{"id":58447,"date":"2015-12-04T06:06:57","date_gmt":"2015-12-04T05:06:57","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=58447"},"modified":"2023-02-09T04:01:34","modified_gmt":"2023-02-09T03:01:34","slug":"el-hito-yugoslavo-silvia-blanco-agueira","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/el-hito-yugoslavo-silvia-blanco-agueira\/","title":{"rendered":"[:es]El hito yugoslavo | Silvia Blanco Ag\u00fceira[:gl]O fito iugoslavo | Silvia Branco Ag\u00fceira[:en]The Yugoslavian milestone | Silvia Blanco Ag\u00fceira[:]"},"content":{"rendered":"

[:es]

\"Vjenceslav<\/a>
Vjenceslav Richter y Emil Weber. Lateral del pabell\u00f3n yugoslavo en la Expo58, con vanguardistas realizaciones pl\u00e1sticas sobre sus paramentos. Al fondo, se puede apreciar la estructura que serv\u00eda de reclamo visual, un hito conformado por seis arcos met\u00e1licos, uno por cada rep\u00fablica: Eslovenia, Bosnia-Herzegovina, Croacia, Serbia, Macedonia y Montenegro.<\/span><\/figcaption><\/figure><\/p>\n

El pabell\u00f3n yugoslavo de la Exposici\u00f3n Universal de Bruselas de 1958 es una de esas obras en las que el flechazo resulta instant\u00e1neo. Su elegante dise\u00f1o y su cuidada escenograf\u00eda interior ten\u00edan como indisimulado objetivo epatar, subyugar al espectador. Solo as\u00ed se comprende el rocambolesco desarrollo de la propuesta desde sus or\u00edgenes hasta su concreci\u00f3n final. Solo as\u00ed se entiende que fuera necesaria la convocatoria de dos concursos de ideas para elegir el dise\u00f1o definitivo.<\/p>\n

\"Maqueta<\/a>
Maqueta de Diksi 2<\/em>, la propuesta ganadora en la segunda convocatoria del concurso | Fuente: Galjer, Jasna. Expo 58 and the Yugoslav pavilion by Vjenceslav Richter<\/em>. Croatia: Horetzky, 2009.<\/span><\/figcaption><\/figure>\n

Un comit\u00e9 preparatorio anunci\u00f3 en mayo de 1956 un concurso abierto y an\u00f3nimo en la Rep\u00fablica Federativa Socialista de Yugoslavia para la redacci\u00f3n del edificio que se iba a levantar en la capital belga dos a\u00f1os despu\u00e9s. Aunque fueron premiados tres proyectos, ninguno de ellos convenci\u00f3 realmente al jurado, bien porque no reun\u00edan suficiente calidad para representar al pa\u00eds, bien porque sus autores no pose\u00edan una trayectoria destacada en la configuraci\u00f3n de espacios expositivos1<\/sup>. Hab\u00eda una excepci\u00f3n a este \u00faltimo aspecto, el arquitecto tras la propuesta denominada Diksi<\/em>, ganadora de uno de los dos segundos premios otorgados: Vjenceslav Richter2<\/sup>, un proyectista croata conocido por su trabajo en el \u00e1mbito de la pintura y las artes gr\u00e1ficas que se hab\u00eda presentado al concurso en colaboraci\u00f3n con Emil Weber, un dise\u00f1ador de interiores.<\/p>\n

Dado que no result\u00f3 seleccionado ning\u00fan proyecto para ser ejecutado, el comit\u00e9 preparatorio resolvi\u00f3 invitar a cuatro reconocidos estudios del estado socialista a tomar parte en la segunda ronda del concurso, convocada tan solo tres meses despu\u00e9s, y en la que tambi\u00e9n se inclu\u00eda a los tres premiados en la primera convocatoria. En esta ocasi\u00f3n, la propuesta escogida fue la aparatosa Diksi 2<\/em>, una variaci\u00f3n de la originalmente presentada por los mencionados Richter y Weber. Tal era el grado de complejidad del dise\u00f1o, que fue necesaria una evaluaci\u00f3n adicional para determinar su factibilidad, algo puesto en duda por los miembros del jurado.<\/p>\n

El proyecto, atrevido, casi marciano, con cuatro cables que sosten\u00edan un cub\u00edculo de unos cuarenta metros de lado, caus\u00f3 serios dolores de cabeza a la comisi\u00f3n. Y aunque se consult\u00f3 a expertos, se consider\u00f3 que el viento podr\u00eda convertirse en un verdadero inconveniente, ya que har\u00eda girar el pabell\u00f3n sobre el m\u00e1stil central de setenta metros de altura, de manera que la estructura se volviese incontrolable.<\/p>\n

