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CRO PAVILION - 14TH VENICE ARCH BIENNALE

FITTING ABSTRACTION
 

 Fitting Abstraction is an installation that converges the atmospheric and the documentary. It is a plug-and-play analog interface powered by information proper. The installation explores the potentials of the exhibition medium to not only convey a scholarly argument but also to become a tool of research. The installation spatializes eight fundamental architectural values engendered through a tacit hybridization of modernist principles with locally existing social and architectural substrates and displays them as eight spatial conceptual diagrams. Set perpendicularly to the main corridor, they stretch parallel to each other filling the space’s entire depth, while chronologically spanning the whole addressed century. Thus, FA converges chronology with space to create a thematic-temporal grid that materializes the installation’s very argument. To do so, the installation merges the scaffold and the exhibits into an indivisible whole. In that sense, it belongs to a line of modernist tradition epitomized in the Yugoslav Pavilion at the XIII Milan Triennial from 1964, designed by Vjenceslav Richter. White powder-coated steel bars are the only structural element used repeatedly throughout the installation, serving both as vertical and horizontal structural members. They carry exhibition materials, both acrylic sheets and spatial conceptual diagrams, and calibrate their display to coordinate the entire disposition. The installation is entirely self-sufficient, with integrated LED lighting system; it comes as a kit of parts that is completely demountable and can be easily reassembled.

Fitting Abstraction is an installation that converges the atmospheric and the documentary. It is a plug-and-play analog interface powered by information proper. The installation explores the potentials of the exhibition medium to not only convey a scholarly argument but also to become a tool of research. The installation spatializes eight fundamental architectural values engendered through a tacit hybridization of modernist principles with locally existing social and architectural substrates and displays them as eight spatial conceptual diagrams. Set perpendicularly to the main corridor, they stretch parallel to each other filling the space’s entire depth, while chronologically spanning the whole addressed century. Thus, FA converges chronology with space to create a thematic-temporal grid that materializes the installation’s very argument. To do so, the installation merges the scaffold and the exhibits into an indivisible whole. In that sense, it belongs to a line of modernist tradition epitomized in the Yugoslav Pavilion at the XIII Milan Triennial from 1964, designed by Vjenceslav Richter. White powder-coated steel bars are the only structural element used repeatedly throughout the installation, serving both as vertical and horizontal structural members. They carry exhibition materials, both acrylic sheets and spatial conceptual diagrams, and calibrate their display to coordinate the entire disposition. The installation is entirely self-sufficient, with integrated LED lighting system; it comes as a kit of parts that is completely demountable and can be easily reassembled.

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  year  2014   client   Ministry of Culture of the Republic of Croatia    co-authors  Igor Ekštajn, Kristina Jeren   info  The project was executed as a Croatian pavilion for the 14th Venice Architecture Biennale   project website   www.fittingabstraction.com

year
2014

client
Ministry of Culture of the Republic of Croatia

co-authors
Igor Ekštajn, Kristina Jeren

info
The project was executed as a Croatian pavilion for the 14th Venice Architecture Biennale

project website
www.fittingabstraction.com

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