Зборник 12 / 2016 (Музеј примењене уметности. Online)
ISSN 2466-460X (Online)
ISSN 0522-8328 (Штампано издање)
PDF штампаног издања 
(5.6 MB)
Главни и одговорни уредник: ?? ?????? ??????? ?????????
Уредник броја: ?? ?????? ?????
Уређивачки одбор:
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Секретар редакције броја: ?????? ???????
Сви текстови у рубрикама Прилози, Полемике, Критике и Прикази се рецензирају.Листа рецензената:
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Садржај Зборника 12 / 2016 (Музеј примењене уметности. Online)
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Impressum
Impressum
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Contents
Contents
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About Journal
About Journal
??????? ???????
?????? ??????? ? ?????????: p????? ?????????????????? ????? II ????????????? ? ????????? ? ????????? ???????? ????????? ????, ?????? ? ?????????
BETWEEN THE ORDINARY AND THE SERENE: The Birth of Crown Prince Peter II Kara?or?evi? in Visual and Print Media in the Kingdom of Serbs, Croats and Slovenes
BETWEEN THE ORDINARY AND THE SERENE: The Birth of Crown Prince Peter II Kara?or?evi? in Visual and Print Media in the Kingdom of Serbs, Croats and Slovenes
Апстракт:
? ?????? ?? ??????????? ?????? ????????? ???????? ????????????, ????????? ????????? ???????, ??????? 1923. ?????? ???????? ?????? ?????????????????? ????? II. ??? ?? ? ????? ????????? ????????? ??? ??? ????? ?????? ????????? ????????? ?? ??????? ?????? ??????? ? ???????? ?????????? ?????????? ??? ?????????? ????? ???????????? ?? ??????????. ???? ????????? ??????????, ??????????? ?? ? ???????? ? ?????? ?????????????????? ????????? ? ???????????? ? ???????? ??????. ??????? ????? ?????????? ?????????? ? ???????? ??????, ??????? ?? ?? ????? ???? ?? ??????? ??????, ??? ????? ???????? ???????? ?????? ?????, ????? ? ???????????? ????? ?????????? ????????????? ? ?????? ???????? ? ? ????????? ??????? ????????? ? ??????????? ?????????? ???? ? ????????.
Кључне речи:
????????? ??????????, ??????? ??????, ????? II ????????????, ???????????
Summary:
The paper presents an analysis of the photographs of the Kara?or?evi? royal family made by the photographer Vladimir Ben?i? in 1923 at the birth of Crown Prince Peter II, and articles about the event published in daily press.
Attention is first drawn to the role of mass media, as a practical means of disseminating royal ideology in public, while establishing the new position that European monarchs and the monarchy as an institution had to take in the life of a th nation during the 19 century. It was believed that the popularity of the ruling dynasties depended on how successfully they managed to represent themselves as a combination of the ordinary and the serene with the aim of establishing a specific communication and emotional ties with their subjects.
The paper further analyzes the coverage of the Crown Prince's birth in print and visual media in the Kingdom of Serbs, Croats and Slovenes. The photographs of the Kara?or?evi? royal couple with the newborn Crown Prince show an image of the royal family that is close and acceptable to the masses and that enables them to be indirectly involved in the Crown Prince's birth. These photos are infused with functional emotionality and they are marked with an informal visual presentation. The marriage between the King and the Queen is depicted as the epitome of an idyllic and harmonious marriage, a model for their subjects, while the Queen is shown as an ideal woman, wife and mother. The newborn Crown Prince was seen as the symbol of the newly established Kingdom of Serbs, Croats and Slovenes. His birth not only ensured the continuity of the dynasty but it also confirmed the stability of the newly founded state, which was particularly highlighted in newspaper articles.
Attention is first drawn to the role of mass media, as a practical means of disseminating royal ideology in public, while establishing the new position that European monarchs and the monarchy as an institution had to take in the life of a th nation during the 19 century. It was believed that the popularity of the ruling dynasties depended on how successfully they managed to represent themselves as a combination of the ordinary and the serene with the aim of establishing a specific communication and emotional ties with their subjects.
The paper further analyzes the coverage of the Crown Prince's birth in print and visual media in the Kingdom of Serbs, Croats and Slovenes. The photographs of the Kara?or?evi? royal couple with the newborn Crown Prince show an image of the royal family that is close and acceptable to the masses and that enables them to be indirectly involved in the Crown Prince's birth. These photos are infused with functional emotionality and they are marked with an informal visual presentation. The marriage between the King and the Queen is depicted as the epitome of an idyllic and harmonious marriage, a model for their subjects, while the Queen is shown as an ideal woman, wife and mother. The newborn Crown Prince was seen as the symbol of the newly established Kingdom of Serbs, Croats and Slovenes. His birth not only ensured the continuity of the dynasty but it also confirmed the stability of the newly founded state, which was particularly highlighted in newspaper articles.
