engleski

Croatian Pavilions at the 1896 Millennium Exhibition in Budapest

Having no political independence, Croatia rarely had an opportunity to build its own pavilions at great exhibitions in the 19th century. Exceptions were only the exhibitions organized on the territory of the Austro-Hungarian Empire among which the most important was the Millennium Exhibition in Budapest in 1896 where Croatia was represented with four large pavilions. The participation in the exhibition reflected the then political situation in which Croatia was part of Hungary and as such it was obliged to be involved in the exhibition in order to demonstrate the political connection between the two countries. It was also an opportunity for the Croatian political representatives headed by the pro-Hungarian viceroy (ban) Dragutin Károly Khuen-Héderváry to show their loyalty to Budapest. The Croatian opposition tried to organize a boycott of the exhibition but it failed in that attempt because Khuen was supported by many important intellectuals, especially by the first Croatian art historian Iso Kršnjavi. All four of Croatian pavilions for the 1896 exhibition in Budapest were envisaged to be constructed on the site covering 11000 m². Three pavilions were designed by Zagreb- based architect: Vjekoslav Heinzel designed the main pavilion for exhibits related to industry, crafts and agriculture, the tasting pavilion was the work of Hönigsberg and Deutsch Architectural Office, while the forestry pavilion was designed by Herman Bollé. Design of the art pavilion was entrusted to the Budapest-based architects Flóris Korb and Kálmán Giergl, and its construction to the Danubius building company. The characteristic features of all the pavilions were rich decoration and a dynamic articulation of the facades and roofs. However, the major differentiating element among the four structures was the style. The main “industrial” pavilion was built in a style which was a cross breed between Neo-Renaissance and metal-and-glass structures, the tasting pavilion was Neo-Baroque, and the forestry and hunting pavilion was marked by features of a special “Croatian vernacular style”. With its mixed Neo-Renaissance and Neo-Baroque motifs and early Secessionist decoration the style of the art pavilion was the most modern. The structure of the pavilion was transferred to Zagreb and situated on King Tomislav Square were it still stands serving as a gallery under the name of Art Pavilion. The original designs by Korb and Giergl for the pavilion were modified by Viennese architects Ferdinand Fellner and Hermann Helmer when it was erected in Zagreb. The aim of the paper is to provide an analysis of these architectural projects as well as the political circumstance of the Croatian participation in the 1896 exhibition in Budapest.

Millennium Exhibition Budapest; 1896; Dragutin Károly Khuen-Héderváry; Vjekoslav Heinzel; Hönigsberg and Deutsch; Flóris Korb; Kálmán Giergl; Ferdinand Fellner; Hermann Helmer; Herman Bollé; Historicism; Neo-Renaissance; Neo-Baroque; Croatian National Style; Pavillions; Ephemeral Architecture

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