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Journal articles on the topic 'Building of the exhibition pavilion'
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1
ShEINA, T. V., and A. V. IVANOV. "CONSTRUCTION AND BUILDING MATERIALS IN ARCHITECTURE OF NATIONAL EXHIBITION HALLS AT THE WORLD UNIVERSAL EXHIBITION OF THE EXPO." Urban construction and architecture 1, no. 4 (December 15, 2011): 38–44. http://dx.doi.org/10.17673/vestnik.2011.04.8.
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The results of investigating structural solution and building materials of exhibition pavilions of Russia taken at different epochs are presented in this article. Features of architectural formation of exhibition pavilion demonstrate the application of new build materials and constructions. There is presented the development building technology trends, which find the further application in the world architecture. Innovative architectural methods, the unusual thing of setting and forms of pavilions show the achievements of Russia in such areas as science, culture, technology and building materials at its best.
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ShEINA, T. V., and A. V. IVANOV. "THE CONSTRUCTIVE DECISION AND BUILDING MATERIALS OF EXHIBITION PAVILIONSOF GREAT BRITAIN THROUGH THE EXAMPLE THE FIRST AND LAST WORLD EXHIBITION-EXPO." Urban construction and architecture 1, no. 3 (September 15, 2011): 86–91. http://dx.doi.org/10.17673/vestnik.2011.03.19.
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The results of investigating structural solution and building materials of exhibition pavilions of Great Britain taken at different epochs are presented in this article. Features of architectural formation of exhibition pavilion demonstrate the application of new building materials and constructions. There is presented the development building technology trends, which find the further application in the world architecture. Innovative architectural methods, the unusual thing of setting and forms of pavilions show the achievements of Great Britain in such areas as science, culture, technology and building materials at its best.
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Nikitin, Yury, Vasiliy Goryunov, Vera Murgul, and Nikolay Vatin. "Russian Sections at World and International Fairs." Advanced Materials Research 1065-1069 (December 2014): 2674–80. http://dx.doi.org/10.4028/www.scientific.net/amr.1065-1069.2674.
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Russian exposition pavilions at world and international fairs, expressive and unique in their artistic formulation, were always among the most visible national buildings. Beginning with the first structures at the 1867 World Fair in Paris, Russia presented medieval Russian architectural forms at all subsequent exhibitions. An important feature of Russia’s exhibition building abroad was the supreme desire to achieve high quality despite the fact that the structures were doomed to destruction. Russian architects strove to create an original image of the national exhibition pavilion, and so their appeal to medieval Russian architecture was natural. The path followed by Russia when participating in world and international exhibitions was not chosen by chance. This was the route to Russia’s assertion of her national culture in the West.
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Kadurina, A. O., and Yu S. Nazarchuk. "Symbols of the Dyukovsky Park constructions in Odessa. Heritage of the 1950s agricultural exhibition." Collected Works of Uman National University of Horticulture 1, no. 97 (December 28, 2020): 181–90. http://dx.doi.org/10.31395/2415-8240-2020-97-1-181-190.
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Purpose. The research is devoted to the analysis of the agricultural exhibition pavilions symbolism in Dyukovsky Park in Odessa in 1950s years. Methodology. Field study and bibliographic research, synthesis and analysis, historical method, and method of analogies are used in that work. Results. The stages of Dyukovsky Park formation have been studied, from the Duke de Richelieu, which gave the name to the park, dacha creation to the active construction and landscaping of the park in the XX century. In particular, from the symbolism point of view, the architectural and artistic decor of the agricultural exhibition pavilions of the 1950s years is analyzed. These are: a pavilion of Vegetable growing which is crowned by layers of wheat and a 5-pointed star (the first place in the wheat export); the pavilion of the Textile Industry and other goods decorated with jugs and towels with symbols of fertility and abundance; the pavilion of the Vinery State Farms with plant motifs and the Fish Pavilion with high reliefs of fish, anchors, ship noses and bas-reliefs of nets (active development of sea fishing). In general, the symbolism of all presented pavilions reflects the idea of wealth, prosperity and active development of the main directions of agriculture and industry of the country. For the first time, the architectural heritage of the agricultural exhibition, which is the compositional core of the Odessa Dyukovsky Park, is analyzed from the symbolism point of view. At the same time, the decoding of the semantic loads inherent in the architectural and artistic decor of the pavilions is correlated with the theme of the exhibition, as well as with the historical features of the construction period. Today, all buildings of the former exhibition pavilions are empty or are used as warehouses. Perhaps the analysis of the information code of these buildings will again attract the attention of the city authorities to the issues of reconstruction of the city's historical heritage, reviving it.
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Nikitin, Yury. "ARCHITECTURE OF RUSSIAN EXHIBITION PAVILIONS AT INTERNATIONAL NORDIC EXHIBITIONS IN THE LATE 19TH – EARLY 20TH CENTURIES." Architecture and Engineering 5, no. 4 (2020): 35–43. http://dx.doi.org/10.23968/2500-0055-2020-5-4-35-43.
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Introduction: In the 19th – early 20th centuries, Russia actively participated in world’s and international exhibitions in Europe and the USA. Purpose of the study: We aim to study the typology of Russian expo construction abroad consisting of three branches: construction of model facilities, construction of official ceremonial buildings and facades, and, finally, construction of exposition pavilions. Methods: Despite the inevitable demolition of the facilities, Russian exposition pavilions built abroad always strained after high quality of architecture, which is quite important. Results: A peculiar type of buildings — the Russian national exhibition pavilion — formed, which is traditionally styled after old Russian architecture but, at the same time, meets the new exposition and functional requirements.
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Sevilla, Laura Lizondo. "Mies's Opaque Cube: The Electric Utilities Pavilion at the 1929 Barcelona International Exposition." Journal of the Society of Architectural Historians 76, no. 2 (June 1, 2017): 197–217. http://dx.doi.org/10.1525/jsah.2017.76.2.197.
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Mies's Opaque Cube: The Electric Utilities Pavilion at the 1929 Barcelona International Exposition focuses on the dramatic, opaque, white cube-shaped building designed by Ludwig Mies van der Rohe for the German electricity industry's display at the exposition. Like many emblematic projects of modern architecture, the pavilion was created for a temporary exhibition and is known only through the photographic and graphic documentation of the era. Mies used the Electricity Supply Company Pavilion to experiment with a variety of ideas, including the use of photo murals and a new expression of structure and space, that featured in his later buildings. Through archival research, Laura Lizondo Sevilla has reconstructed this pavilion, the original plans for which no longer exist, and her article reinterprets the building's contribution to Mies's subsequent architecture.
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Łątka, Jerzy F., and Michał Święciak. "The Obverse/Reverse Pavilion: An Example of a Form-Finding Design of Temporary, Low-Cost, and Eco-Friendly Structure." Buildings 11, no. 6 (May 25, 2021): 226. http://dx.doi.org/10.3390/buildings11060226.
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Temporary pavilions play an important role as experimental fields for architects, designers, and engineers, in addition to providing exhibition spaces. Novel structural and formal solutions applied in pavilions also can give them an unusual appearance that attracts the eyesight of spectators. In this article, the authors explore the possibility of combining structural novelty, visual attractiveness, and low cost in the design and construction of a temporary pavilion. For that purpose, an innovative structural system and design approach was applied, i.e., a membrane structure was designed in Rhino and Grasshopper environments with the use of the Kiwi!3D IsoGeometric analysis tool. The designed pavilion, named Obverse/Reverse, was built in Opole, Poland, for the occasion of World Architecture Day in July 2019. The design and the construction were performed by the authors in cooperation with students belonging to the Humanization of Urban Environment organization from the Faculty of Architecture Wroclaw University of Science and Technology. The resultant pavilion proved the potential of obtaining a low-budget but visually attractive architectural solution with the adaption of parametrical design tools and some scientific background with innovative structural systems.
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Zeng, Lin Hui, Guang Ming Li, Song Li, and Yong Zheng. "Carbon Reduction in Mega Event’s Building: a Case Study of China Pavilion." Advanced Materials Research 997 (August 2014): 766–69. http://dx.doi.org/10.4028/www.scientific.net/amr.997.766.