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A DRESS FOR A PRINCESS:
Madame Grs's Gown for Princess Barbara de Yugoslavia
?????? ?? ????????:
??????? ???????? ????? ??? ?? ???????? ???????? ?? ???????????
Madame Grs's Gown for Princess Barbara de Yugoslavia
?????? ?? ????????:
??????? ???????? ????? ??? ?? ???????? ???????? ?? ???????????
Апстракт:
Northwood University, a private business school located in Midland, Michigan, proudly fosters an International Costume Collection, which supports its Fashion Management and Marketing program. The collection features designer attire created mainly between the 1940s and the early 1980s that well represent the industry of that period. Among them, and particularly interesting for Serbian culture, is a magnificent deep purple silk jersey evening gown, worn by Princess Barbara of Liechtenstein (b. in 1942), who in 1973 married HRH Prince Alexander of Yugoslavia (19242016), the eldest son of Prince Paul and Princess Olga of Greece and Denmark. The analysis of its construction, workmanship and style of the gown, consisting of a superbly cut fitted dress covered by front and back richly pleated panels, indicates that it was made by the famous Madame Grs, who boasted European royalty and celebrities on both sides of the Atlantic among her clientele. This article also explains the history of Northwood's Costume Collection and how a gown that belonged to a European princess became a part of its inventory.
Кључне речи:
haute couture, Madame Grs, HRH Princess Barbara de Yugoslavia, Northwood University International Costume Collection
Summary:
??????????? ??????? (Northwood University), ???????? ???????? ?????, ???????? ?? 1959. ?????? ? ??????? ????????, ?? ????? ?? ???????? ?????? ????????? ??????? ?????????? ? ????????? ????? ????????? ?????. ????? ?? ????????? ???????? ?????, ????? ??????? ????????? ??????????????, ??? ?? ????????? ??????????????? ???? ????????? ? ??????? ??????????????? ????????? ? ??????????. ? ??? ????, ?????? ???????????? ??????? ? ???????, ?????????? ?? ?????? ?????????? ?????, ???? ?y ?????????? ???????, ??????????? ??????? ???????? ?????????. ????? ?? ??????? ? ?????????? ????????, ?????????? ????? ? ? ??????????? ??????? ????????? ????????. ????? ?? ??????? ??????, ????????? ??????? ?? ??????? (Harriet de Rosire), ????? ?? ?? ?????, ???????? ???? ???????? XX ????, ?? ?????? ????? ??????????? ????????? ?? ???????? ??? ????, ?? ? ?????? ??????????? ??????? ???????? haute couture ???? ???? ???? ?????? ?? ???? ? ?? ?? ???????? ?? ?????? ??????? ??????? ?????? ? ???????? (??????? ?? 1984. ?????? ??????? ???? ????? ?????? ? ??????? ??????). ????????? ????? ??? ???????? ?? ????????? ??????? ?? ??????? ?? ????? ????????? ? ??????, ??? ? ??? ????????? ????????? ?? ?????? ???????? ????????? ? ????????? ?????? ????. ? ??? ????? ??????????, ? ????????? ?? ?????? ? ??????? ??????? ?????? ???? ?? ???? ??????????? ??????? ??????? ?? ???????????? (? ???????????), ??????? ????? ?????????? (?????) ?????????????, ?????? 1977. ??????. ??????? ???? ?? ???????? ?? ??????????????? ???????? ??????? ?????? ?????? ???????? ???? ????????????? ??????? ?? ?? ??? ????? ???????? ?????? ???????? ?????? ????? ??? (Madame Grs), ????? ?? ??????????????? couturieres XX ???? ???? ?? ? ? ??????? ????? ?????? ???????? ???? ?????? ????? ?????? ?????????? ? ?????? ????? ???????, ?????????? ?? ???? ????????????? ??????????? ????? ??????? (??????? ?????????? prte porter ?????). ???? ?? ?????? ???? ????? ????? ??????? ???????? ????????? ???????? ?????? 1988. ??????, ???????? ???????? ????? ?? ??????????? ? ?????? ?? ?????? ? ???????? ???????? ????????? ? ????????? ????????.
?????? ???????