Despu\u00e9s de numerosos debates y consultas, en los que incluso intervinieron destacados pol\u00edticos, se decidi\u00f3 finalmente colocar el edificio sobre pilares de acero, adoptando un sistema de apoyos m\u00e1s convencional. La innovaci\u00f3n y la audacia iniciales fueron pues abandonadas, aunque se mantuvieron la est\u00e9tica de los lucernarios, la planta baja abierta y las l\u00e1minas de agua presentes en la misma.<\/p>\n

\"Espacio<\/a>
Espacio expositivo interior, con los lucernarios de la cubierta, presentes en casi todas las versiones del proyecto.<\/span><\/figcaption><\/figure>\n

La realizaci\u00f3n yugoslava qued\u00f3 situada entre los pabellones de Suiza y Portugal, algo oculta tras ellos, en una zona boscosa y con fuerte pendiente en su entorno. De ah\u00ed que los balc\u00e1nicos intentasen solventar este inconveniente, tanto desde el inicio mismo del dise\u00f1o como posteriormente, con la inclusi\u00f3n de una fascinante estructura de 45 metros y medio de altura que actuaba como reclamo de su propuesta3<\/sup>.<\/p>\n

Con todo, la reacci\u00f3n del p\u00fablico no fue la deseada, y hubo de celebrarse poco antes de su clausura una folcl\u00f3rica exposici\u00f3n de mu\u00f1ecas vestidas con trajes tradicionales, en un \u00faltimo intento a la desesperada por mejorar las cifras de visitantes4<\/sup>. Un reclamo que entraba en aparente contradicci\u00f3n con la esencia de lo ideado: un pa\u00eds completamente orientado hacia lo moderno, incluso en su arquitectura. De hecho, la funcionalidad de los espacios presentados se convirti\u00f3 en un aspecto muy \u00fatil al terminar el evento.<\/p>\n

Una vez finalizada la Expo58, el pabell\u00f3n fue desmontado, trasladado e instalado de nuevo en la ciudad belga de Wevelgem para ser empleado como escuela cat\u00f3lica, la Sint-Pauluscollege. En esa localidad es posible visitar hoy en d\u00eda el antiguo edificio, albergando un programa para el cual no fue originalmente dise\u00f1ado: el docente.<\/p>\n

La arquitectura moderna, con sus trazados as\u00e9pticos y ausencia de referentes nacionales, se adapt\u00f3 perfectamente a dicho objetivo.<\/p>\n

\"Sint-Pauluscollege,<\/a>
Sint-Pauluscollege<\/em>, Wevelgem (B\u00e9lgica). Segunda vida para el pabell\u00f3n yugoslavo como equipamiento docente.<\/span><\/figcaption><\/figure>\n

Silvia Blanco Ag\u00fceira, doctora arquitecta
\nViveiro, diciembre 2015<\/p>\n

1 <\/sup>El jurado, compuesto por Branislav Koji\u0107, Drago Ibler, Oto Bihalji-Merin y Milorad Pantovi\u0107, concluy\u00f3 que el concurso no hab\u00eda brindado resultados satisfactorios. Y eso a pesar de que el primer premio fue otorgado a la propuesta 30556 <\/em>de la que eran autores Vladimir Bjelikov, Branislav Simonovi\u0107 y Smilja Kana\u010dki. Y en vez de un segundo y tercer premio, se otorgaron dos premios compartidos a la propuesta con el lema Kubus<\/em>, de Milan Pali\u0161a\u0161ki, Slobodan Janji\u0107, Zoran Petrovi\u0107 y Oskar Hrabovski, y al dise\u00f1o Diksi<\/em>, de Vjenceslav Richter y Emil Weber. Galjer, Jasna<\/a>, Expo 58 and the Yugoslav pavilion by Vjenceslav Richter<\/em> (Croatia: Horetzky, 2009), 288.<\/p>\n

