{"title":"Novozagrebačko naselje Dugave: novi model proizvodnje stambene zajednice","authors":"Tamara Bjažić Klarin, Luka Korlaet","doi":"10.31664/ZU.2020.107.06","DOIUrl":"https://doi.org/10.31664/ZU.2020.107.06","url":null,"abstract":"","PeriodicalId":41082,"journal":{"name":"Zivot Umjetnosti","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69462094","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
During the first postwar decade, housing was a pressing issue in socialist Yugoslavia, further complicated by the isolation of the country in the aftermath of the Cominform Resolution crisis in 1948. Modernization and industrialization of the entire construction sector was planned, but it had to be postponed until the mid-1950s, when the circumstances were less dire. Because of this delay, innovations in housing architecture, urban planning, and technology came to a halt. Industrialization of the housing production and construction of new units in collective housing estates were considered the only credible path to alleviating the housing crisis. However, a different approach had to be taken during this period which was innovated through organized actions of the architectural and civil engineering profession. They relied extensively on the already existing housing types and on the traditional crafts, raised onto the industrial scale of operation and reorganized to enlarge the capacities and output. Their results achieved in the workers’ collective housing estates around the core industries and administrative centers, which have been almost completely neglected by architectural historiography, provide an invaluable insight into the humble origins of Yugoslav mass-housing architecture, most known for its achievements from the 1960s to the 1980s.
{"title":"Lessons of Yugoslav Housing Economy in the Period of the First Five-Year Plan: Permeable Boundaries Between Tradition and Modernity","authors":"Jelena Jovanovic","doi":"10.31664/zu.2020.107.03","DOIUrl":"https://doi.org/10.31664/zu.2020.107.03","url":null,"abstract":"During the first postwar decade, housing was a pressing issue in socialist Yugoslavia, further complicated by the isolation of the country in the aftermath of the Cominform Resolution crisis in 1948. Modernization and industrialization of the entire construction sector was planned, but it had to be postponed until the mid-1950s, when the circumstances were less dire. Because of this delay, innovations in housing architecture, urban planning, and technology came to a halt. Industrialization of the housing production and construction of new units in collective housing estates were considered the only credible path to alleviating the housing crisis. However, a different approach had to be taken during this period which was innovated through organized actions of the architectural and civil engineering profession. They relied extensively on the already existing housing types and on the traditional crafts, raised onto the industrial scale of operation and reorganized to enlarge the capacities and output. Their results achieved in the workers’ collective housing estates around the core industries and administrative centers, which have been almost completely neglected by architectural historiography, provide an invaluable insight into the humble origins of Yugoslav mass-housing architecture, most known for its achievements from the 1960s to the 1980s.","PeriodicalId":41082,"journal":{"name":"Zivot Umjetnosti","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69462408","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Kriza na papiru? O sociološkoj kritici kolektivnog stanovanja u kasnom socijalizmu","authors":"L. Horvat","doi":"10.31664/ZU.2020.107.05","DOIUrl":"https://doi.org/10.31664/ZU.2020.107.05","url":null,"abstract":"","PeriodicalId":41082,"journal":{"name":"Zivot Umjetnosti","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69462041","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Vrsnoća arhitekture u realizacijama Programa društveno poticane stanogradnje (POS) od 2001. do 2020.","authors":"Borka Bobovec, Ivan Mlinar, Andriana Pozojević","doi":"10.31664/ZU.2020.107.07","DOIUrl":"https://doi.org/10.31664/ZU.2020.107.07","url":null,"abstract":"","PeriodicalId":41082,"journal":{"name":"Zivot Umjetnosti","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69462151","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The paper is a case study of Jasmina Cibic's film The Pavilion (2015) in relation to the theory of screendance. The first part of the paper discusses the definitions of the term screendance by various researchers, and its position to related terms choreocinema, cine-dance, dance cinema, dance for the camera, dance on screen, dancefilm, and video dance. The second part of the paper is a close analysis of the film, synchronously focused on three key aspects: the choreography of the five female performers, the cinematic techniques, and the narration. The third part of the paper examines the role of the dancer Josephine Baker, to whom the film makes a reference. The paper concludes that the central choreography in the film is not that of the five female performers, but actually of the model of the pavilion which they animate. The choreography of the architectural model and the spatial reference to the body of Josephine Baker are as important semantic layers of the film as the choreography of the five performers.