?????? ?? ????????????? ??????? ???????? ????????? ? ???????? ???????? ?????????????? ?????????? ????
DRESS IN THE PHOTOS OF QUEEN NATALIJA OBRENOVI? IN THE SERVICE OF THE VISUAL REPRESENTATION OF THE QUEEN`S BODY
DRESS IN THE PHOTOS OF QUEEN NATALIJA OBRENOVI? IN THE SERVICE OF THE VISUAL REPRESENTATION OF THE QUEEN`S BODY
Апстракт:
??? ?? ???? ???????? ???????, ? ????? ? ??????? ???????? ????????? ? ????????? ?????? ?????????????? ????????? ???? ? ????????? ??????? ?????? ????? ???????? XIX ????. ??? ?? ?? ???????? ?? ???????????? ?????. ??????? ???????? ???? ?? ????? ????? ???? ??????? ?, ????? ???????? ????????? ???????, ??????????? ?? ??????? ????? ??????? ????? ?? ???????????? ????? ????????? ????. ???? ?? ????? ?? ? ?????? ???????? XIX ???? ???? ????? ????????, ??? ? ?????? ?????. ??????? ???????? ?? ????? ????? ????? ?????????? ??? ?? ?????? ??? ?????? ???????, ?? ???????? ? ????? ?????, ?????? ?????? ?? ????? ????? ?????, ? ?????? ?? ?? ?????. ???? ????-??????????? ????????? ?? ??? ??????? ???? ??????? ?? ???????? ???? ????? ??????? ????, ???????, ?????, ???????, ????? ?????.
???? ??????, ????????? ???? ??????? ??????. ???? ?? ???? ????? ?? ?????? ????? ?? ???????? ?????????? ????????? ??????????. ??????? ?? ????????? ????? ???????????? ??????? ??????????? ??????, ? ?????? ?? ?????????? ???????, ?????????, ????? ? ?? ?????, ??????????, ???? ????????, ???? ? ????????? ? ??????. ???????? ??????? ??????? ???????? ?????? ?? ?? ???????? ?? ?? ???????? ??????? ?????????? ? ???????? ?????? ???? ??????? ???????, ??? ? ???????? ?????? ??????? ?????????? ????.
???? ??????, ????????? ???? ??????? ??????. ???? ?? ???? ????? ?? ?????? ????? ?? ???????? ?????????? ????????? ??????????. ??????? ?? ????????? ????? ???????????? ??????? ??????????? ??????, ? ?????? ?? ?????????? ???????, ?????????, ????? ? ?? ?????, ??????????, ???? ????????, ???? ? ????????? ? ??????. ???????? ??????? ??????? ???????? ?????? ?? ?? ???????? ?? ?? ???????? ??????? ?????????? ? ???????? ?????? ???? ??????? ???????, ??? ? ???????? ?????? ??????? ?????????? ????.
Кључне речи:
??????? ???????? ?????????, ??????, ????, ??????????????, ????????? ????
Summary:
Queen Natalija (Natalie of Serbia) was a fashion icon of her time and similarly to women rulers at European courts, she paid special attention to the dress that was meant to represent her sovereign body. The fashion at the court in the second half of the 19th century reflected both politics and personal tastes. Through dress, the Queen's body was turned into a symbol.
Queen Natalija expanded the scope of costume's influence: she carried out a genuine fashion revolution by tailoring costume for each of her roles, which she had many, instead of sticking to two dress styles: for private and public spheres. Among photographic documents we can find examples that show her various identities: a femme fatale, a wife, a mother, a Serbian woman, a fashion icon. We can see her as a young woman flirting with the beholder in a dress tailored with the idea of emphasizing her feminine attributes and eroticism, but we can also see her as a lady who seduces by hiding the body under the folds of lace, which suggest more than they reveal. In the private sphere, the Queen was shown as a modest and balanced woman dressed in simple and practical clothing, alluding to women's intellectual side, in response to the eroticization that occurred in public life. The role of a mother was another important sphere because the family was considered to be a nucleus in the 19th century and the royal family was supposed to be an ideal to be striven for by all citizens. Finally, we can see the Queen in the folk dress, which she used to emphasize her commitment to the country, its history, tradition and culture.
Despite the many identities placed before Queen Natalija, she managed to appear dignified. In the medium of photography, Queen Natalija can be seen as a modern woman who both consumed and dictated the fashion of her time.
Queen Natalija expanded the scope of costume's influence: she carried out a genuine fashion revolution by tailoring costume for each of her roles, which she had many, instead of sticking to two dress styles: for private and public spheres. Among photographic documents we can find examples that show her various identities: a femme fatale, a wife, a mother, a Serbian woman, a fashion icon. We can see her as a young woman flirting with the beholder in a dress tailored with the idea of emphasizing her feminine attributes and eroticism, but we can also see her as a lady who seduces by hiding the body under the folds of lace, which suggest more than they reveal. In the private sphere, the Queen was shown as a modest and balanced woman dressed in simple and practical clothing, alluding to women's intellectual side, in response to the eroticization that occurred in public life. The role of a mother was another important sphere because the family was considered to be a nucleus in the 19th century and the royal family was supposed to be an ideal to be striven for by all citizens. Finally, we can see the Queen in the folk dress, which she used to emphasize her commitment to the country, its history, tradition and culture.
Despite the many identities placed before Queen Natalija, she managed to appear dignified. In the medium of photography, Queen Natalija can be seen as a modern woman who both consumed and dictated the fashion of her time.
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???? ?????????? ????? ??? ????? ???????:
?????????? ?????????? New Look-? ?????? ??????????? ? ????????? ?????? ?? ????
THE FASHION OF CHRISTIAN DIOR AS A CULTURAL TEXT:
The Appropriation Strategies of the New Look in the Late 1940s and the 1950s
?????????? ?????????? New Look-? ?????? ??????????? ? ????????? ?????? ?? ????
THE FASHION OF CHRISTIAN DIOR AS A CULTURAL TEXT:
The Appropriation Strategies of the New Look in the Late 1940s and the 1950s
Апстракт:
? ???? ???? ?? New Look ?????????? ????? (Christian Dior) ???????? ??????????? ??? ????? ???? ?? ????????? ? ???????????? ? ?????? ?? ???????? ? ??? ???? ???????, ??? ? ? ?????? ?? ???????? ?? ?????? ?????? ? ?????. ??????? ?? ? ???? ???? ???????? ??? ????????????? ??? ??????????-????????? ????? ? ??? ?? ?????? ?????? ??????, ??? ? ??? ???????????? ??????? ?? ????????? ????? ???????. ????? ??? ???? ?????????? ????? ???? ?? ?? ???????? ??? ????? ???????. ??? ?? ??????????? ?????? ?? ???? ?????? ????? (Roland Barthes), ??????? ??? (Umberto Eco), ?????? ?. ??????? (?. ?. ??????) ? ??????????? ???? ???????? ???????? (Malcolm Barnard), ? ??????? ? ????? ?? ??????? ???? ? ??????? ??????????. ?? ????????? ?????????? ??????? ???? ???? ???????? ?? ?? ?????? ?? ?????? ????? ?????? ?????? ???? ???????, ???? ?????, ????????? ? ?????? ?? ????????? ? ???? ?? ?????? ?????? ??????. ????? ?? ?????????? ??????????????? ??????? ?? ?????? ?????? ???????????????? ?????? ? ?? ??? ???, ? ??????? ????? ?? ????????? ?????????????? New Look-a ?? ???????? ????.
Кључне речи:
????, ??, ????????, ?????????, ????? ???????
Summary:
In this paper, Christian Dior's New Look is presented primarily as a text to be analyzed and interpreted with regard to the context in which it was created and texts with which it comes into contact. The theoretical framework of the paper relies on the works of Roland Barthes, Umberto Eco, Yuri M. Lotman and the fashion theorist Malcolm Barnard.
In this study, dress is seen as a constituent part of the historical and cultural milieu in which dress practice takes place, as well as an individual response to the prevailing fashion discourse. Creators of fashion, just like any authors, certainly imprint messages on their works, whose creation is influenced not only by authors' intentions and available knowledge but also by the ideological sphere and communication circumstances under which they are created. The work thus contains codes that we seek to analyze in the process of "contextual interpretation." As far as the New Look is concerned, we have established that the context endows a garment with meaning because it is the context that enables us to read polysemic messages in a certain way. By tracking Dior's New Look through examples in fashion and dress practice, with special emphasis on the adoption of the New Look silhouette in the clothing practice of the Federal People's Republic of Yugoslavia, we have confirmed that it was subject to an unlimited process of generating meanings. The New Look has also become a symbol of the Dior fashion brand, a status symbol, a symbol of decadence in fashion, a symbol of fashion nostalgia, elitist fashion, fashion for the masses, fashion for working women.
