΡ Π΄ΠΎΠΌΠ΅Π½Π° Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΡΡΠ΅. ΠΠ·Π»ΠΎΠΆΠ±Π΅ Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΡΡΠ΅ Π±ΠΈΡΠ΅ ΠΏΠΎΡΠΌΠ°ΡΡΠ°Π½Π΅ ΠΊΠ°ΠΎ ΡΠ·ΡΠΎΠΊ, Π°Π»ΠΈ ΠΈ ΠΊΠ°ΠΎ ΠΏΠΎΡΠ»Π΅Π΄ΠΈΡΠ° ΠΎΠ΄ΡΠ΅ΡΠ΅Π½ΠΈΡ
ΠΏΡΠΎΠΌΠ΅Π½Π° ΠΈ Π΄Π΅ΡΠ°Π²Π°ΡΠ° Ρ ΡΠΈΡΠ΅ΠΌ Π΄ΡΡΡΡΠ²Π΅Π½ΠΎΠΌ, ΠΊΡΠ»ΡΡΡΠ½ΠΎΠΌ, ΠΏΠΎΠ»ΠΈΡΠΈΡΠΊΠΎΠΌ ΠΈ Π΅ΠΊΠΎΠ½ΠΎΠΌΡΠΊΠΎΠΌ ΠΊΠΎΠ½ΡΠ΅ΠΊΡΡΡ. ΠΠ΅ΡΠΈΠ½ΠΈΡΠ°Π½ Π½Π° ΠΎΠ²Π°Ρ Π½Π°ΡΠΈΠ½, ΠΎΠΊΠ²ΠΈΡ ΠΏΡΠ΅Π΄Π»ΠΎΠΆΠ΅Π½ΠΎΠ³ ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ° ΠΎΠΌΠΎΠ³ΡΡΠ°Π²Π° Π΄Π° ΡΠ΅ ΡΠ΅ΠΌΠ΅ ΠΈΠ·Π»ΠΎΠΆΠ±Π΅Π½ΠΈΡ
ΠΏΡΠ°ΠΊΡΠΈ Ρ Π΄ΠΎΠΌΠ΅Π½Ρ Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΡΡΠ΅, ΠΊΠ°ΠΎ ΠΈ ΠΌΠΎΠ΄Π°Π»ΠΈΡΠ΅ΡΠΈ ΠΏΠΎΡΠ»Π΅ΡΠ°ΡΠ½Π΅ Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΡΡΠ΅ Ρ ΠΡΠ³ΠΎΡΠ»Π°Π²ΠΈΡΠΈ, Π΄ΠΎΠ΄Π°ΡΠ½ΠΎ ΠΈΡΡΡΠ°ΠΆΠ΅ ΠΈ Π°Π½Π°Π»ΠΈΠ·ΠΈΡΠ°ΡΡ. ΠΡΠΈΠ»ΠΈΠΊΠΎΠΌ ΡΠ°Π·ΠΌΠ°ΡΡΠ°ΡΠ° ΠΈΠ·Π»ΠΎΠΆΠ±Π΅Π½ΠΈΡ
ΠΏΡΠ°ΠΊΡΠΈ, ΠΈΠ·Π»ΠΎΠΆΠ±Π΅ ΡΠ΅ Π½Π΅ Π°Π½Π°Π»ΠΈΠ·ΠΈΡΠ°ΡΡ ΠΊΠ°ΠΎ ΠΈΠ·ΠΎΠ»ΠΎΠ²Π°Π½ΠΈ Π΄ΠΎΠ³Π°ΡΠ°ΡΠΈ ΠΏΡΠ΅Π·Π΅Π½ΡΠ°ΡΠΈΡΠ΅ Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΠΎΠ½ΡΠΊΠΈΡ