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Building sector is one of the main sources of anthropogenic greenhouse gases emissions. Comprehensive countermeasures are needed in cities to mitigate carbon emissions from buildings. This paper reviewed sustainable strategies that implemented in China Pavilion, the main exhibition building of Expo 2010 Shanghai China, and analyzes the achievement that the building has made in carbon mitigation. The results showed that energy saving design in construction and energy efficient technologies in appliance played a vital role in energy reduction and carbon mitigation in building. It also showed that solar photovoltaic power generation system applied in building would bring carbon reduction. The technologies bring with the building a reduction 6.5 kt CO2 each year. These green measures not only helpful in realize the goal of green event, but also will play a role in realizing low carbon society in the future.
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Xi, Liao Liao, Hu Peng, and Lin Zhang. "Exploration on Regional Ecological Architecture Design — Taking the Design of Houji Jiaojia Garden Exhibition as an Example." Applied Mechanics and Materials 174-177 (May 2012): 3111–14. http://dx.doi.org/10.4028/www.scientific.net/amm.174-177.3111.
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In recent decades, sustainable buildings have been increasingly concerned, architects, teachers and college students are involved into a number of theoretical and practical exploration. A variety of sustainable building design strategies and cases spring up. Taking Houji Jiaojia garden agricultural exhibition pavilion design as an example, on the basis of exhausting analysis of the local climate, geographical conditions, it focuses particularly on the use of local ecological straw materials in the building to achieve the sustainability of the project, which can provide some reference for the current and future sustainable architectural design.
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Ivanov, Aleksandr. "Something there is that doesn’t love a wall… (Notes on the 16th Venice Architecture Biennale 2018)." Judaic-Slavic Journal, no. 1 (2) (2019): 148–68. http://dx.doi.org/10.31168/2658-3364.2019.1.1.5.
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The article reviews two exhibitions presented at the Israeli and German pavilions at the 2018 Venice Architecture Biennale,where the 16th International Architecture Exhibition was themed and titled as FREESPACE.The Manifesto,written by Yvonne Farrell and Shelley McNamara, the chief curators of the Biennale, proclaimed, among other things, that FREESPACE provides its participants with «…freedom to imagine the free space of time and memory, binding past, present and future together, building on inherited cultural layers, weaving the archaic with the contemporary…» In accordance with the Manifesto, the curators of the Israeli exhibition named In Statu Quo: Structures of Negotiation attempted to deconstruct, in the historical and architectural perspective,the stages of interfaith struggle for holy sites in Israel and on the West Bank of the Jordan River. The German exhibition Unbuilding Walls was dedicated to the twenty-eighth anniversary of the destruction of the Berlin Wall. One of its key exhibits was the visual installation Wall of Opinions, composed of video interviews with residents of various countries, including Israel, where demarcation lines (all kinds of walls, fences, barriers) still exist today, turning «free spaces» into exclusion zones. Both exhibitions convincingly showed the political and social problems that the modern society faces when attempting to create «free spaces» for informal interaction between diverse ethnic and social groups in different countries. Moreover, the exhibition of the Israeli pavilion clearly points at the hidden dangers of new demarcation barriers when the sides of interethnic and interconfessional conflicts fail to reach an agreement about the status of one or another place, while the curators from Germany, symbolically dismantling the global walls of misunderstanding, give us hope to overcome such problems.
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Jasiołek, Agata. "Cardboard as a construction material for temporary architecture: a case study." Challenges of Modern Technology 9, no. 1 (March 31, 2018): 19–25. http://dx.doi.org/10.5604/01.3001.0013.6123.
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The topic of this article is cardboard as a construction material for temporary architecture: a case study of the Zbigniew Herbert Exhibition Pavilion. The Pavilion was designed and built by a group of 18 students at the course ProtoLAB at the Faculty of Architecture at Wroclaw University of Science and Technology in July 2018. The project focused on constructing Pavilion components out of paper tubes and corrugated cardboard, which have been proven to be a promising building material. Wood-based materials also were used to strengthen the construction. The design of the Pavilion aimed to use the geometry of the components to minimize the amount of metal used to connect elements. The article focuses on the problems of paper’s strength, stability, connections, impregnation, and the way they have been solved during the building process. It also discusses the topic of the possibility of using the unimpregnated cardboard in outdoor constructions. The structure was then evaluated after 5 months of being used and exposed to diverse weather conditions. Damages in the Pavilion elements are mentioned in the paper and the probable reasons why they have appeared are explained. Conclusions from this article may be useful when designing similar objects in the future.
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Tanner, Peter, and Juan Luis Bellod Thomas. "Design for Dismantling and Reuse of an Exhibition Pavilion, Germany." Structural Engineering International 11, no. 2 (May 2001): 116–19. http://dx.doi.org/10.2749/101686601780347057.
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Tyack, Geoffrey. "A Pantheon for Horses: The Prince Regent’s Dome and Stables at Brighton." Architectural History 58 (2015): 141–58. http://dx.doi.org/10.1017/s0066622x00002616.
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Domed rotundas have fascinated and challenged architects and engineers for the last two millennia. Examples can be found throughout the world, most commonly in religious and commemorative buildings, but also in the palaces and bath complexes of ancient Rome and in more recent government and legislative buildings. In modern times technological advances have allowed new and increasingly ambitious kinds of rotunda to be built — markets and exchanges, greenhouses and conservatories, concert and exhibition halls, sports arenas. The roots of this latter development lie in the late eighteenth and early nineteenth centuries, and one of the pioneering buildings still survives in the unexpected setting of the Royal Pavilion gardens at Brighton.The Brighton Pavilion has always been mainly associated with two people: George, Prince of Wales (the Prince Regent), who commissioned it, and John Nash, the architect who gave it its present exotic appearance. But it is easy to forget that the most distinctive features of the Nash exterior — the Indian-style domes and minarets — took their stylistic character from a building that was completed before he became involved with the Pavilion. This was the royal stables, designed by William Porden for the Prince, built in 1804–08, and now an arts complex.
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Invernizzi, Stefano, Amedeo Manuello Bertetto, Federico Ciaccio, and Paolo Nicola. "Design of a modular exhibition structure with additive manufacturing of eco-sustainable materials." Curved and Layered Structures 8, no. 1 (January 1, 2021): 196–209. http://dx.doi.org/10.1515/cls-2021-0019.
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Abstract In this paper the mechanical characteristics of an innovative bioplastic material, the HBP® -HempBioPlastic® filament, is investigated. HBP® was recently patented by an Italian company Kanésis that focused its activity on nature-derived materials. The filaments are the upshot of an original process allowing to reuse the surplus of the agricultural supply chains and transform it into new sustainable materials. At first, the 3D printed HBP® samples were tested in tensile tests according to the ASTMD638 standard and monitored in term of deformations by the Digital Image Correlation techniques (DIC) in order to evaluate the stress-strain behavior of different HBP® textures under loading. In addition, using the HBP® and the results coming from the experimental campaign, the design of an exhibition pavilion was proposed. The pavilion was modelled starting from the geometric construction of the fullerene. The supporting modular structure is combined by HBP® modular elements, that can be produced by 3D printing or moulding. Finally, in order to demonstrate the feasibility of the proposed pavilion, a linear finite element analysis is presented on the base of the experimentally determined mechanical properties of HBP® elements, under the effects of wind and seismic environmental actions.
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Sanmartín, Patricia, and Beatriz Prieto. "Identifying the Original Colour of the Paintwork on the Artistic and Industrial Recreation Pavilion Designed by Antonio Palacios for the Galician Regional Exhibition Held in 1909." Heritage 3, no. 2 (May 12, 2020): 331–41. http://dx.doi.org/10.3390/heritage3020020.
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The former Artistic and Industrial Recreation Pavilion, which was designed by Antonio Palacios (1874–1945) and built for the Galician Regional Exhibition held in 1909 in Santiago de Compostela (Galicia, north-western Spain), and which currently houses a nursery school, was completely restored in 2018. The main purpose of the restoration was to recover the original exterior colour of the building. For this purpose, a study was undertaken to identify the original colour of the paintwork by first consulting historical archives and then conducting a micromorphological analysis of stratigraphic paint samples by stereomicroscopic examination and scanning electron microscopy (SEM) coupled with electron dispersive spectroscopy (EDS). Three reformations of the building are documented: one carried out in 1926, when the metal roof was replaced with a tile roof; another conducted between 1967 (when the old pavilion was described as a "destroyed building") and the mid-1970s (when it began to be used as a nursery); and finally, another in 1981, when the building was repainted. The analytical results revealed layers of white or yellow ochre (vanilla) paint corresponding to different periods. The presence of titanium (Ti) in the paint was used as a marker of its age, as titanium white was first formulated in 1921. The original layers include Zn in their composition, indicating that zinc oxide (ZnO) was the pigment used in the “snow” white paint probably used on the building in its first years of existence. In all cases, the pigment base is lime mixed with silicates, kaolin and other clays.