In this study, dress is seen as a constituent part of the historical and cultural milieu in which dress practice takes place, as well as an individual response to the prevailing fashion discourse. Creators of fashion, just like any authors, certainly imprint messages on their works, whose creation is influenced not only by authors' intentions and available knowledge but also by the ideological sphere and communication circumstances under which they are created. The work thus contains codes that we seek to analyze in the process of "contextual interpretation." As far as the New Look is concerned, we have established that the context endows a garment with meaning because it is the context that enables us to read polysemic messages in a certain way. By tracking Dior's New Look through examples in fashion and dress practice, with special emphasis on the adoption of the New Look silhouette in the clothing practice of the Federal People's Republic of Yugoslavia, we have confirmed that it was subject to an unlimited process of generating meanings. The New Look has also become a symbol of the Dior fashion brand, a status symbol, a symbol of decadence in fashion, a symbol of fashion nostalgia, elitist fashion, fashion for the masses, fashion for working women.
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????????? ????????????? ? ?????????? ??????? ?????????
THE PARADIGMS OF THE ORNAMENTAL IN CONTEMPORARY SERBIAN ART
THE PARADIGMS OF THE ORNAMENTAL IN CONTEMPORARY SERBIAN ART
Апстракт:
??????????? ???????? ?????????????, ????? ?????? ????? (Riegl, 1893) ??? ?????????? ???? ? ????????? (Gombrich, 1979), ? ??? ?????????? ?????????? ?? ????, ??????????? ?? ?? ????? XX ???? ???? ?????? ????????? ? ????????? ??????. ?? ??? ???????? ????????? ?????????, ??? ? ?? ?????????? ?????????? ?????????????? ????????????? ? ??????? XX ????, ?? ??????? ??????????? ???????? ?? ????????? ???? ????? ?? ??????????? ???????? ? ???????????? ?????? ? ??????????? ???????? ????????????? ??? ???????????? ? ????????????? ?????? ????????, ??? ????????? ??????????, ? ?????? ????????? ???????????? ??????????? ?????? (Rancire, 2006). ?? ???????? ???????? ?????????? ???????? ? ??????????? ?????????, ?????? ????????? ????????? ?????? ???? ? ?? ???? ??????? ?????????? ? ??????? ? ?????? ??? ???? ? ?? ????? ?????? ?????????? ????? ????? ?????? ???????? ?? ??????????? ?????? ????????? ? ?????????????.
????????? ?????? ???? ????????, ????????? ??????????, ?????? ???????????? ? ?????? ????? ?? ????????? ?????? ??????????? ??? ?????? ?????????, ? ?????? ????????????? ???????? ????? ???? ????????? ?????? ????? ??? ???????? ???????????. ?? ???????? ??? ????????? ?????, ????? ????????? ?? ???????????? ???????????, ? ?????? ?? ???? ??????? ??????????? ?? ??????? ?????? ????????????? ? ?????, ??? ???????????? ???????????, ???????????? ? ??????????? ??????????, ??? ? ??????? ?????????? ???? ?? ??? ???????? ??????? ?? ???????????? ??????????????? ?????? ?????. ????? ???????? ??????? ?????? ???? ?????? ? ??????????? ??????? ????????????? ? ??????? ?????? ?? ???? ????????, ??????? ??????? ??? ??????? ???????? ?? ?????????? ?????????????? ???????? ???? ?? ?????????? ? ???? ?????? ???????? ? ?????????? ??????? ? ????????? XX ? XXI ????.
????????? ?????? ???? ????????, ????????? ??????????, ?????? ???????????? ? ?????? ????? ?? ????????? ?????? ??????????? ??? ?????? ?????????, ? ?????? ????????????? ???????? ????? ???? ????????? ?????? ????? ??? ???????? ???????????. ?? ???????? ??? ????????? ?????, ????? ????????? ?? ???????????? ???????????, ? ?????? ?? ???? ??????? ??????????? ?? ??????? ?????? ????????????? ? ?????, ??? ???????????? ???????????, ???????????? ? ??????????? ??????????, ??? ? ??????? ?????????? ???? ?? ??? ???????? ??????? ?? ???????????? ??????????????? ?????? ?????. ????? ???????? ??????? ?????? ???? ?????? ? ??????????? ??????? ????????????? ? ??????? ?????? ?? ???? ????????, ??????? ??????? ??? ??????? ???????? ?? ?????????? ?????????????? ???????? ???? ?? ?????????? ? ???? ?????? ???????? ? ?????????? ??????? ? ????????? XX ? XXI ????.