Π΄Π΅Π»Π° Ρ ΠΏΠΎΡΠ΅Π΄ΠΈΠ½ΠΈΠΌ ΡΠ°Π·Π΄ΠΎΠ±ΡΠΈΠΌΠ° ΡΠΎΡΠΈΡΠ°Π»ΠΈΡΡΠΈΡΠΊΠ΅ ΠΡΠ³ΠΎΡΠ»Π°Π²ΠΈΡΠ΅, Π²Π΅Ρ ΠΊΠ°ΠΎ ΠΎΠΊΠ²ΠΈΡ Π·Π° ΠΏΡΠΎΠΈΠ·Π²ΠΎΠ΄ΡΡ, ΡΠ΅ΡΠ΅ΠΏΡΠΈΡΡ ΠΈ Π΅Π²Π°Π»ΡΠ°ΡΠΈΡΡ Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΡΡΠ΅, ΠΊΡΠΎΠ· Π°Π½Π°Π»ΠΈΠ·Ρ ΡΠ΅Π»ΠΎΠΊΡΠΏΠ½ΠΎΠ³ ΠΏΡΠΎΡΠ΅ΡΠ° ΠΎΡΠ³Π°Π½ΠΈΠ·Π°ΡΠΈΡΠ΅ ΠΈΠ·Π»ΠΎΠΆΠ±ΠΈ, ΡΠΊΡΡΡΡΡΠΈΡΠΈ ΠΊΡΠΈΡΠ΅ΡΠΈΡΡΠΌ ΡΠ΅Π»Π΅ΠΊΡΠΈΡΠ΅, ΡΠ΅ΠΌΠ°ΡΡΠΊΠΈ ΠΎΠΊΠ²ΠΈΡ ΠΈ ΠΌΠ΅ΡΡΠΎ ΠΎΠ΄ΡΠΆΠ°Π²Π°ΡΠ°. ΠΠΎΡΠΌΠ°ΡΡΠ°ΡΠ΅ΠΌ ΠΈΠ·Π»ΠΎΠΆΠ±ΠΈ Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΡΡΠ΅, Π½Π°ΡΡΠ°Π»ΠΈΡ
Ρ ΡΠΎΡΠΈΡΠ°Π»ΠΈΡΡΠΈΡΠΊΠΎΡ ΠΡΠ³ΠΎΡΠ»Π°Π²ΠΈΡΠΈ Ρ ΡΠ²ΠΈΠΌ ΡΠ°Π·Π°ΠΌΠ° ΡΠ΅Π½ΠΎΠ³ ΠΏΠΎΡΡΠΎΡΠ°ΡΠ°, ΠΊΠ°ΠΎ Π²Π΅ΡΠ΅Π³ ΠΌΠ΅ΡΡΠ·Π°Π²ΠΈΡΠ½ΠΎΠ³ ΡΠΈΡΡΠ΅ΠΌΠ°, ΠΌΠΎΠ³Ρ ΡΠ΅ ΠΏΡΠ°ΡΠΈΡΠΈ ΠΏΠΎΡΠ°Π²Π΅ ΠΈ ΠΏΡΠΎΠΌΠ΅Π½Π΅ Ρ ΡΠ΅ΠΎΡΠΈΡΠΈ ΠΈ ΠΏΡΠ°ΠΊΡΠΈ Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΡΡΠ΅, ΠΊΠΎΡΠ΅ Π½Π°ΠΌ ΠΌΠΎΠ³Ρ ΠΏΠΎΠΊΠ°Π·Π°ΡΠΈ ΠΊΠ°ΠΊΠ°Π² ΡΠ΅ ΡΡΠ°ΡΡΡ ΠΈΠΌΠ°Π»Π° Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΡΡΠ° Ρ ΡΡΠ³ΠΎΡΠ»ΠΎΠ²Π΅Π½ΡΠΊΠΎΠΌ Π΄ΡΡΡΡΠ²Ρ ΠΈ ΠΊΠ°ΠΊΠ²Π° ΡΠ΅ Π±ΠΈΠ»Π° ΡΠ΅Π½Π° ΡΠ»ΠΎΠ³Π° Ρ ΡΡΠ³ΠΎΡΠ»ΠΎΠ²Π΅Π½ΡΠΊΠΎΠΌ ΠΊΡΠ»ΡΡΡΠ½ΠΎΠΌ ΠΏΡΠΎΡΡΠΎΡΡ
Exhibitionary practices of architecture in Yugoslavia and Yugoslav cultural space from 1945 to 1991.
ΠΡΠ΅Π΄ΠΌΠ΅Ρ ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ° ΡΡ ΠΈΠ·Π»ΠΎΠΆΠ±Π΅ Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΡΡΠ΅ ΠΊΠΎΡΠ΅ ΡΡ ΠΎΡΠ³Π°Π½ΠΈΠ·ΠΎΠ²Π°Π½Π΅ Ρ ΠΎΠΊΠ²ΠΈΡΡ ΡΠΎΡΠΈΡΠ°Π»ΠΈΡΡΠΈΡΠΊΠ΅ ΠΡΠ³ΠΎΡΠ»Π°Π²ΠΈΡΠ΅ Ρ ΠΏΠ΅ΡΠΈΠΎΠ΄Ρ Π½Π°ΠΊΠΎΠ½ ΠΡΡΠ³ΠΎΠ³ ΡΠ²Π΅ΡΡΠΊΠΎΠ³ ΡΠ°ΡΠ°. ΠΠΌΠ°ΡΡΡΠΈ Ρ Π²ΠΈΠ΄Ρ ΡΠ²Π΅ Π²Π΅ΡΠΈ Π±ΡΠΎΡ ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ° ΠΊΠΎΡΠ° ΡΠ΅ ΠΎΠ΄Π½ΠΎΡΠ΅ Π½Π° ΠΈΠ·Π»ΠΎΠΆΠ±Π΅ Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΡΡΠ΅, ΠΊΠ°ΠΎ ΠΏΠΎΡΠ΅Π±Π½Ρ ΡΠΎΡΠΌΡ ΠΌΠ°Π½ΠΈΡΠ΅ΡΡΠ°ΡΠΈΡΠ° Π½Π° Π³Π»ΠΎΠ±Π°Π»Π½ΠΎΠΌ Π½ΠΈΠ²ΠΎΡ ΡΠ° ΡΠ΅Π΄Π½Π΅, ΠΈ ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ° ΠΊΠΎΡΠ° ΡΠ΅ ΠΎΠ΄Π½ΠΎΡΠ΅ Π½Π° ΠΈΡΡΠΎΡΠΈΡΡ ΡΠΎΡΠΈΡΠ°Π»ΠΈΡΡΠΈΡΠΊΠ΅ ΠΡΠ³ΠΎΡΠ»Π°Π²ΠΈΡΠ΅, ΡΠ° ΠΏΠΎΡΠ΅Π±Π½ΠΈΠΌ Π½Π°Π³Π»Π°ΡΠΊΠΎΠΌ Π½Π° Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΡΡΡ ΠΈ ΡΡΠ±Π°Π½ΠΈΠ·Π°ΠΌ ΠΊΠΎΡΠΈ ΡΡ Π½Π°ΡΡΠ°Π»ΠΈ Π½Π° ΡΠΎΠΌ ΠΏΡΠΎΡΡΠΎΡΡ, ΡΠ° Π΄ΡΡΠ³Π΅ ΡΡΡΠ°Π½Π΅, ΠΈΠ·Π»ΠΎΠΆΠ±Π΅ ΡΡ ΡΠ°Π·ΠΌΠ°ΡΡΠ°Π½Π΅ ΠΊΠ°ΠΎ ΠΊΠΎΠ»Π΅ΠΊΡΠΈΠ²Π½Π΅ Π°ΠΊΡΠΈΠ²Π½ΠΎΡΡΠΈ ΡΠΈΡΠΎΠΌ ΡΠ΅ Π°Π½Π°Π»ΠΈΠ·ΠΎΠΌ ΠΎΠΌΠΎΠ³ΡΡΠ°Π²Π° ΡΠ²ΠΈΠ΄ Ρ ΡΠΈΡΠΈ ΠΊΠΎΠ½ΡΠ΅ΠΊΡΡ Π΄ΡΡΡΡΠ²Π΅Π½ΠΈΡ
, Π΅ΠΊΠΎΠ½ΠΎΠΌΡΠΊΠΈΡ
, ΠΏΠΎΠ»ΠΈΡΠΈΡΠΊΠΈΡ
ΠΈ ΠΊΡΠ»ΡΡΡΠ½ΠΈΡ
Π΄Π΅ΡΠ°Π²Π°ΡΠ° Ρ ΠΎΠΊΠ²ΠΈΡΡ ΠΡΠ³ΠΎΡΠ»Π°Π²ΠΈΡΠ΅ Π½Π°ΠΊΠΎΠ½ ΠΡΡΠ³ΠΎΠ³ ΡΠ²Π΅ΡΡΠΊΠΎΠ³ ΡΠ°ΡΠ°, ΠΈ ΡΡΠ°ΡΡΡΠ° ΠΊΠΎΡΠΈ ΡΠ΅ Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΡΡΠ° ΠΈΠΌΠ°Π»Π° Ρ ΠΎΠΊΠ²ΠΈΡΡ ΡΠΈΡ
.
Π€ΠΎΠΊΡΡ ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ° ΡΠ΅ Π½Π° ΠΏΠΎΡΠ΅Π½ΡΠΈΡΠ°Π»Ρ ΠΈΠ·Π»ΠΎΠΆΠ±ΠΈ Π΄Π° ΠΈΡΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½ΠΎ Π±ΡΠ΄Ρ Π΄Π΅ΠΎ, Π°Π»ΠΈ ΠΈ Π΄Π° ΠΎΠ±Π»ΠΈΠΊΡΡΡ Π΄ΠΈΡΠΊΡΡΡ Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΡΡΠ΅ ΠΏΡΠ²Π΅Π½ΡΡΠ²Π΅Π½ΠΎ ΠΊΠ°ΠΎ ΠΌΠ΅ΡΡΠΎ Π΄Π΅Π±Π°ΡΠ΅ ΠΈΠ·ΠΌΠ΅ΡΡ Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΠΎΠ½ΡΠΊΠ΅ ΡΡΡΡΠΊΠ΅ ΠΈ ΡΠ°Π²Π½ΠΎΡΡΠΈ, ΠΎΠ΄Π½ΠΎΡΠ½ΠΎ ΠΊΠ°ΠΎ ΠΌΠ΅ΡΡΠΎ ΠΏΡΠΎΠΌΠΎΡΠΈΡΠ΅ ΠΈΠ»ΠΈ ΠΊΡΠΈΡΠΈΠΊΠ΅ ΠΈΠ΄Π΅ΡΠ° Ρ ΠΎΠΊΠ²ΠΈΡΡ Π΄ΠΎΠΌΠ΅Π½Π° Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΡΡΠ΅. ΠΠ·Π»ΠΎΠΆΠ±Π΅ Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΡΡΠ΅ Π±ΠΈΡΠ΅ ΠΏΠΎΡΠΌΠ°ΡΡΠ°Π½Π΅ ΠΊΠ°ΠΎ ΡΠ·ΡΠΎΠΊ, Π°Π»ΠΈ ΠΈ ΠΊΠ°ΠΎ ΠΏΠΎΡΠ»Π΅Π΄ΠΈΡΠ° ΠΎΠ΄ΡΠ΅ΡΠ΅Π½ΠΈΡ
ΠΏΡΠΎΠΌΠ΅Π½Π° ΠΈ Π΄Π΅ΡΠ°Π²Π°ΡΠ° Ρ ΡΠΈΡΠ΅ΠΌ Π΄ΡΡΡΡΠ²Π΅Π½ΠΎΠΌ, ΠΊΡΠ»ΡΡΡΠ½ΠΎΠΌ, ΠΏΠΎΠ»ΠΈΡΠΈΡΠΊΠΎΠΌ ΠΈ Π΅ΠΊΠΎΠ½ΠΎΠΌΡΠΊΠΎΠΌ ΠΊΠΎΠ½ΡΠ΅ΠΊΡΡΡ. ΠΠ΅ΡΠΈΠ½ΠΈΡΠ°Π½ Π½Π° ΠΎΠ²Π°Ρ Π½Π°ΡΠΈΠ½, ΠΎΠΊΠ²ΠΈΡ ΠΏΡΠ΅Π΄Π»ΠΎΠΆΠ΅Π½ΠΎΠ³ ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ° ΠΎΠΌΠΎΠ³ΡΡΠ°Π²Π° Π΄Π° ΡΠ΅ ΡΠ΅ΠΌΠ΅ ΠΈΠ·Π»ΠΎΠΆΠ±Π΅Π½ΠΈΡ
ΠΏΡΠ°ΠΊΡΠΈ Ρ Π΄ΠΎΠΌΠ΅Π½Ρ Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΡΡΠ΅, ΠΊΠ°ΠΎ ΠΈ ΠΌΠΎΠ΄Π°Π»ΠΈΡΠ΅ΡΠΈ ΠΏΠΎΡΠ»Π΅ΡΠ°ΡΠ½Π΅ Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΡΡΠ΅ Ρ ΠΡΠ³ΠΎΡΠ»Π°Π²ΠΈΡΠΈ, Π΄ΠΎΠ΄Π°ΡΠ½ΠΎ ΠΈΡΡΡΠ°ΠΆΠ΅ ΠΈ Π°Π½Π°Π»ΠΈΠ·ΠΈΡΠ°ΡΡ. ΠΡΠΈΠ»ΠΈΠΊΠΎΠΌ ΡΠ°Π·ΠΌΠ°ΡΡΠ°ΡΠ° ΠΈΠ·Π»ΠΎΠΆΠ±Π΅Π½ΠΈΡ