2 <\/sup>Vjenceslav Richter (1917\/2002) fue uno de los fundadores del grupo de arte abstracto EXAT 51, conformado por arquitectos y pintores que abogaban por la s\u00edntesis creativa. Con una s\u00f3lida reputaci\u00f3n pol\u00edtica, debida a su vinculaci\u00f3n con los partisanos de Yugoslavia, hab\u00eda organizado diversas exposiciones tanto dentro como fuera del pa\u00eds desde 1947, entre ellas, la primera Trienal de Zagreb<\/a>, en 1955. Zimmermann, Tanja, Balkan Memories: Media Constructions of National and Transnational History<\/a><\/em> (Bielefeld: transcript Verlag, 2014), 131-133.<\/p>\n

3<\/sup> Zvonko Springer, calculista de la estructura del pabell\u00f3n y del hito situado delante del mismo, narr\u00f3 esta experiencia en \u00abWorld Exposition in\u00a0Brussels\u00a01958. The Yugoslav Pavilion\u00bb, disponible en el siguiente enlace<\/a>.<\/p>\n

4<\/sup> Kuli\u0107, Vladimir, \u00abAn Avant-Garde Architecture for an Avant-Garde Socialism: Yugoslavia at EXPO\u201958<\/a>\u00ab, Journal of Contemporary History <\/em>47 (2012): 161\u2013184.<\/p>\n

[:gl]

\"Vjenceslav<\/a>
Vjenceslav Richter e Emil Weber. Lateral do pavill\u00f3n iugoslavo na Expo58, con vangardistas realizaci\u00f3ns pl\u00e1sticas sobre as s\u00faas paramentos. Ao fondo, p\u00f3dese apreciar a estrutura que serv\u00eda de reclamo visual, un fito conformado por seis arcos met\u00e1licos, un por cada rep\u00fablica: Eslovenia, Bosnia-Herzegovina, Croacia, Serbia, Macedonia e Montenegro.<\/span><\/figcaption><\/figure><\/p>\n

O pavill\u00f3n iugoslavo da Exposici\u00f3n Universal de Bruxelas de 1958 \u00e9 unha desas obras nas que o flechazo resulta instant\u00e1neo. O seu elegante dese\u00f1o e a s\u00faa coidada escenograf\u00eda interior ti\u00f1an como indisimulado obxectivo epatar, subxugar ao espectador. S\u00f3 as\u00ed se comprende o rocambolesco desenvolvemento da proposta desde as s\u00faas orixes ata a s\u00faa concreci\u00f3n final. S\u00f3 as\u00ed se entende que fose necesaria a convocatoria de dous concursos de ideas para elixir o dese\u00f1o definitivo.<\/p>\n

\"Maqueta<\/a>
Maqueta de Diksi 2<\/em>, a proposta gan\u00f1adora na segunda convocatoria do concurso | Fonte: Galjer, Jasna. Expo 58 and the Yugoslav pavilion by Vjenceslav Richter<\/em>. Croatia: Horetzky, 2009.<\/span><\/figcaption><\/figure>\n

Un comit\u00e9 preparatorio anunciou en maio de 1956 un concurso aberto e an\u00f3nimo na Rep\u00fablica Federativa Socialista de Iugoslavia para a redacci\u00f3n do edificio que se \u00eda a levantar na capital belga dous anos despois. A\u00ednda que foron premiados tres proxectos, ning\u00fan deles convenceu realmente ao xurado, ben porque non reun\u00edan suficiente calidade para representar ao pa\u00eds, ben porque os seus autores non posu\u00edan unha traxectoria destacada na configuraci\u00f3n de espazos expositivos1<\/sup>. Hab\u00eda unha excepci\u00f3n a este \u00faltimo aspecto, o arquitecto tras a proposta denominada Diksi,<\/em> ga\u00f1adora dun dos dous segundos premios outorgados: Vjenceslav Richter2<\/sup>, un proyectista croata co\u00f1ecido polo seu traballo no \u00e1mbito da pintura e as artes gr\u00e1ficas que se presentou ao concurso en colaboraci\u00f3n con Emil Weber, un dese\u00f1ador de interiores.<\/p>\n

Dado que non resultou seleccionado ning\u00fan proxecto para ser executado, o comit\u00e9 preparatorio resolveu convidar a catro reco\u00f1ecidos estudos do estado socialista a tomar parte na segunda rolda do concurso, convocada tan s\u00f3 tres meses despois, e na que tam\u00e9n se inclu\u00eda aos tres premiados na primeira convocatoria. Nesta ocasi\u00f3n, a proposta escollida foi a aparatosa Diksi<\/em> 2, unha variaci\u00f3n da orixinalmente presentada polos mencionados Richter e Weber. Tal era o grao de complexidade do dese\u00f1o, que foi necesaria unha avaliaci\u00f3n adicional para determinar a s\u00faa factibilidad, algo posto en d\u00fabida polos membros do xurado.<\/p>\n