Кључне речи:
????????, ????, ?????????? ????????? ?????????????, ????????????????? ????????, ??? ???????? (Jacques Rancire)
Summary:
By coining syntagm the distribution of the sensible, the French philosopher Jacques Rancire refers, from a philosopher's point of view, to the life of the early 20th -century art avant-garde the distribution of the sensible between politics and art, the omnipresent decorative character of the planarity of depicted signs and its ornamentality, the unstable interweaving of the power of speech and the images, the distribution of the sensible between the fine and decorative arts, etc. However, as a contemporary, he advocates for the recognition of those forms of sensibility in the works of contemporary artists which most convincingly create a redistribution of the sensible as an equivalent principle of art's 'plastic' revolution and the shared political experience within the community reflecting some of the most convincing positions of the modern world and the most mature solutions in the opuses of contemporary art.
The works of Serbian artists Bora Iljovski, Slobodan Trajkovi?, Dejan Kalu?erovi? and Milica Raki? integrate a specific vision of the ornamental and the style, as simultaneously variable, cross-cutting and complementary plastic and ideological categories, but also something that Rancire would designate as the creation and exchange of new "aesthetic acts". This might be the practices that indicate the revival of the spaces in which poetic and political experiences of (common) life gradually intertwine and the formal boundaries of traditional aesthetics are being shifted.
The works of Serbian artists Bora Iljovski, Slobodan Trajkovi?, Dejan Kalu?erovi? and Milica Raki? integrate a specific vision of the ornamental and the style, as simultaneously variable, cross-cutting and complementary plastic and ideological categories, but also something that Rancire would designate as the creation and exchange of new "aesthetic acts". This might be the practices that indicate the revival of the spaces in which poetic and political experiences of (common) life gradually intertwine and the formal boundaries of traditional aesthetics are being shifted.
??????? ?????????
? ?????????? ?????????? ?? ??????? ?? ??????? ??????? ????????? ????????? ?????????? ?? ?????? ????????? ????? ? ??????????
THE FRACTAL GEOMETRY OF NATURE:
The Application of Glass Quasi-Bricks in the Faade of the Harp Centre in Reykjavik
THE FRACTAL GEOMETRY OF NATURE:
The Application of Glass Quasi-Bricks in the Faade of the Harp Centre in Reykjavik
Апстракт:
?????? ???????????? ????????? ????? (Harpa), ??????? ?????????? ??????????? ?????????? ? ??????????????? ?????? ? ??????????, ???? ?? ?????? ?? 2005. ?? 2008, ? ??????? 2011. ??????, ???????????? ?? ? ???? ????????? ???????????????? ?? ???? ???????? XXI ????. ??? ?????? ?? ?????????? ??????-????????? ??????? ?????? ???????? (Olafur Eliasson), ???? ??, ?? ?????????? ?????? ??????? ?????????, ????????? ??????? ??????? (Henning Larsen), ??????? ?? ????? ????????? ? ???? ?????????? ??????, ???????? ?????? ? ????????????? ????? ??????? ????????. ?????????? ???????? ?????????????????? ???????? ???????????? ?? ??? ????????? ?? ??????? ???????, ?????????, ????? ? ???????.
???? ??? ??, ??? ?????, ???? ????????????? ????? ????? ??????. ??????? ?? ?????? ?????????? ???????????? ??? ?? ????????????????? ????????? ????????? (Quazibrick) ??????????, ???? ?? ???????? ????????????????? ?????????? ? ???????????????? ???????????? ????????o??? ?????????? ??????. ?????? ???????? ? ??? ??????????? ??? ?? ????????? ????? ???????? (Einar Thorsteinn), ???? ?? ????????? ???????? ?????????, ?????????? ?? ?? ?????????? ??????? I5SSDO. ?????? ?????? ?????? ? ???????????????, ????????? ?? ???????? ?????????????? ? ??????????? ????? ??????? ????????? ????????????? ?????????, ???????? ??? ?????? ?????????? (Kristalline), ???????????? ? ??????????? ???????? ???????.
??????? ??????? ??? ?????? ??????? ?? ??????? ????????? ?????????? ?? ???????, ?? ???? ?? ????????? ???? ?????? ????? ?. ????????? (Benoit B. Mandelbrot) 1975. ??????. ????? ???????? ?????? ?? ?? ???????????? ??????? ????????? ??????????? ???????? ????????? ????????? ?? ?????? ?????, ??????????? ????????? ?????? ? ?????????? ?? ????? ?? ????? ?? ??? ????????. ? ??? ????????? ?????????????? ?????? ?? ? ??????? ????????? ???? ????????, ???? ? ???? ????????, ?????? ???????, ?????, ????????, ???????? ????????, ????????? ??????????, ????????? ??????????? ??????? ???.
???? ??? ??, ??? ?????, ???? ????????????? ????? ????? ??????. ??????? ?? ?????? ?????????? ???????????? ??? ?? ????????????????? ????????? ????????? (Quazibrick) ??????????, ???? ?? ???????? ????????????????? ?????????? ? ???????????????? ???????????? ????????o??? ?????????? ??????. ?????? ???????? ? ??? ??????????? ??? ?? ????????? ????? ???????? (Einar Thorsteinn), ???? ?? ????????? ???????? ?????????, ?????????? ?? ?? ?????????? ??????? I5SSDO. ?????? ?????? ?????? ? ???????????????, ????????? ?? ???????? ?????????????? ? ??????????? ????? ??????? ????????? ????????????? ?????????, ???????? ??? ?????? ?????????? (Kristalline), ???????????? ? ??????????? ???????? ???????.
??????? ??????? ??? ?????? ??????? ?? ??????? ????????? ?????????? ?? ???????, ?? ???? ?? ????????? ???? ?????? ????? ?. ????????? (Benoit B. Mandelbrot) 1975. ??????. ????? ???????? ?????? ?? ?? ???????????? ??????? ????????? ??????????? ???????? ????????? ????????? ?? ?????? ?????, ??????????? ????????? ?????? ? ?????????? ?? ????? ?? ????? ?? ??? ????????. ? ??? ????????? ?????????????? ?????? ?? ? ??????? ????????? ???? ????????, ???? ? ???? ????????, ?????? ???????, ?????, ????????, ???????? ????????, ????????? ??????????, ????????? ??????????? ??????? ???.
Кључне речи:
?????? ???????? (Olafur Eliasson), ????????? ??????????, ????????? ? ?????????????? ?????? ????? (Harpa), ????????? (quasi-brick).
Summary:
The paper seeks to present the complexity of the structure and the specific perception of the south faade of the Harp concert and conference Centre in Reykjavik, while highlighting the use of the fractal geometry of nature. The Harp architectural complex, designed by the architect Henning Larsen, is a segment of the extensive spatial plan for the eastern port of Reykjavik. The remarkable faade of this building is a work of the renowned Danish and Icelandic artist Olafur Eliasson. It was designed in 2011 in a multidisciplinary project that involved collaborators from various areas.
In the construction of the south faade, glass quasibrick modules were used; they were created in the experimental laboratory of the Studio Olafur Eliasson as a result of the long-term exploration of geometric shapes. The leading contributor in this study was the architect Einar Thorsteinn, who defined the quasi-brick based on his I5SSDO formula. The invention of the quasi-brick form and its binding potential rely on natural quasi-crystals. The regularly irregular shapes of the quasi-brick correspond to the forms of the fractal geometry of nature and their innovative genesis is an enrichment to "crystalline" glass elements that are already known in art history and architecture.
In his work, Eliasson highlights the importance of the synthesis and dialogue between the ethics and aesthetics of nature culture, ecology and responsibility to people in a global world. His art addresses both individual beholders and the general public, acting as a supplication. Among other things, it suggests to beholders, who are reflected in and united with the image of the natural environment reflected in the south faade of the Harp, that it is necessary to use natural resources of our planet, time and new technologies in a rational manner.
In the construction of the south faade, glass quasibrick modules were used; they were created in the experimental laboratory of the Studio Olafur Eliasson as a result of the long-term exploration of geometric shapes. The leading contributor in this study was the architect Einar Thorsteinn, who defined the quasi-brick based on his I5SSDO formula. The invention of the quasi-brick form and its binding potential rely on natural quasi-crystals. The regularly irregular shapes of the quasi-brick correspond to the forms of the fractal geometry of nature and their innovative genesis is an enrichment to "crystalline" glass elements that are already known in art history and architecture.
In his work, Eliasson highlights the importance of the synthesis and dialogue between the ethics and aesthetics of nature culture, ecology and responsibility to people in a global world. His art addresses both individual beholders and the general public, acting as a supplication. Among other things, it suggests to beholders, who are reflected in and united with the image of the natural environment reflected in the south faade of the Harp, that it is necessary to use natural resources of our planet, time and new technologies in a rational manner.