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Parga, Andrea. "Bunshaft’s showcase: exploración sobre el edificio vitrina. Feria Mundial, 1939." VLC arquitectura. Research Journal 7, no. 1 (April 30, 2020): 65. http://dx.doi.org/10.4995/vlc.2020.11357.
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<p>The Venezuelan Pavilion was one of Gordon Bunshaft's first projects for Skidmore & Owings. It was a large showcase, an airy place, a rectangle with glass walls. The exhibition was ordered between the glass perimeter and the plane on which the map of Venezuelan geography was placed. The exhibition accompanied the passage to the restaurant terrace and the tropical garden. With the success of the setup, the author architect and his team recognized the need to keep the influence of this approach in the shops and lobbies of their future buildings. For this reason, it was sought to deepen on how glazed planes improve both the internal space and the surrounding environment. Attempts have been made to reveal what Bunshaft pursues by exploring the attributes of glass sheets in his projects and reflecting on the “visual display” involved in the role of glass curtains “in and from” the pavilion. The study showed that to take heed of what is known “will be visible,” has brought a renewed perspective on the opportunities offered by the use of glass in architecture.</p>
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Župan, Ivica. "Spiralno putovanje spiralnim plesom." Ars Adriatica, no. 4 (January 1, 2014): 409. http://dx.doi.org/10.15291/ars.512.
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Demur’s project Spiral Journey demonstrated convincingly and clearly the durability and vitality of his performance concept which, on this occasion, was transformed into a poetic perception of a space as a field in which a work of art is created and which absorbs the artist’s entangled psychological moods. As such, the project exemplified the understanding of a painting as a map recording the happenings in a specific space which are heightened by a large number of coincidences, instant decisions and improvisations which occur during the painting process. Spiral Journey was not a site-specific project – neither the artist nor the curators had the ambition to realize and harness the potential of the interior of this historical building for the benefit of the project. As such, Spiral Journey did not depend on the spatial setting and other features of the Pavilion of the Arts whereas an authentic site-specific project would have required the artist to respond to the nature of the historical interior in a finely tuned and experienced way and to recognize the inspiration as well as the obstructions which lie in such a space, in order to verify that this was an ideal site for the visual concept he had set out to create. In contrast to this, Demur decided to use the Pavilion of the Arts only as an exhibition space for six spirals which, notwithstanding, proved to correspond to it through the fact that to a certain degree they do reflect the qualities and constraints of this space which gives the spirals the air of religious and monumental wall installations while they, in turn, transform the Pavilion of the Arts into a solemn and somewhat mystic interior. However, it is obvious that the giant spirals first and foremost affirmed themselves confidently without being fascinated by the glorious past of the historic building which housed them
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Tostões, Ana, and Zara Ferreira. "Baukunst and Zeitwille between Europe and America." Heritage of Mies, no. 56 (2017): 2–3. http://dx.doi.org/10.52200/56.a.cp0q3on9.
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Mies enjoyed great prominence in Europe and America. Starting in Europe, his first incursions resulted in the German Pavilion for the Barcelona International Exhibition (1929), the Tugendhat House (1930) and the Krefeld silk factory and houses. The Illinois Institute of Technology (1943-1957), the Lake Shore Drive (1951), the Farnsworth House (1951), the Seagram building (1958) and the Toronto-Dominion Centre (1969), bear witness to his work in North America. Back in Berlin, The Neue Nationalgalerie (1968) testifies to the sublime and perfect achievement of his path towards Baukunst and Zeitwille. These ideas, which one may translate, respectively, as the art of building and the will of the time, are anchored in the Mies’s belief that architecture should be metaphysically charged with creative life force. This led him to the modern achievement of developing a new kind of freedom of movement in space, following his sense of order and his very unique conception of urban space.
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MATSUSHITA, Michio, and Jun'ichiro ISHIDA. "STUDY ON BUILDINGS OF THE TAIWAN PAVILION IN THE FIFTH NATIONAL INDUSTRIAL EXHIBITION IN 1903." Journal of Architecture and Planning (Transactions of AIJ) 76, no. 667 (2011): 1693–700. http://dx.doi.org/10.3130/aija.76.1693.
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Fortuna, James J. "Fascism, National Socialism, and the 1939 New York World’s Fair." Fascism 8, no. 2 (December 17, 2019): 179–218. http://dx.doi.org/10.1163/22116257-00802008.
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Abstract This article considers the involvement of Fascist Italy and Nazi Germany at the 1939 New York World’s Fair. It considers the form, function, and content of the Italian Pavilion designed for this fair and asserts that the prefabricated monumental structure would be best interpreted, not in isolation, but as an element of the larger architectural conversation which continued to unfold across contemporary fascist Europe. Such reconsideration of this building makes it possible to evaluate the relationship between Fascist design, the assertion of political will, and the articulation of national identity and cultural heritage within a larger, transnational context. The author also investigates the American exhibition committee’s earnest and persistent, yet ultimately unheeded, solicitation of Nazi German participation and argues that motives behind German withdrawal from this event had as much to do with the threat of popular protest as economic pressure.
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La Tegola, Alberto, Fabio Longo, and Andrea Lanzilotti. "The pavilions of Expo 2015 in Milan, as a privileged observatory about the concept of sustainable construction in all languages of the world." Sustainable Buildings 4 (2019): 1. http://dx.doi.org/10.1051/sbuild/2019001.
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The organization of Expo 2015 in the city of Milan has prompted massive organizational efforts to set up a new fair district in one of the largest Italian cities. The urban layout of the metropolitan city has been redesigned in order to accommodate all participating nations event. Expo 2015 established through guidelines the necessity to adopt sustainable solutions for the temporary buildings of the exhibition. The article aims to see how the concepts of sustainability and recyclability have been interpreted in the language of 40 designers from different countries. Through data provided by information papers of the exhibition, a valuation of materials used in buildings was made. This research led to an analysis of different building typology involved and the materials most used to reach the goals of guidelines drawn up by Expo 2015. The perception of an event characterized by green constructions was achieved, but not every construction was aimed to be a nearly zero emission building.
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Kato, Shiro. "Dr Mamoru Kawaguchi: His grand thought, prominent works, and contribution to the advancement of spatial structures." International Journal of Space Structures 35, no. 1-2 (March 2020): 12–27. http://dx.doi.org/10.1177/0956059920926361.
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This article describes an engineer, his grand thought, prominent works, and contribution to the advancement of spatial structures based on geometry and mechanism. He is Dr Mamoru Kawaguchi, who lived in Japan for almost 90 years from 1932 to 2019. In his life, he designed a large number of epoch-making structures in the field of spatial structures in Japan and worldwide. These encompass structures of wood, concrete, steel, fabrics, and even air and water. His approach for structural design is very strict and broad with respect to geometry and mechanism and with respect to design concept, analysis, construction, fail-safe, and control as same as an academician of philosophy. The structures of Yoyogi Swimming Pool for the Tokyo Olympic Games 1964, the Grand Roof of the Osaka World Exhibition 1970, Fuji Group Pavilion, Pantadome, Suspendome, and a jumbo fabric carp flying across the sky are introduced in this article in order to remember him and to highlight his grand thought and eminent spatial structures.
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Bertelé, Matteo. "Soviet “Severe Romanticism” at the 1962 Venice Biennale." Experiment 23, no. 1 (October 11, 2017): 158–72. http://dx.doi.org/10.1163/2211730x-12341308.
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Abstract With the Soviet Pavilion of the 1962 Venice Art Biennale, the Thaw era made its entrance onto the international art scene. Artists from different generations and Soviet republics were entrusted to illustrate “the deeply human dimension of Soviet art.”1 Among younger painters, one prominent figure was 30-year old artist Viktor Popkov. Along with the drawings and sketches produced during his travels in the virgin lands and building sites of Siberia, he presented the monumental painting The Builders of Bratsk (1960-61), an iconic artwork of the so-called “severe style.” The exhibition took place just a few months before the Moscow Manege Exhibition of December 1962, which prompted Khrushchev’s notoriously negative reaction and the first stop to Soviet cultural détente. The present article explores the genesis of the canvas as the expression of a new “severe romanticism,” against the backdrop of the ongoing debate about romanticism in Soviet culture. It also analyzes the reception of Popkov’s work both in Italy—the country with the largest communist party in the West—and in the international press. On the basis of archival materials and press reviews, the article sheds light onto an artistic encounter between East and West in a divided Europe and discusses missed connections and unmet expectations of Western, mostly Italian, art critics.
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Vuksanovic, Dusan, Yury Nikitin, Vera Murgul, Nikolay Vatin, and Viktor Pukhkal. "Glazing Design for Exhibition Pavilions Based on Translucent Structures under Winter Conditions during Cold Periods." Applied Mechanics and Materials 680 (October 2014): 499–503. http://dx.doi.org/10.4028/www.scientific.net/amm.680.499.
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Transition to a new approach related to use of facades and roofs entirely made of glass in building construction called for an additional analysis to evaluate an issue of how to ensure an interior climate. In the article have been investigated the factors, which make people feel uncomfortable in the pavilions with large glazing areas: cold air flow near glazing area, which occurs on the cold surfaces of the windows, going down and along the floor, radiation heat exchange between human beings and building envelopes, condensation on internal glazing surfaces.
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Buzalo, Nina, Sergej Versilov, Irina Platonova, and Nadezhda Tsaritova. "ENERGY EFFICIENT BUILDING STRUCTURES BASED ON GRIDSHELL." Construction and Architecture 8, no. 1 (February 4, 2020): 5–10. http://dx.doi.org/10.29039/2308-0191-2020-8-1-5-10.
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To reduce energy resource consumption in construction industry and housing and utilities infrastructure, it is necessary to maximize the use of new structural solutions for buildings and structures. Separation of the functions of the bearing and enclosing structures allows the use of optimal design scheme with minimal steel spread for the supporting structures and effective modern thermal insulation materials for the enclosure. The advantages of gridshell structural system are durability, seismic stability, easily built, dismantling, transportation, re-installation without the use of heavy equipment, it is also can be used in remote and hard-to-reach places. The authors propose modules that can be used as exhibition pavilions, shops, cafes with the height of the room up to 6 m. Mass production of gridshell domes became possible with the advent of computer-aided design, allowing to perform the calculation and design of a three-dimensional model of the structure.
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Lukito, Yulia Nurliani, and Fildza Miranda. "The Earlier Era of Eco-Technology: Pavilions at the Colonial Exhibition of Pasar Gambir and the ‘Eastern-Western’ Architectural Influences in the Netherlands Indies." E3S Web of Conferences 67 (2018): 04042. http://dx.doi.org/10.1051/e3sconf/20186704042.
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This paper examines architecture in the Netherlands Indies and analyses how some innovation in the practice of architecture is actually coming from an adaptation to local conditions. It is in the notion of sustainable architecture not as a single entity of Western descendent but as loaded with cultural, historical and local contexts that this paper gravitates. As the discussion are pavilions in Pasar Gambir of Batavia - a temporary architecture practices - and ITB main hall that was designed with a strong connection to local conditions. During the Dutch colonial time in Indonesia there was already eco-technological practice in architecture with the aim to adapt to local conditions. The discussion of pavilions in Pasar Gambir showed some innovation in building forms, although temporary, that not only pushed the limit of building tradition but also created extraordinary event for colonial society. The discussion of ITB building illustrate the possibility of combining western-eastern architectural principles and surpassing the limit of architectural forms. In conclusion, the earlier of eco-technology in the Netherlands Indies has shown deeper cultural, historical and local meanings and how traditional architecture is related to the social and cultural dimensions of sustainability.
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Deng, Ying, and Sun Wah Poon. "Mega-event flagships in transformation: learning from Expo 2010 Shanghai China." Journal of Engineering, Design and Technology 12, no. 4 (September 30, 2014): 440–60. http://dx.doi.org/10.1108/jedt-10-2012-0045.
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Purpose – This paper aims to seek a greater understanding of the conceptualization of mega-event flagship (MEF) development as a point of departure to forge the much-needed organizational capacities in these regions. An MEF constitutes a temporarily themed venue for a mega-event and a transforming force on corresponding urban renewal. The unfailing demand for MEFs from emerging hosts after historical failures in the West draws attention to a glaring weakness of extant literature in wanting of evidence-based case studies. Design/methodology/approach – Due to the explorative nature of research and the context-dependent complexities, the case study method is used for studying the case of Theme Pavilion – one of the four key flagships led by Expo 2010 to catalyze an ambitious urban renewal in Shanghai, China. The focus is on its conceptualization process (2004-2007) where different copying strategies were tested and consolidated to facilitate the post-event transformation. Data were collected mainly through participant observation in that duration. Findings – For future Expo hosts, exhibition center developers and the event industry, the study concludes with eight constructive lessons, namely, clustering strategy, different integration, pre-post orientation, diversification for adaptation, development by stage, flexible mindset, the end crowns the work and building local capacity. Research limitations/implications – Given the qualitative nature of the study, some results may not be fully generalizable. While showing the possibility of sustaining MEF development given the right coping strategy, it also reveals implementation difficulties and emphasizes the importance of continued case studies. Originality/value – The study will contribute fresh insights into forging better strategies to cope with transformation difficulties of MEF development and building greater capacity to accomplish affiliated renewals and other significantly comparable urban projects in emerging economies.
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Schlaich, Jörg, Hans Schober, and Kai Kürschner. "New Trade Fair in Milan — Grid Topology and Structural Behaviour of a Free-Formed Glass-Covered Surface." International Journal of Space Structures 20, no. 1 (March 2005): 1–14. http://dx.doi.org/10.1260/0266351054214326.
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The connecting links between the exhibition pavilions of the new trade fair in Milan are mostly covered by innovative steel-glass-structures which are very attractive from an architectural point of view. At the main entrance the ‘Logo’ arises: A doubly-curved free-formed surface, which ascends to the sky like a volcano. With a height of 37 m, this structure will be identified from afar as the new fair's landmark. Further, a 1,300 m long and 30 m wide free-formed glass roof, the so-called ‘Vela’, links the individual exhibition halls along the main axis of the trade fair and reflects the nearby Alps in its architectural appearance. Emphasizing the ‘Logo’, besides the overall architectural concept, this paper mainly deals with the basic principles for the development of the grid topology and the characteristics of the structural system of the arbitrary curved free-formed surfaces.
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Arrigoni, Alessandro, Maria Zucchinelli, Davide Collatina, and Giovanni Dotelli. "Life cycle environmental benefits of a forward-thinking design phase for buildings: the case study of a temporary pavilion built for an international exhibition." Journal of Cleaner Production 187 (June 2018): 974–83. http://dx.doi.org/10.1016/j.jclepro.2018.03.230.
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Jing, Quan, Jingwei Li, Liang li, Meng Jia, Ye Zhou, and Xiangyu Zhao. "Passive design of green public buildings adapted to cold climate: a case study of China pavilion of the international horticultural exhibition 2019 Beijing China." IOP Conference Series: Earth and Environmental Science 768, no. 1 (May 1, 2021): 012130. http://dx.doi.org/10.1088/1755-1315/768/1/012130.
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Kimm, Jong Soung. "The Legacy of Mies van der Rohe in Modern Movement and the Modern Architecture in Korea." Reuse, Renovation and Restoration, no. 52 (2015): 4–9. http://dx.doi.org/10.52200/52.a.rwd0uw0t.
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The following article is an edited version of the keynote presented at the 13th International docomomo Conference that took place in Seoul, Korea, on September 2014. The paper discusses how “Western” architecture was first introduced to Korean soil: a French Catholic missionary-architect built the Seoul Cathedral at the end of the 19th century. American and Canadian architects built educational buildings for the Protestant missionary-founded colleges in Korea. Japanese civil servant architects built some public buildings during the colonial rule. The work of two prominent Korean architects, Kim Chung-Up and Kim Swoo-Geun are discussed. The author discusses his education at Mies van der Rohe’s Illinois Institute of Technology (IIT) in mid-1950s, his work for the Master during the 1960s, and his teaching at IIT 1966 and 1978. He describes how his dual position of teaching at IIT and working for Mies gave him the opportunity to work on three projects of importance: the Mies Retrospective in Berlin in 1968; the exhibition proposal for the extension of the Museum of Fine Arts in Houston of 1969; the Toronto-Dominion Bank executive floor and Banking Pavilion of 1966–1968. The author discusses several works of Mies van der Rohe to “demystify” the general perception that Mies was a rigid aesthetician: how Mies van der Rohe would arrive at design decisions not always sticking to the module, grid and geometry, contrary to the conventional reading of his architecture. The author then discusses five works from his three decades of practice with sac International in Seoul, highlighting where Mies’ influences might be found in these works: the Korea Military Academy Library of 1982; Seoul Hilton Hotel of 1983; the Weight-lifting Gymnasium for ‘88 Seoul Olympics of 1986; Kyongju Museum of Art of 1991; and the SK Group Office Building in Seoul of 1999. The paper also reflects on its relationship to the main theme of the recent International docomomo Conference in Seoul, Expansion and Conflict.
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Quien, Enes. "Najraniji i rani radovi kipara Rudolfa Valdeca." Ars Adriatica, no. 3 (January 1, 2013): 193. http://dx.doi.org/10.15291/ars.469.
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The article discusses the earliest, mostly lost works known only through archival photographs, and the early preserved works by Rudolf Valdec (8 March 1872, Krapina – 1 February 1929, Zagreb) who, apart from RobertFrangeš-Mihanović, was Croatia’s first modern sculptor. These works were created upon Valdec’s return from studying at Vienna and Munich, in the period between 1896 to 1898, that is, prior to the exhibition CroatianSalon where they were displayed. The findings about his earliest, previously unknown, works have been gathered through research in archives and old journal articles which mention them. At the same time, Valdec’s early works are not only well-known but famous, for example the relief Love, the Sister of Death (Ljubav sestra smrti, 1897), Magdalena (1898) and Memento Mori (1898). These reliefs and sculptures in the round demonstrate Valdec’s skill in sculptoral modelling and provide evidence that he was a sculptor of good technical knowledge andcraftsmanship. They also show the thoroughness of his education at Vienna’s K. K. Kunstgewerbeschule des Österreichischen Museums für Kunst und Industrie where he studied under Professor August Kühne, and at the Königliche Bayerische Akademie der bildenden Künste in Munich where he was supervised by Professor Syrius Eberle. It is difficult to follow Rudolf Valdec’s continuity as a sculptor because his student works have not been preserved and neither have some of the earliest works he made when he returned to Zagreb. Only a small number of previously unknown or unpublished photographs have been found which show the works which have been irretrievably lost. These works of unknowndimensions were not signed and are therefore considered as preparatory studies for more large-scale works from the earliest phase of his career. These are the reliefs of Apollo made for the pediments of the Pavilion of the Arts (Umjetnički paviljon) at Zagreb which was designed by Floris Korb and Kálmán Giergl, the Hungarian historicist architects, to house the Croatian displays at the Millenial Exhibition at Budapest in 1896. A year later, in 1897, the iron frame of the pavilion was transported to Zagreb.The bid to carry out the work was won by the Viennese architects Herman Helmer and Ferdinand Fellner, but the actual construction was done by the Zagreb architects Leo Hönisberg and Julio Deutsch under thesupervision of the city’s engineer Milan Lenuci. Valdec was entrusted with the making of reliefs illustrating the hymn to Apollo (Apollo of Delphi, Apollo Pythoctonos, and Apollo Musagetes). These three bas-reliefs werenever affixed to the pediments of the Pavilion of the Arts because the City Council did not authorize the execution due to a lack of funds. However, they were displayed at the Millenial Exhibition at Budapest and the Croatian Salon in 1898, and contemporary critics praised them as successful works of the young Valdec. The first relief depicts the Apollo of Delphi (hymn to Apollo) holding a severed head in his raised left hand. The second relief depicts Apollo Musagetes next to a shoot of a laurel tree(the symbol of Daphne) with a lyre in his left hand. The third relief shows Apollo Pythoctonos who, in a dynamic movement, is stringing his silver bow and shooting an arrow into the gaping mouth of a fire-breathing dragon.In his youth, Valdec produced works which embodied fear, anxiety, pessimism, restlessness and bitterness, all corresponding to the general tendencies of the fin de siècle. In 1899 he made Pessimism (Pesimizam), a work only known through its mention in the press by the critic M. Nikolić. Many other youthful works from the period between 1885 to 1889 have also been lost. These were: Passion, Christ, and Love (Muka, Krist, and Ljubav, 1896-1896) which were displayed at the Millenial Exhibitionin Budapest, Altar of the Saviour (Spasiteljev žrtvenik), Lucifer, Per Aspera ad Astra, Kiss (Cjelov), Christ Salvator (Krist Salvator), Hymn to Apollo (Apolonova himna), Apollo Phoebus (Apolon Phoebus), Ridi Pagliaccio, and Jesus (Isus). Our research has yielded photographs of theworks Per Aspera ad Astra and Christ Salvator, both of 1898. All the work from his youthful phase is in the Art Nouveau style, in harmony with the dominant stylistic trends in Vienna, Munich and central Europe, which,unsurprisingly, attracted Valdec too. In his desire to express his feelings and spiritual condition, as can be seen in the works like Per Aspera ad Astra, Valdec reveals the stamp of the Art Nouveau symbolism.Although Valdec’s earliest and a number of his early works have mostly been lost, those that have been preserved are made of plaster and bronze (now at the Collection of Plaster Casts of the Croatian Academy ofArts and Sciences in Zagreb), and belong to the most significant works of Croatian modern sculpture. The works in question are the relief sculptures Love, the Sister of Death (1897), Memento Mori (1898) and Magdalena(1898). The relief Love, the Sister of Death represents the first example of symbolism and stylization which were a novelty in modern sculpture in Croatia. The relief of Magdalena is, regardless of the fierce criticism on account of its nudity published by the priest S. Korenić in Glas koncila, a master-piece not only because it represents an excellent nude but also because of the psychological and philosophical expression it radiates. It is one of the best reliefs in Croatian sculpture in general. The relief Memento Mori features the first and only example of Valdec’s self-portrait rendered in profile, in which he depicted himself as a fool. The busts of Plato (Platon) and Aristotle (Aristotel) are considered to be first portraitscommissioned by Iso Kršnjavi. They were made in 1898 and set up on the wings of the building which housed the seat of the Department of Theology and Teaching in 10 Opatička Street, at the head of which was Kršnjavi. Valdec made the busts of these two Greek philosophers in the style of Roman naturalistic portraits.
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Stamper, John W. "The Industry Palace of the 1873 World’s Fair: Karl von Hasenauer, John Scott Russell, and New Technology in Nineteenth-Century Vienna." Architectural History 47 (2004): 227–50. http://dx.doi.org/10.1017/s0066622x00001763.
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The buildings and landscaped grounds of the nineteenth-century international exhibitions were directly related to the architectural and urban design traditions of the cities in which they were built. At the same time, they possessed idealized qualities that made them innovative and distinct from other contemporary buildings. The result of collaborative planning among architects, engineers, and planning committees, the exhibitions were built to evoke ideal civic settings, their exhibition palaces, pavilions, and gardens forming exemplary complexes that synthesized both invention and tradition. The International Exhibition, the Weltausstellung, held in Vienna, Austria in 1873, was one such event (Fig. 1). Its buildings were both related to the architectural and urbanistic design traditions of nineteenth-century Vienna, and at the same time possessed idealized qualities that were inventive and progressive, marking new technological achievements.
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Georgievski, Vladimir, Dimitri Kozinakov, and Zoran Bogatinoski. "Practix Space Structure System: Manufacturing and Application." International Journal of Space Structures 13, no. 3 (September 1998): 137–43. http://dx.doi.org/10.1177/026635119801300303.
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In this paper there is presented a new space structure system called the PRACTIX system. A review is given of the methodology when using the new solution, with an emphasis on the technology in the manufacturing of the elements and their development into larger parts. Also, there are presented some examples of practical applications of the PRACTIX system for roof structures for petrol stations, and two sports halls, constructed in the Republic of Macedonia. The system is also appropriate for realization of other very different conventional and modern buildings, like industrial halls and warehouse canopies for bus and railway stations, sports stadiums, congress halls and exhibition pavillions, theatres, restaurants, airport hangers etc.
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Van Bockhaven, Vicky. "Decolonising the Royal Museum for Central Africa in Belgium's Second Museum Age." Antiquity 93, no. 370 (July 8, 2019): 1082–87. http://dx.doi.org/10.15184/aqy.2019.83.
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In December 2018, the Royal Museum for Central Africa (RMCA) in Tervuren, Belgium, reopened its doors after a renovation project that started nearly 20 years ago. Founded by the infamous King Leopold II, the RMCA contains cultural and natural history collections from Belgium's former colonies of Congo, Rwanda and Burundi, as well as other parts of Africa and beyond. Today, a new ‘Welcome pavilion’ leads the visitor through a monumental subterranean corridor to the historic building's basement and to an introduction to the history of the collections. The exhibition halls on the ground level have been refurbished, including the old colonial maps painted on the walls, while in the Crocodile Room, the original display has been retained as a reminder of the museum's own history. The largest halls now present displays linked to the scientific disciplines and themes within the museum's research remit (Figure 1): ‘Rituals and Ceremonies’ (anthropology), ‘Languages and Music’ (linguistics and ethnomusicology), ‘Unrivalled art’, ‘Natural History’ (biology), ‘Natural resources’ (biology, geology) and ‘Colonial History and Independence’ (history, political science). Eye-catching developments include: a room featuring some of the statues of a racist style and subject matter, which were formerly exhibited throughout the museum, and are now collected together in a kind of ‘graveyard’ (although this symbolic rejection is not properly explained); a new Afropea room focusing on diaspora history; a section on ‘Propaganda and representation’ (Imagery), a Rumba studio and a Taxolab. In place of racist statues, and occupying a central position in the Rotunda, is a new sculpture by Aimé Mpane named ‘New breath, or burgeoning Congo’. The accompanying label states that this piece “provides a firm answer” to the remaining allegorical colonial sculptures in the Rotunda by “looking at a prosperous future”. Alas, this answer is not as clear as is claimed and its message may be lost on many visitors.
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Konysheva, E. V. "The Soviet Pavilion at the World Exhibition in New York: Search and Implementation of an Architectural Image." Modern History of Russia 10, no. 3 (2020): 715–46. http://dx.doi.org/10.21638/11701/spbu24.2020.310.
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This article addresses the Soviet pavilion at the World Exhibition in New York City, 1939, especially the architectural and artistic image of the Soviet pavilion, including its search and implementation. Archiveal documents from the Soviet section of the International exhibition in New York, as well as professional periodicals of the 1930s, analyzed to interpret and evaluate the New York exhibition and the Soviet pavilion in the Soviet public field, make up the main data base for the article. First, the competitive practices of the 1930s and their hidden mechanisms, ruled by party-state power, are shown through the case of the New York Pavilion. Further, the stylistic peculiarities of the pavilion are considered, and ideas among the power circles about worthy forms of the “export” representation of the USSR by architectural and artistic means are shown. With the example of an “Americanized” style of the Soviet pavilion, the practice of appropriating alien architectural forms was demonstrated as a way to emphasize the involvement of Stalinist culture in current global trends. Attention is also drawn to the contradiction between official “internal” discourse, with its main thesis of turning to “classical heritage”, and the choice of a modern language for “export” architecture.
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Fainholtz, Tzafrir. "The Jewish farmer, the village and the world fair: politics, propaganda, and the “Israel in Palestine” pavilion at the Paris International Exhibition of 1937." SHS Web of Conferences 63 (2019): 10004. http://dx.doi.org/10.1051/shsconf/20196310004.
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At the Paris International Exhibition of 1937, a few steps from the Nazi Germany and USSR pavilions theYishuv(Palestine's Jewish Zionist community) had its own presence, the “Israel in Palestine” pavilion. Initiated by the Zionist leadership, the pavilion was a hybrid construct of modernist and traditional architecture; its front was made from concrete and glass, its rear modelled on Palestine's rural vernacular architecture, with arches and terraces. Inside the pavilion, the exhibition depicted the achievements of the Zionist Jewish resettlement project, presenting it as a solution for the so-called “Jewish question”. Conceived as part of an orchestrated effort by the Zionist movement to use the World Fair, the professional architectural media, writers, and architects to gain support for the movement's activities, the pavilion sought to present Palestine's settler society as both modern and well rooted, and to display the renaissance of nationhood through the representation of the Jewish farmer on the international stage.
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Jakaitė, Karolina, and Jurij Dobriakov. "The Lithuanian Pavilion at the 1968 London Exhibition." Art in Translation 7, no. 4 (December 2015): 520–51. http://dx.doi.org/10.1080/17561310.2015.1108035.
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Sakaino, Kenichi. "JIRA Exhibition Report of RSNA 2009 Japan Pavilion." Japanese Journal of Radiological Technology 66, no. 3 (2010): 303–5. http://dx.doi.org/10.6009/jjrt.66.303.
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György, Horváth. "Adalékok Kondor Béla sors-történetéhez." Művészettörténeti Értesítő 69, no. 2 (March 30, 2021): 171–256. http://dx.doi.org/10.1556/080.2020.00011.
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In the course of my research in archives – in search of documents about the history of the Art Foundation of the People’s Republic (from 1968 Art Fund) – while leafing through the sea of files in the National Archives of Hungary (MNL OL) year after year, I came across so-far unknown documents on the life and fate of Béla Kondor which had been overlooked by the special literature so far.Some reflected the character of the period from summer of 1956 to spring 1957, more precisely to the opening of the Spring Exhibition. In that spring, after relieving Rákosi of his office, the HWP (Hungarian Workers’ Party, Hun. MDP) cared less for “providing guidance for the arts”, as they were preoccupied with other, more troublesome problems. In the winter/spring after the revolution started on 23 October and crushed on 4 November the echelon of the HSWP (Hungarian Socialist Workers’ Party, Hun. MSzMP) had not decided yet whether to strike a league with extreme leftist artistic groups or to pay heed to Memos Makris (Hun. Makrisz Agamemnon), the ministerial commissioner designing the reform of the artists’ association and organizing the Spring Exhibition and to leave the artists – so-far forced into the strait-jacket of socialist realism – alone. I found some documents which shed bright light on the narrow-mindedness of the dogmatic artistic policy trying to bend the artists toward its goals now with the whip, now with milk cake.I start the series of recovered documents with a ministerial file dated summer 1956 on the decision to purchase Kondor’s diploma work (the Dózsa cycle). The next piece of good news is a record of the committee meeting in February 1957 awarding Kondor a Derkovits scholarship. This is followed by ministerial letters – mirrors of the new artistic policy – by a changed, truly partyist scholarship committee which apparently revel in lecturing talented Kondor who was not willing to give up his sovereignty, so his works were often refused to be bought on state funds for museums.In addition to whip-lashing documents, I also present a few which offered some milk cake: a letter inviting him to a book illustrating competition called by the Petőfi Literary Museum and one commissioning him to make the sheets on the Heves county part of a “liberation album”.Next, I put forth a group of illumining documents – long known but never published in details: the files revealing the story of the large panels designed for the walls of the “Uranium city” kindergarten in Pécs and those revealing the preparations for the exhibition in Fényes Adolf gallery in 1960 and the causes of the concurrent tensions – including texts on decisions to hinder the publication of Lajos Németh’s catalogue introduction.The last group includes futile efforts by architects to get Kondor commissions for murals. They give information on three possible works. Another for Pécs again (this time with Tibor Csernus), for works for a “men’s hostel” and on the failure of the possibility. The other is about works for Kecskemét’s Aranyhomok Hotel, another failure. The third is about a glass window competition for a new modern hotel to be built in Salgótarján, to which Kondor was also invited, but the jury did not find his work satisfactory in spite of the fact that the officials representing the city’s “party and council” organs, and the powerful head of the county and town, the president of the county committee of the HSWP all were in favour of commissioning him.Mind you, the architects’ efforts to provide the handful of modern artists with orders for “abstract” works caused headache for the masterminds of controlled art policy, too. On the one hand, they also tried to get rid of the rigidity of the ideologically dogmatic period in line with “who is not against us, is with us”, the motto spreading with political détente, and to give room to these genres qualified as “decoration”. On the other hand, they did not want to give up the figurative works of socialist contents, which the architects wanted to keep away from their modern buildings. A compromise was born: Cultural Affairs and the Art Fund remained supporters of figurative works, and the “decorative” modern murals, mosaics and sculptures were allowed inside the buildings at the cost of the builders.Apart from architects, naturally there were other spokesmen in favour of Kondor (and Csernus and the rest of the shelved artists). In an essay in Új Irás in summer 1961 Lajos Németh simply branded it a waste to deprive Kondor of all channels except book illustration, while anonymous colleagues of the National Gallery guided an American curator to him who organized an exhibition of Kondor’s graphic works he had packed into his suitcase in the Museum of Modern Art in Miami.From the early 1963 – as the rest of the explored documents reveal – better times began in Hungarian internal and cultural politics, hence in Béla Kondor’s life, too. The beginning is marked by a – still “exclusive” – exhibition he could hold in the Young Artists’ Studio in January, followed by a long propitiatory article urging for publicity for Kondor by a young journalist of Magyar Nemzet, Attila Kristóf. Then, in December Kondor became the Grand Prix winner of the second Graphic Biennial of Miskolc.From then on, the documents are no longer about incomprehensible prohibitions or at time self-satisfying wickedness, but about exhibitions (the first in King Stephen Museum, Székesfehérvár), prizes (including the Munkácsy Prize in April 1965), purchases, the marvellous panel for the Grand Hotel on Margaret Island, the preparations for the Venice Biennale of 1968, the exhibition in Art Hall/Műcsarnok in 1970 and its success, and Kondor’s second Munkácsy Prize.Finally, I chanced upon a group of startling and sofar wholly unknown notes which reveals that Béla Kondor was being among the nominees for the 1973 Kossuth Prize. News of his death on 12 December 1972, documents about the museum deposition of his posthumous works and the above group of files close the account of his life.I wrote a detailed study to accompany the documents. My intention was not to explain them – as they speak for themselves – but to insert them in the life-story of Kondor, trying to find out which and how, to what extent contributed to the veering of his life-course and to possibilities of publicity for his works. I obviously included several further facts, partly in the main body of the text, and partly in footnotes. Without presenting them here, let me just pick one or two.Events around the 1960 exhibition kindled the attention not only of the deputy minister of culture György Aczél, but also of the Ministry of the Interior: as Anikó B. Nagy dug out, they asked for an agent’s report on who Kondor was, what role he was playing among young writers, architects, artists, the circle around Vigilia and the intellectuals in general. Also: what role did human cowardice play in banning the panels for the Pécs kindergarten, and how wicked it was – with regulations cited – to ask back the advance money from an artist already hardly making a living with the termination of the Der ko vits scholarship. Again: what turn did modern Hungarian architecture undergo in the early sixties to dare and challenge the still prevalent culture political red tape? It was also a special experience to track down and describe the preparations for the Hungarian exhibition of the Venice Biennial of 1968 and to see how much caution and manoeuvring was needed even in those milder years to get permission for Béla Kondor (in the company of Tibor Vilt and Ignác Kokas) to feature in the pavilion. Finally, it was informative to follow the routes of Kondor’s estate as state acquisitions and museum deposits after his death which foiled his Kossuth Prize.
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Castillo, Greg. "Making a Spectacle of Restraint: The Deutschland Pavilion at the 1958 Brussels Exposition." Journal of Contemporary History 47, no. 1 (January 2012): 97–119. http://dx.doi.org/10.1177/0022009411422362.
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The Deutschland pavilion at the 1958 Brussels World’s Fair depicted West Germany not only as culturally and technologically modern but also as the antithesis of socialist East Germany and the disgraced Third Reich. International-style architecture and modernist exhibition design were mobilized as instruments of cultural soft power to convey these multiple messages. Hans Schwippert of the postwar German Werkbund choreographed exhibition design, deploying the miracle economy’s modern consumer culture to celebrate the emergence of a post-Nazi society. Egon Eiermann, aided by Sep Ruf, designed the International-style pavilion, celebrated as the architecture of postwar modernity, but in fact derived from a precedent in Third Reich industrial architecture. As an exercise in cold war soft power, West Germany’s Brussels pavilion celebrated the emergence of a West German consumer citizen, while suppressing the presence of a Third Reich past.
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Guereñu, Laura Martinez De. "The Sequence of Mies van der Rohe in Barcelona: the German Pavilion as Part of a much Larger Industrial Presence." Heritage of Mies, no. 56 (2017): 56–63. http://dx.doi.org/10.52200/56.a.uy5o2bw6.
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The German Pavilion for the 1929 Barcelona International Exhibition was part of a much larger exhibiting sequence, which Mies van der Rohe and Lilly Reich constructed following their main undertaking in the Barcelona industrial exhibits: to design the entire German section. By the time Mies van der Rohe started the project of the German Pavilion, he had already been working for more than 4 months on the construction of the identity and representation of the strength of the German industrial fabric, which he would architecturally express in the interior design of 8 neoclassical palaces. Hence, the two most innovative architectural elements of the German Pavilion – the milky color double-glazed wall and the chrome-plated cross-shaped posts – can be traced back to the interiors of these palaces. The 16,000 m2 of industrial exhibits, not reconstructed in 1986, form today the immaterial heritage that underpins the historical relevance of the Barcelona Pavilion. 3 documents, including a sequence from the official exhibition film, preserve the order linking the range of Mies van der Rohe’s work in Barcelona and broaden the historical meaning of one of the most important works of architectural modernism.
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KARTSEVA, EKATERINA A. "SCREEN FORMS AT BIENNIALS OF CONTEMPORARY ART." Art and Science of Television 16, no. 3 (2020): 11–30. http://dx.doi.org/10.30628/1994-9529-2020-16.3-11-30.
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Video today is a popular tool for artists of postmodern, poststructuralist, post-conceptual orientations. These practices have not yet developed their economic model and have spread mainly through biennials and festivals of contemporary art, as the main form of their comprehension and display. At the same time, “video art”, “video installations”, “video sculptures”, “video performances”, “films” at the exhibitions are far from an exhaustive list of strategies, stating a cinematic turn in contemporary art, where videos are considered among the basic tools of a contemporary artist and curator. It gets increasingly difficult to imagine exhibitions that resonate with the public and critics without video. From an avant-garde countercultural practice, video has become the mainstream of contemporary exhibition projects and is presented in exhibitions in many variations. The article analyzes the strategies for including video in the expositions of national pavilions at the 58th Venice Biennale, among which the production of video content in the genre of documentary filming, investigative journalism, artistic mystification, and interactive installation can be distinguished. Artists both create their own content and use footage content from the Internet. The main awards of the Biennale are won by large—scale projects that dialogize fine art with cinema and theater. For the implementation of artistic ideas curators of biennial projects attract professional directors, screenwriters, sound and light specialists. The biennials of contemporary art, by analogy with the term screen culture, can be attributed to the large format in contemporary art. At them, video goes beyond the small screens with the help of full-screen interactive installations, projections on buildings, films timed to exhibitions are broadcast on YouTube and Netflix. As the coronavirus pandemic has shown, the search for new tactics using screen forms is sometimes the only way out for a large exhibition practice in a situation where it is impossible to conduct international projects and comply with new regulations. The Riga Biennale of Contemporary Art, Steirischer herbst in Graz, followed this path. The exhibition is moving closer to film production. New optical and bodily models are being formed. The contemplative essence of art is being replaced by new ways of human perception of information, space and time, built on the convergence of communication means—video, music, dance, the interpenetration of objective and virtual realities.
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Udovički-Selb, Danilo. "Facing Hitler’s Pavilion: The Uses of Modernity in the Soviet Pavilion at the 1937 Paris International Exhibition." Journal of Contemporary History 47, no. 1 (January 2012): 13–47. http://dx.doi.org/10.1177/0022009411422369.
