Danilo Udovički-Selb
Biographic Data
| ID | 3478472 |
|---|---|
| NAME | Danilo Udovički-Selb |
| GIVEN NAMES | Danilo |
| FAMILY NAME | Udovički-Selb |
| SIGNATURE | UDOVIČKI-SELB D |
| AFFILIATIONS | University of Texas at Austin, USA |
| VERIFIED | No |
| TOTAL WORKS | 2 |
| TOTAL CITATIONS | 7 |
| WORKS AS AUTHOR | 2 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2001 |
| LATEST PUBLICATION YEAR | 2012 |
| H-INDEX | 2 |
Facing Hitler’s Pavilion
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 prima…
The Elusive Faces of Modernity
The occasion of the first commission that Jacques Gréber received to plan the new city centre of Ottawa-the 1937 Paris International Exposition-was the scene of the first encounter between the proponents of the New Architecture and the tenets of the "Retour à l'Ordre." The last in the long tradition of French "Universelles, " with their common eighteenth-century Illuminist legacy, the exposition Gréber planned was the first to open its doors wide…
Facing Hitler’s Pavilion
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 prima…
The Elusive Faces of Modernity
The occasion of the first commission that Jacques Gréber received to plan the new city centre of Ottawa-the 1937 Paris International Exposition-was the scene of the first encounter between the proponents of the New Architecture and the tenets of the "Retour à l'Ordre." The last in the long tradition of French "Universelles, " with their common eighteenth-century Illuminist legacy, the exposition Gréber planned was the first to open its doors wide…
The Elusive Faces of Modernity
The occasion of the first commission that Jacques Gréber received to plan the new city centre of Ottawa-the 1937 Paris International Exposition-was the scene of the first encounter between the proponents of the New Architecture and the tenets of the "Retour à l'Ordre." The last in the long tradition of French "Universelles, " with their common eighteenth-century Illuminist legacy, the exposition Gréber planned was the first to open its doors wide…
Facing Hitler’s Pavilion
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 prima…
Historical Art and Culture Studies (2 works) · Historical Studies and Socio-cultural Analysis (2 works) · Archaeology (1 work) · Art (1 work) · Art history (1 work) · Classicism (1 work) · Cultural Identity and Heritage (1 work) · Exhibition (1 work) · Exposition (narrative (1 work) · History (1 work)