1 50 1 http://moremuseum.org/omeka/files/original/2e98a126ada94dc3fa358e4d2370ff32.jpg 623362a0ed4857f8ae70c931ea16ff46 http://moremuseum.org/omeka/files/original/68468c9c09f5c48f8e43c283cc6d6e57.jpg acc0e767fc266682ca54e5c18f6eff66 http://moremuseum.org/omeka/files/original/9076b65f060fce12c641ececf28f633c.jpg 9074034a14a13a241bb55a6f8af09cd7 http://moremuseum.org/omeka/files/original/8c5a0248cf03a9f05942613633487c14.jpg 2f01016048d1caa46019aedc67fcf8c7 http://moremuseum.org/omeka/files/original/bb1d4f989dd56c92892010731bdb9c17.jpg a56159cd4425622470c296cb0e5c7098 http://moremuseum.org/omeka/files/original/49fa29aff5efcad8d682bf9459633b17.jpg e29c6b7320b5f09b408e712430e3eb27 http://moremuseum.org/omeka/files/original/19da69d0021f1beff5d6d4ffb36c6ce1.jpg ebd3336388eb1a0e7acb0501761c683a http://moremuseum.org/omeka/files/original/cd5bbbbb18ef4cdfaf0c78679e2239d2.jpg abffbd21ca1a10622a60fc8dfaf21d82 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Vjenceslav Richter Description An account of the resource Vjenceslav Richter (Drenova, 1917-Zagreb, 2002). He earned his degree in architecture at the Technical Faculty in Zagreb in 1949. He is one of the founders of EXAT 51 (1951),  Studio of Industrial Design (1956) and the Centre for Industrial Design (1963) in Zagreb. Richter headed the Architecture Department at the Academy of Applied Arts in Zagreb (1950-1954). In all his activities, from designing the exhibition spaces Pavilion for the World Exhibition in Brussels 1958 and Triennale of Milan in 1964, to painting, Richter carried out the principle of artistic synthesis. After becoming internationally famous thanks to these latest interventions, he worked on designs for museums at Aleppo, Sarajevo, Belgrade, Skopje, and Krapina. Beginning in the early sixties, he developed a systematic approach to urban planning (Sinturbanizam), which he further elaborated in the form of a theoretical project called Heliopolis, a four-dimensional megalopolis, of sculpture and painting between seventies and eighties.  His experiments in the field of visual arts associated him with the international movement of New Tendencies. During that period, between the seventies and the nineties, he created his cycles Centre i centrije (Center and Centers), Sistemske skulpture (System Sculpture), Reljefometri (Reliefsmeters), Sistemske grafike (System graphic) andProstorne grafike (Spatial graphic), which originated in his fascination with systems and his interest in the possibility of synthesis in the field of visual arts. In the thirty-odd pieces from his cycle on Prostorne slike (Spatial image), created in the nineties, he finally managed to elide the borders between architecture, sculpture, and painting. Vjenceslav Richter and his wife, Nada Kareš Richter, donated their artworks and their family house, Tte two-storey villa at 38 Vrhovac houses, to the city of Zagreb in 1980, with the intention of promoting research on Constructivist art and providing a place for young artists to meet, but also in order to improve cultural affairs outside the centre of Zagreb. In 1998, the Richter Collection, as it is commonly called, was entrusted to MSU for management. That was also the beginning of vigorous work on documenting Vjenceslav Richter's art, as well as of close cooperation between the Museum's curators and the artist, which aimed at creating the conditions for opening the collection for the general public. In Spring 2000, the collection was opened to the public, while close cooperation between Vjenceslav Richter and the Museum was continued with further donations made by the artist. In 2007, Nada Kareš Richter donated some valuable archival materials and a library, which is now preserved and documented on the premises of the Collection. Creator An entity primarily responsible for making the resource Richter, Vjenceslav Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Synthurbanism Creator An entity primarily responsible for making the resource Richter, Vjenceslav Date A point or period of time associated with an event in the lifecycle of the resource 1954-1964 Contributor An entity responsible for making contributions to the resource Bignotti, Ilaria Remondina, Camilla Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Still Image Rights Holder A person or organization owning or managing rights over the resource. Vjenceslav Richter MoRE museum Description An account of the resource Richter developed the idea of Synthurbanism in the early sixties as a result of his in-depth analysis of the legacy of the historical avant-gardes and the synthesis of arts, through the principles of Modernism, along with the experience he acquired working on several pavilion and urban planning projects . As the neologism suggests, it was a visionary, but not utopian project, synthesizing urbanism to provide for the lives of ten thousand people in a single, poly-functional, urban structure consisting of multiple units in the form of a ziggurat. This gave rise to the idea of the Heliopolis, a four-dimensional, constantly revolving residential structure which would provide its inhabitants with an constantly changing view. <a href="https://www.repository.unipr.it/bitstream/1889/3685/4/Vjenceslav%20Richter_Synthurbanism.pdf" target="_blank" rel="noopener">Read more.</a> Financial reasons Technical reasons