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Overwhelming the Trocadéro’s majestic esplanade, the Soviet and German pavilions faced each other in a commanding gesture across the central axis of the Paris ‘Exposition des arts et des techniques dans la vie moderne’ – the last French World’s Expo in the twentieth century. More often than not, the two pavilions have been dismissed in architectural terms as having merely ‘competed in archeological rhetoric’. In this article I argue, with a primary focus on the Soviet Pavilion, that far from displaying such reductive and unambiguous architectural qualities, each pavilion offered, in two very different ways, a complex response to the challenges of an exhibition dedicated to ‘modern life’. The two instrumentalized for their own political purposes both modernity and historicism. From two radically different ideological starting points, the pavilions exploited some significant aspects of the defunct avant-gardes, while reaching out, in different degrees, for stabilizing references to classicism. Frank Lloyd Wright’s unwavering admiration for the Soviet Pavilion, the main topic of this article, resonates with the astonishing discovery of white Suprematist ‘Arkhitektoni’ by Malevich’s disciple, sculptor Nikolaj Suetin gracing the interior of the Soviet Pavilion. The legacy raises the question of thus far unsuspected survival of the architectural avant-garde deep into the years of Stalin’s totalitarian terror.
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Macedo, Danilo Matoso. "Oscar Niemeyer, 1907-2012." Modern Africa, Tropical Architecture, no. 48 (2013): 90. http://dx.doi.org/10.52200/48.a.29jbinrt.
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Modern master Oscar Niemeyer (1907-2012) was the most important Brazilian architect. Graduated in the Escola Nacional de Belas–Artes in 1934, he soon became world–known for his role, together with Lúcio Costa (1902–1998), with the design of the Brazilian Ministry of Education (1937) in Rio de Janeiro; or for their Brazilian Pavillion in New York World Fair in 1939. His solo work in the Pampulha buildings was immediately published in the catalogue of the “Brazil Builds” exhibition at the Museum of Modern Art in 1943.
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González Rueda, Ana Sol. "Possessing Nature: The Mexican Pavilion as a Site of Critical Analysis." Journal of Curatorial Studies 9, no. 1 (April 1, 2020): 90–113. http://dx.doi.org/10.1386/jcs_00012_1.
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This article examines the complexities of sustaining a critical curatorial approach in the context of the national pavilions at the Venice Biennale. It discusses Possessing Nature, the 2015 Mexican pavilion, from the author’s insider perspective as Project Coordinator. Curated by Karla Jasso, the exhibition presented an installation by Tania Candiani and Luis Felipe Ortega, and was conceived as a site of critical analysis focused on Venice’s and Mexico City’s environmental crises. This case study sheds light on the contradictory politics of the Biennale by exploring the challenges of introducing an experimental approach to mediation and of constructing the exhibition as a site of active research.
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Baharun, A., S. H. Ibrahim, R. Affandi, and P. G. Goh. "Student Pavilion UNIMAS for Platinum Green Building Index." Journal of Civil Engineering, Science and Technology 5, no. 1 (April 1, 2014): 23–27. http://dx.doi.org/10.33736/jcest.129.2014.
Full textAbstract:
Green Building Index is a rating tool to evaluate a building on its sustainability. Student Pavilion in UNIMAS is a green building to cater with the GBI rating. In this study, it looks into the current facility that the building has according to six(6) criteria: energy efficiency, indoor environmental quality, sustainable site planning and management, material and resources, water efficiency, and innovation. Each criterion is evaluated accordingly to its tasks. The building of Student Pavilion has an Overall Thermal Transfer Value of 34.08 which is less than 50 as required by GBI rating guidelines. The facility is greatly relying on natural day light, when the illuminance in the room is less than 300 lux, artificial light is switched on, to fill the insufficient illuminance. There is electrical sub-metering for each tenant to monitor and diagnose the usage of electric. Solar panel at Student Pavilion can annually provide 5537.4 kWhr/year but it is insufficient to support the total electric usage of the building. Besides that, the thermal comfort of Student Pavilion is within the range of thermal comfort except for the food court area as the building is designed and built to allow for maximum wind flow and air exchange so that it would not rely on air-conditioning system. The building materials and transportation to the site is also considered in GBI. Furthermore, the water demand and rainwater harvesting at Student Pavilion is determined and it was found that the current supply of rainwater harvesting is not enough to cater with the demand of the occupants, hence larger volume of rainwater harvesting storage should be provided. The current green facility of Student Pavilionshould be improved in order to achieve Platinum in GBI.
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Trankvillitskaia, Tatiana. "The Soviet Pavilion at the 1937 Paris Exposition: Financial Aspect and Organizational Problems." Studia Litterarum 5, no. 4 (2020): 444–71. http://dx.doi.org/10.22455/2500-4247-2020-5-4-444-471.
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This article focuses on the financial aspect and certain problems in the preparation of the Soviet Pavilion for the 1937 International Exposition in Paris. Following up a short introduction that gives a contextual overview, the essay discusses how various plans, guidelines and competitions affected the décor of the Pavilion’s interior and how the items of the collection were selected. Details such as the deadlines imposed on the artists help to understand the importance of the human factor in the event of this scale. The article also explores financing of the Soviet Pavilion at the Exhibition related to the economic situation of the time and political objectives. The analysis of the closing balance sheet reveals important problems in the Soviet management. The article discusses the prices of the most expensive commissioned works as well as their fate after the Exhibition. A comparative study of the expenses of other participating countries, on the one hand, and in relation to the Soviet standards of living on the other hand, sheds light on the scale of the granted budget. Finally, I discuss the attitude of Soviet officials to the income earned at the Exhibition because of its international importance. The cross-cutting theme of the article, which clarifies certain mechanisms in the decision-making and management, is the role of the chief leaders of the Soviet part of the Exhibition.
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Li, Jing, Yi Wei, and Dai Quan Xiao. "Analysis of Building Technology on WANGYUE Pavilion of Golden Phoenix Temple." Applied Mechanics and Materials 357-360 (August 2013): 233–37. http://dx.doi.org/10.4028/www.scientific.net/amm.357-360.233.
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The Pavilion structure, as a perfect blend of beauty, practicability and flexibility, is widely adopted in Chinese classical gardens. Besides, pavilions about which a plenty of poems and tales have been made are so delicate, mysterious and gorgeous that they are usually very ideal places for recreation. Focusing on the renowned WANGYUE Pavilion of Golden Phoenix Temple, this paper aims at studying the construction technologies on double-eaves pavilions of timber structure used in Qing dynasty, by means of site survey and other investigating approaches. According to the investigation, the typical and traditional construction technology in south China on double-eaves pavilions was adopted, and the octagonal pavilion with double eaves and pyramidal roof was completed mainly using three beam-erection approaches such as the method of corner beam in the horizontal direction, the method of girder and the method of lever. This pavilion, as a representative structure with reasonable loading form, is constructed in good agreement with local culture and environment, which can provide certain valuable references for the design and construction of antique pavilions nowadays.
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Tucci, G., V. Bonora, A. Conti, and L. Fiorini. "DIGITAL WORKFLOW FOR THE ACQUISITION AND ELABORATION OF 3D DATA IN A MONUMENTAL COMPLEX: THE FORTRESS OF SAINT JOHN THE BAPTIST IN FLORENCE." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W5 (August 21, 2017): 679–86. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w5-679-2017.
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In recent years, the GeCo Laboratory has undertaken numerous projects to digitalize vast and complex buildings; the specific nature of the different projects has resulted in a case-by-case approach, each time working on past experiences and updating not only the hardware and software tools but also the management and processing methods. This paper presents the workflow followed for the survey of the Fortress of Saint John the Baptist in Florence, an on-going interdisciplinary project. Presently Florence’s main trade fair congress centre, at the same time it hosts various buildings that bear witness to the fortress’s life-history, combining constructions from the Medici and Lorraine eras with recently built exhibition facilities. Now new research has been required due to the realization of new pavilions and the regeneration of the whole complex. This has included a critical survey, material testing, diagnostic investigations and stratigraphic analyses to define the building’s state of preservation. The working group comprises specialists from different institutions, amongst which the Italian Military Geographic Institute, the University of Florence, the National Research Council Institute for the Preservation and Enhancement of the Cultural Heritage, and the Florence City Council.