ΠΏΡΠ°ΠΊΡΠΈ, ΠΈΠ·Π»ΠΎΠΆΠ±Π΅ ΡΠ΅ Π½Π΅ Π°Π½Π°Π»ΠΈΠ·ΠΈΡΠ°ΡΡ ΠΊΠ°ΠΎ ΠΈΠ·ΠΎΠ»ΠΎΠ²Π°Π½ΠΈ Π΄ΠΎΠ³Π°ΡΠ°ΡΠΈ ΠΏΡΠ΅Π·Π΅Π½ΡΠ°ΡΠΈΡΠ΅ Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΠΎΠ½ΡΠΊΠΈΡ
Π΄Π΅Π»Π° Ρ ΠΏΠΎΡΠ΅Π΄ΠΈΠ½ΠΈΠΌ ΡΠ°Π·Π΄ΠΎΠ±ΡΠΈΠΌΠ° ΡΠΎΡΠΈΡΠ°Π»ΠΈΡΡΠΈΡΠΊΠ΅ ΠΡΠ³ΠΎΡΠ»Π°Π²ΠΈΡΠ΅, Π²Π΅Ρ ΠΊΠ°ΠΎ ΠΎΠΊΠ²ΠΈΡ Π·Π° ΠΏΡΠΎΠΈΠ·Π²ΠΎΠ΄ΡΡ, ΡΠ΅ΡΠ΅ΠΏΡΠΈΡΡ ΠΈ Π΅Π²Π°Π»ΡΠ°ΡΠΈΡΡ Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΡΡΠ΅, ΠΊΡΠΎΠ· Π°Π½Π°Π»ΠΈΠ·Ρ ΡΠ΅Π»ΠΎΠΊΡΠΏΠ½ΠΎΠ³ ΠΏΡΠΎΡΠ΅ΡΠ° ΠΎΡΠ³Π°Π½ΠΈΠ·Π°ΡΠΈΡΠ΅ ΠΈΠ·Π»ΠΎΠΆΠ±ΠΈ, ΡΠΊΡΡΡΡΡΠΈΡΠΈ ΠΊΡΠΈΡΠ΅ΡΠΈΡΡΠΌ ΡΠ΅Π»Π΅ΠΊΡΠΈΡΠ΅, ΡΠ΅ΠΌΠ°ΡΡΠΊΠΈ ΠΎΠΊΠ²ΠΈΡ ΠΈ ΠΌΠ΅ΡΡΠΎ ΠΎΠ΄ΡΠΆΠ°Π²Π°ΡΠ°. ΠΠΎΡΠΌΠ°ΡΡΠ°ΡΠ΅ΠΌ ΠΈΠ·Π»ΠΎΠΆΠ±ΠΈ Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΡΡΠ΅, Π½Π°ΡΡΠ°Π»ΠΈΡ
Ρ ΡΠΎΡΠΈΡΠ°Π»ΠΈΡΡΠΈΡΠΊΠΎΡ ΠΡΠ³ΠΎΡΠ»Π°Π²ΠΈΡΠΈ Ρ ΡΠ²ΠΈΠΌ ΡΠ°Π·Π°ΠΌΠ° ΡΠ΅Π½ΠΎΠ³ ΠΏΠΎΡΡΠΎΡΠ°ΡΠ°, ΠΊΠ°ΠΎ Π²Π΅ΡΠ΅Π³ ΠΌΠ΅ΡΡΠ·Π°Π²ΠΈΡΠ½ΠΎΠ³ ΡΠΈΡΡΠ΅ΠΌΠ°, ΠΌΠΎΠ³Ρ ΡΠ΅ ΠΏΡΠ°ΡΠΈΡΠΈ ΠΏΠΎΡΠ°Π²Π΅ ΠΈ ΠΏΡΠΎΠΌΠ΅Π½Π΅ Ρ ΡΠ΅ΠΎΡΠΈΡΠΈ ΠΈ ΠΏΡΠ°ΠΊΡΠΈ Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΡΡΠ΅, ΠΊΠΎΡΠ΅ Π½Π°ΠΌ ΠΌΠΎΠ³Ρ ΠΏΠΎΠΊΠ°Π·Π°ΡΠΈ ΠΊΠ°ΠΊΠ°Π² ΡΠ΅ ΡΡΠ°ΡΡΡ ΠΈΠΌΠ°Π»Π° Π°ΡΡ
ΠΈΡΠ΅ΠΊΡΡΡΠ° Ρ ΡΡΠ³ΠΎΡΠ»ΠΎΠ²Π΅Π½ΡΠΊΠΎΠΌ Π΄ΡΡΡΡΠ²Ρ ΠΈ ΠΊΠ°ΠΊΠ²Π° ΡΠ΅ Π±ΠΈΠ»Π° ΡΠ΅Π½Π° ΡΠ»ΠΎΠ³Π° Ρ ΡΡΠ³ΠΎΡΠ»ΠΎΠ²Π΅Π½ΡΠΊΠΎΠΌ ΠΊΡΠ»ΡΡΡΠ½ΠΎΠΌ ΠΏΡΠΎΡΡΠΎΡΡ.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
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