{"title":"Choreographic and Spatial Layers in Jasmina Cibic's Screendance The Pavilion","authors":"Sonja R. Jankov","doi":"10.31664/zu.2020.106.03","DOIUrl":"https://doi.org/10.31664/zu.2020.106.03","url":null,"abstract":"The paper is a case study of Jasmina Cibic's film The Pavilion (2015) in relation to the theory of screendance. The first part of the paper discusses the definitions of the term screendance by various researchers, and its position to related terms choreocinema, cine-dance, dance cinema, dance for the camera, dance on screen, dancefilm, and video dance. The second part of the paper is a close analysis of the film, synchronously focused on three key aspects: the choreography of the five female performers, the cinematic techniques, and the narration. The third part of the paper examines the role of the dancer Josephine Baker, to whom the film makes a reference. The paper concludes that the central choreography in the film is not that of the five female performers, but actually of the model of the pavilion which they animate. The choreography of the architectural model and the spatial reference to the body of Josephine Baker are as important semantic layers of the film as the choreography of the five performers.","PeriodicalId":41082,"journal":{"name":"Zivot Umjetnosti","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.31664/zu.2020.106.03","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69461482","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Histories of architecture have long-recognized the vital role of concepts, strategies and principles exchanged between architecture and film, which reconfigured their systems of knowledge and made this relationship rich. Nonetheless, film has been used mainly as an instrument of narration and representation in architecture, only rarely engaged in questioning how it affects the way we understand, think and design space. Some of the most recent architectural design practices have recognized that film, using its specific screen environment, can provide a source of new architectural imagination while contextualizing our kinesthetic experience of space. In this article, I will examine how kinesthetic imagination has informed architectural practice in relation to the established practices of architectural representation.
{"title":"Kinesthetic Imagination in Architecture: Design and Representation of Space","authors":"K. Andjelkovic","doi":"10.31664/zu.2020.106.02","DOIUrl":"https://doi.org/10.31664/zu.2020.106.02","url":null,"abstract":"Histories of architecture have long-recognized the vital role of concepts, strategies and principles exchanged between architecture and film, which reconfigured their systems of knowledge and made this relationship rich. Nonetheless, film has been used mainly as an instrument of narration and representation in architecture, only rarely engaged in questioning how it affects the way we understand, think and design space. Some of the most recent architectural design practices have recognized that film, using its specific screen environment, can provide a source of new architectural imagination while contextualizing our kinesthetic experience of space. In this article, I will examine how kinesthetic imagination has informed architectural practice in relation to the established practices of architectural representation.","PeriodicalId":41082,"journal":{"name":"Zivot Umjetnosti","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.31664/zu.2020.106.02","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69461707","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
What do a nineteenth-century ethnographic exhibit and a twenty-first-century museum website tool have in common? More than one might expect. Belgium’s 1897 International Exposition included a colonial exposition that displayed panoplies and dioramas of items taken under colonial violence in what is today the Democratic Republic of the Congo. These objects came to form the initial collection for Belgium’s Royal Museum for Central Africa, an institution that has in recent years underwent a period of renovation and expansion (reopening in 2018) with the aim of revisiting its history and displays. To create engagement with the museum, its website has offered a feature that allows visitors to curate virtual image boards of objects from the collection, with resulting effects semantically linked to the 1897 Brussels exposition. This online tool, while stemming from an admirable impulse to share curatorial control, falls short by juxtaposing items that tell of traumatic histories with no criticality or contextualizing information. Analyses of visual configurations of this tool, along with comparative examinations of the 1897 displays, offer evidence for this argument, as well as an example of how collections that represent painful histories call for especially thoughtful design of digital, publicfacing tools.
{"title":"Problematics of Democratizing Curatorial Power in the Royal Museum for Central Africa's Online Collection","authors":"H. Kiefer","doi":"10.31664/zu.2020.106.09","DOIUrl":"https://doi.org/10.31664/zu.2020.106.09","url":null,"abstract":"What do a nineteenth-century ethnographic exhibit and a twenty-first-century museum website tool have in common? More than one might expect. Belgium’s 1897 International Exposition included a colonial exposition that displayed panoplies and dioramas of items taken under colonial violence in what is today the Democratic Republic of the Congo. These objects came to form the initial collection for Belgium’s Royal Museum for Central Africa, an institution that has in recent years underwent a period of renovation and expansion (reopening in 2018) with the aim of revisiting its history and displays. To create engagement with the museum, its website has offered a feature that allows visitors to curate virtual image boards of objects from the collection, with resulting effects semantically linked to the 1897 Brussels exposition. This online tool, while stemming from an admirable impulse to share curatorial control, falls short by juxtaposing items that tell of traumatic histories with no criticality or contextualizing information. Analyses of visual configurations of this tool, along with comparative examinations of the 1897 displays, offer evidence for this argument, as well as an example of how collections that represent painful histories call for especially thoughtful design of digital, publicfacing tools.","PeriodicalId":41082,"journal":{"name":"Zivot Umjetnosti","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.31664/zu.2020.106.09","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69461498","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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