O proxecto, atrevido, case marciano, con catro cables que sosti\u00f1an un cub\u00edculo duns corenta metros de lado, causou serias dores de cabeza \u00e1 comisi\u00f3n. E a\u00ednda que se consultou a expertos, considerouse que o vento poder\u00eda converterse nun verdadeiro inconveniente, xa que far\u00eda virar o pavill\u00f3n sobre o mastro central de setenta metros de altura, de maneira que a estrutura volv\u00e9sese incontrolable.<\/p>\n

Despois de numerosos debates e consultas, nos que mesmo intervi\u00f1eron destacados pol\u00edticos, decidiuse finalmente colocar o edificio sobre alicerces de aceiro, adoptando un sistema de apoios m\u00e1is convencional. A innovaci\u00f3n e a audacia iniciais foron pois abandonadas, a\u00ednda que se mantiveron a est\u00e9tica dos lucernarios, a planta baixa aberta e as l\u00e1minas de auga presentes na mesma.<\/p>\n

\"Espacio<\/a>
Espazo expositivo interior, cos lucernarios da cubierta, presentes en casi t\u00f3dalas versi\u00f3ns do proxecto.<\/span><\/figcaption><\/figure>\n

A realizaci\u00f3n iugoslava quedou situada entre os pavill\u00f3ns de Su\u00edza e Portugal, algo oculta tras eles, nunha zona boscosa e con forte pendente na s\u00faa contorna. Por iso \u00e9 polo que os balc\u00e1nicos tentasen liquidar este inconveniente, tanto desde o inicio mesmo do dese\u00f1o como posteriormente, coa inclusi\u00f3n dunha fascinante estrutura de 45 metros e medio de altura que actuaba como reclamo da s\u00faa proposta3<\/sup>.<\/p>\n

Con todo, a reacci\u00f3n do p\u00fablico non foi a desexada, e houbo de celebrarse pouco antes do seu clausura unha folcl\u00f3rica exposici\u00f3n de bonecas vestidas con traxes tradicionais, nun \u00faltimo intento \u00e1 desesperada por mellorar as cifras de visitantes4<\/sup>. Un reclamo que entraba en aparente contradici\u00f3n coa esencia do ideado: un pa\u00eds completamente orientado cara ao moderno, mesmo na s\u00faa arquitectura. De feito, a funcionalidade dos espazos presentados converteuse nun aspecto moi \u00fatil ao terminar o evento.<\/p>\n

Unha vez finalizada a Expo58, o pavill\u00f3n foi desmontado, trasladado e instalado de novo na cidade belga de Wevelgem para ser empregado como escola cat\u00f3lica, a Sint-Pauluscollege. Nesa localidade \u00e9 posible visitar hoxe en d\u00eda o antigo edificio, albergando un programa para o cal non foi orixinalmente dese\u00f1ado: o docente.<\/p>\n

A arquitectura moderna, cos seus trazados as\u00e9pticos e ausencia de referentes nacionais, adaptouse perfectamente ao devandito obxectivo.<\/p>\n

\"Sint-Pauluscollege,<\/a>
Sint-Pauluscollege<\/em>, Wevelgem (B\u00e9lgica). Segunda vida para o pavill\u00f3n yugoslavo como equipamento docente.<\/span><\/figcaption><\/figure>\n

Silvia Blanco Ag\u00fceira, doutora arquitecta
\nViveiro, decembro 2015<\/p>\n

1\u00a0<\/sup>O xurado, composto por Branislav Koji\u0107, Drago Ibler, Oto Bihalji-Merin e Milorad Pantovi\u0107, conclu\u00edu que o concurso non brindara resultados satisfactorios. E iso a pesar de que o primeiro premio foi outorgado \u00e1 proposta 30556<\/em> da que eran autores Vladimir Bjelikov, Branislav Simonovi\u0107 e Smilja Kana\u010dki. E no canto dun segundo e terceiro premio, outorg\u00e1ronse dous premios compartidos \u00e1 proposta co lema Kubus<\/em>, de Milan Pali\u0161a\u0161ki, Slobodan Janji\u0107, Zoran Petrovi\u0107 e Oskar Hrabovski, e ao dese\u00f1o Diksi<\/em>, de Vjenceslav Richter e Emil Weber. Galjer, Jasna<\/a>, Expo 58 and the Yugoslav pavilion by Vjenceslav Richter<\/em> (Croatia: Horetzky, 2009), 288.<\/p>\n

2 <\/sup>Vjenceslav Richter (1917\/2002) foi un dos fundadores do grupo de arte abstracta EXAT 51, conformado por arquitectos e pintores que avogaban pola s\u00edntese creativa. Cunha s\u00f3lida reputaci\u00f3n pol\u00edtica, debida \u00e1 s\u00faa vinculaci\u00f3n cos partisanos de Iugoslavia, organizara diversas exposici\u00f3ns tanto dentro como fose do pa\u00eds desde 1947, entre elas, a primeira Trienal de Zagreb<\/a>,, en 1955. Zimmermann, Tanja, Balkan Memories: Balkan Memories: Media Constructions of National and Transnational History<\/a><\/em> (Bielefeld: transcript Verlag, 2014), 131-133.<\/p>\n

3<\/sup> Zvonko Springer, calculista da estrutura do pavill\u00f3n e do fito situado diante do mesmo, narrou esta experiencia en \u00abWorld Exposition in Brussels 1958. The Yugoslav Pavilion\u00bb, dispo\u00f1ible no seguinte enlace<\/a>.<\/p>\n

4<\/sup> Kuli\u0107, Vladimir, \u00abAn Avant-Garde Architecture for an Avant-Garde Socialism: Yugoslavia at EXPO\u201958<\/a>\u00ab, Journal of Contemporary History <\/em>47 (2012): 161\u2013184.<\/p>\n

[:en]

\"Vjenceslav<\/a>
Vjenceslav Richter and Emil Weber. Wings of the Yugoslavian pavilion in the Expo58, with ultramodern plastic accomplishments on his paraments. To the bottom, it is possible to estimate the structure that was using as visual claim, a milestone shaped by six metallic arches, one by every republic: Slovenia, Bosnia-Herzegovina, Croatia, Serbia, Macedonia and Montenegro.<\/span><\/figcaption><\/figure><\/p>\n

The Yugoslavian pavilion of the Universal Exhibition of Brussels of 1958 is one of these works in which the arrow wound turns out to be instantaneous. His elegant design and his elegant interior scenery had as undisguised aim amaze, subdue the spectator. Only this way the rocambolesco understands development of the offer from his origins up to his final concretion. Only this way there is understood that there were necessary the summons of two contests of ideas to choose the definitive design.<\/p>\n

\"Maqueta<\/a>
Diksi<\/em>‘s model 2, the winning offer in the second summons of the contest. Expo 58 and the Yugoslav pavilion by Vjenceslav Richter<\/em>. Croatia: Horetzky, 2009.<\/span><\/figcaption><\/figure>\n

A preparatory committee announced in May, 1956 an opened and anonymous contest in the Federative Socialist Republic of Yugoslavia for the draft of the building that was going to get up in the Belgian capital two years later. Though three projects were rewarded, none of them convinced really the juror, good because they were not assembling sufficient quality to represent to the country, good because his authors were not possessing a path emphasized in the configuration of explanatory spaces1<\/sup>. There was an exception to the latter aspect, the architect after the offer named Diksi,<\/em> winner of one of the second two granted prizes: Vjenceslav Richter2<\/sup>, a Croatian designer known by his work in the area of the painting and the graphical arts that one had presented to the contest in collaboration with Emil Weber, a designer of interiors.<\/p>\n

Provided that no project turned out to be selected to be executed, the preparatory committee resolved to invite to four recognized studies of the socialist condition to take part in the second round of the contest, summoned only three months later, and in the one that also was included to the three rewarded in the first summons. In this occasion, the select offer was the showy Diksi 2<\/em>, one variation of the originally presented one for the mentioned Richter and Weber. Such age the degree of complexity of the design, which was necessary an additional evaluation to determine his feasibility, something questioned by the members of the juror.<\/p>\n

The project, dared, almost Martian, with four cables that were supporting a cubicle of approximately forty meters of side, caused serious headaches to the commission. And though one consulted experts, it thought that the wind might turn into a real disadvantage, since it would make turn the pavilion on the central mast of seventy meters of height, so that the structure was becoming uncontrollable.<\/p>\n

After numerous debates and consultations, in that even out-standing politicians intervened, it was decided finally to place the building on props of steel, adopting a more conventional system of supports. The innovation and the audacity initials were left so, though there were kept the aesthetics of the lucernarios, the opened ground floor and the present sheets of water in the same one.<\/p>\n

\"Espacio<\/a>
Explanatory interior space, with the lucernarios of the cover, present in almost all the versions of the project.<\/span><\/figcaption><\/figure>\n

The Yugoslavian accomplishment remained placed between the pavilions of Switzerland and Portugal, it conceals something after them, in a wooded zone and with hanging fort in his environment. Of there that the Balkan ones were trying to settle this disadvantage, so much from the beginning itself of the design as later, with the incorporation of a fascinating structure of 45 meters and a half of height that was acting as claim of his offer3<\/sup>.<\/p>\n

With everything, the reaction of the public was not the wished one, and a folcl\u00f3rica had to celebrate little before his closing exhibition of wrists dressed in traditional suits, in a last attempt to driven to despair for the numbers of visitors improved4<\/sup>. A claim that was entering apparent contradiction with the essence of the designed: a country completely orientated towards the modern thing, even in his architecture. In fact, the functionality of the presented spaces turned into a very useful aspect on having finished the event.<\/p>\n

Once finished the Expo58, the pavilion was dismantled, moved and installed again in Wevelgem’s Belgian city to be used as catholic school, the Sint-Pauluscollege. In this locality it is possible to visit nowadays the former building, sheltering a program for whom was not originally designed: the teacher.<\/p>\n

The modern architecture, with his aseptic tracings and absence of national modals, adapted perfectly to the above mentioned aim.<\/p>\n

\"Sint-Pauluscollege,<\/a>
Sint-Pauluscollege<\/em>, Wevelgem (Belgium). The second life for the Yugoslavian pavilion like educational equipment.<\/span><\/figcaption><\/figure>\n

Silvia Blanco Ag\u00fceira, PhD architect
\nViveiro, december 2015<\/p>\n

1 <\/sup>The juror composed by Branislav Koji\u0107, Drago Ibler, Oto Bihalji-Merin and Milorad Pantovi\u0107, he concluded that the contest had not offered satisfactory results. And it in spite of the fact that the first prize was granted to the offer 30556<\/em> of that were authors Vladimir Bjelikov, Branislav Simonovi\u0107 and Smilja Kana\u010dki. And instead of the second and third prize, there were granted two prizes shared to the offer with the motto Kubus<\/em>, of Milan Pali\u0161a\u0161ki, Slobodan Janji\u0107, Zoran Petrovi\u0107 and Oskar Hrabovski, and to the design Diksi<\/em>, of Vjenceslav Richter and Emil Weber. Galjer, Jasna<\/a>, Expo 58 and the Yugoslav pavilion by Vjenceslav Richter<\/em> (Croatia: Horetzky, 2009), 288.<\/p>\n

2\u00a0<\/sup>Vjenceslav Richter (1917\/2002) he was one of the founders of the group of abstract art EXAT 51, shaped by architects and painters who were pleading for the creative synthesis. With a solid political reputation, due to his entail with the partisans of Yugoslavia, it had organized diverse exhibitions so much inside like out of the country from 1947, between them, first Triennial of Zagreb, in 1955. Zimmermann, Tanja, Balkan Memories: Media Constructions of National and Transnational History<\/a><\/em> (Bielefeld: transcript Verlag, 2014), 131-133.<\/p>\n

3<\/sup>\u00a0Zvonko Springer, calculista of the structure of the pavilion and of the milestone placed in front of the same one, narrated this experience in \u00bb World Exposition in Brussels 1958. The Yugoslav Pavilion \u00ab, available in the following link<\/a>.<\/p>\n

4<\/sup> Kuli\u0107, Vladimir, \u00abAn Avant-Garde Architecture for an Avant-Garde Socialism: Yugoslavia at EXPO\u201958<\/a>\u00ab, Journal of Contemporary History <\/em>47 (2012): 161\u2013184.<\/p>\n

[:]<\/p>\n","protected":false},"excerpt":{"rendered":"

[:es] El pabell\u00f3n yugoslavo de la Exposici\u00f3n Universal de Bruselas de 1958 es una de esas obras en las que el flechazo resulta instant\u00e1neo. Su elegante dise\u00f1o y su cuidada escenograf\u00eda interior ten\u00edan como indisimulado objetivo epatar, subyugar al espectador. Solo as\u00ed se comprende el rocambolesco desarrollo de la propuesta desde sus or\u00edgenes hasta su 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