IVANA BAKAL
TRANSFER ZNANJA U RADIONICAMA PRIMIJENJENE KOSTIMOGRAFIJE NA VELIKIM OPERNIM PROJEKTIMA ZAGREBA?KOG SVEU?ILITA: kazalini projekt Orfej i Euridika (Zagreb)
KNOWLEDGE TRANSFER IN THE APPLIED COSTUME DESIGN WORKSHOPS IN LARGE OPERA PROJECTS AT THE UNIVERSITY OF ZAGREB: Theatre Project Orpheus and Eurydice (Zagreb)
KNOWLEDGE TRANSFER IN THE APPLIED COSTUME DESIGN WORKSHOPS IN LARGE OPERA PROJECTS AT THE UNIVERSITY OF ZAGREB: Theatre Project Orpheus and Eurydice (Zagreb)
Апстракт:
U radu se kontekstualiziraju povijest, afirmacija i profesionalizacija kostimografske struke gledano kroz prizmu prakti?nog rada studenata i transfera znanja izme?u mentora i studenta i obrnuto na velikom kazalinom projektu Orfej i Euridika. Projekat je rezultat suradnje fakulteta u sklopu Sveu?ilita u Zagrebu (Muzi?ke akademije, Akademije dramske umjetnosti, Akademije likovnih umjetnosti i Tekstilnotehnolokog fakulteta). U sklopu projekta studenti kostimografije Tekstilno-tehnolokog fakulteta stekli su prakti?no iskustvo neophodno za rad u profesionalnom kazalitu. Slobodnim mentorskim pristupom u vidu obostranog transfera znanja mentora koji studentima prenosi svoje znanje ste?eno u obrazovnom sustavu i kroz cjeloivotni prakti?an rad, i studenata koji svojom svjeinom i mladena?kom inovativno?u prenose svoj entuzijazam na mentora stvorena je kostimografija jedinstvenog rukopisa ?iji su autori studenti. Diplomski studij kostimografije na Tekstilnotehnolokom fakultetu time je opravdao svoje postojanje upravo u sklopu navedene mati?ne institucije, na kojoj je studentima omogu?eno teorijsko i prakti?no obrazovanje u sklopu likovno-tekstilno-tehnolokih radionica izrade kostima na fakultetu i u sklopu me?ufakultetske suradnje na realizaciji predstave. Uspjenost ovakvoga tipa rada ogleda se i u ?injenici da je projekt dobio dvije Rektorove nagrade1 i da je uvrten na Praki kvadrijenale (PQ 2015), u sklopu studentske nacionalne sekcije Hrvatske. Autorica teksta je u projektu sudjelovala kao mentor studenata kostimografije. Ovaj rad posve?en je istraivanju obrazovnog sustava kostimografije na hrvatskim visokoobrazovnim umjetni?kim institucijama kroz povijest, te rezultatima prakti?nog rada na studentskim projektima danas.
Кључне речи:
kazalini projekt, kostimografija, mentorski pristup, prakti?ni rad na predstavi, transfer znanja.
Summary:
The paper contextualizes history, the affirmation and the professionalization of the vocation of a costume designer through the prism of student practical work and knowledge transfer while working on a large theatre project Orpheus and Eurydice, carried out jointly by four faculties within the University of Zagreb. It offers an analysis of the mentorstudent knowledge transfer and vice versa, as well as a comprehensive overview of student work, largely inspired by the Bauhaus school of art. The paper demonstrates the successful outcome of the collaboration between the mentor and the students reflected in a unique imprint on the whole body of costumes, which looked as if they had been created by a single designer. This is an example of original visual qualities and the excellent workmanship demonstrated by the students in creating costumes adjusted to the requirements of the performance and made in the tailoring, painting and sculpturing workshops (established specially for this purpose) within the Faculty of Textile Technology. A liberal approach on the part of the mentor in the form of mutual knowledge transfer in which a mentor transfers to the students the knowledge gained through the education system, as well as through life-long practical work, while students, with their fresh approach and youthful innovation, transfer their enthusiasm to the teacher/mentor led to the creation of costumes whose authors were the costume students, while the teacher/mentor expanded her knowledge and her creative limits through collaboration with students while creating the visual imprint of the opera production. The project received two Rector's Awards and was selected for the Prague Quadrennial (PQ 2015) as part of the Croatian national student selection. The Graduate Programme in Costume Design at the Faculty of Textile Technology has justified its existence under the auspices of this institution, where students are offered an opportunity to get both theoretical and practical training at art, textile and technology workshops dedicated to costume making and organized by the Faculty of Textile Technology within the inter-faculty collaboration at the University of Zagreb aimed at creating a stage production.
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ACQUISITIONS MAA
ACQUISITIONS MAA
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