The Materiality of a Pavilion: Agency of Materials at the Czecho-Slovak Pavilion in the Turbulent Times of 1938‒1940

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00216305%3A26420%2F22%3APU144392" target="_blank" >RIV/00216305:26420/22:PU144392 - isvavai.cz</a>

Výsledek na webu

<a href="https://www.youtube.com/watch?v=Gnp6k3e-KUU" target="_blank" >https://www.youtube.com/watch?v=Gnp6k3e-KUU</a>

DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

The Materiality of a Pavilion: Agency of Materials at the Czecho-Slovak Pavilion in the Turbulent Times of 1938‒1940

Popis výsledku v původním jazyce

The Czecho-Slovak pavilion which was built at the World Fair in the Flushing Meadows Park in 1939 and 1940 has been recently described and interpreted numerously in terms of politics of architecture and cultural politics of international exhibitions. Its conceptual continuity with the previous Paris pavilion in 1937, or its eventful preparation under the “Second Republic” and the rise of the Bohemian and Moravian Protectorate are well known as well as the Czechoslovak bizarre interpretation of the American historic milestone – the diorama of George Washington‘s inauguration that was exhibited there. What I think is missing in discussing the inter-war national World Fair pavilions is the relationship between the architectural and design forms of the buildings themselves, the exhibition layouts and the purpose of the states’ participation, which was rather the promotion of international trade and resources/product export than showing off distinctive national cultures on the one hand and national moderni

Název v anglickém jazyce

The Materiality of a Pavilion: Agency of Materials at the Czecho-Slovak Pavilion in the Turbulent Times of 1938‒1940

Popis výsledku anglicky

The Czecho-Slovak pavilion which was built at the World Fair in the Flushing Meadows Park in 1939 and 1940 has been recently described and interpreted numerously in terms of politics of architecture and cultural politics of international exhibitions. Its conceptual continuity with the previous Paris pavilion in 1937, or its eventful preparation under the “Second Republic” and the rise of the Bohemian and Moravian Protectorate are well known as well as the Czechoslovak bizarre interpretation of the American historic milestone – the diorama of George Washington‘s inauguration that was exhibited there. What I think is missing in discussing the inter-war national World Fair pavilions is the relationship between the architectural and design forms of the buildings themselves, the exhibition layouts and the purpose of the states’ participation, which was rather the promotion of international trade and resources/product export than showing off distinctive national cultures on the one hand and national moderni

Druh

O - Ostatní výsledky

CEP obor

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OECD FORD obor

60401 - Arts, Art history

Projekt

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Návaznosti

S - Specificky vyzkum na vysokych skolach

Rok uplatnění

2022

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů