Hotel Architecture

The paper presents a preliminary analysis of the catering and tourist complex in Kupari, Župa Dubrovačka. The accommodation facilities are studied in the context of the spatial development of the area from the first investment program (1958) until the beginning of the war (1991) with emphasis on the original concept and urban-planning features. The research is a contribution to the preservation and protection of the modernist architecture legacy.

O crescimento da atividade turística ao longo dos últimos anos é um dos fenômenos culturais, econômicos e sociais mais significativos de todos os tempos. A intensificação das viagens passou a influenciar a expansão turística de regiões, antes pouco exploradas, principalmente, as zonas rurais, fazendo surgir um maior interesse pelo turismo de contato com a natureza.
O Pantanal brasileiro é um exemplo desta ascensão do turismo rural. Trata-se de uma região de fauna e flora abastada, onde o turismo cresce sistémica e progressivamente, todavia a infraestrutura hoteleira é ainda precária, principalmente nas cidades pequenas, o que dificulta a visitação dessas áreas.
Quando bem planejados, os hotéis são capazes de impulsionar o turismo para uma região, de estimular atividades culturais e econômicas, de apoiar os comerciantes locais e de gerar empregos.
Isto posto, o presente trabalho pretende estudar as necessidades de uma região específica, Bodoquena, localizada no Pantanal Sul Mato-Grossense, e propor solução – na forma de projeto arquitetônico – para estimular o turismo nesta região. O projeto contempla a hospitalidade, através da zona hoteleira, a educação e formação profissional, através da escola de hotelaria e o lazer, através do ecoparque.


The great rise of tourist activity over the last few decades is one of the most remarkable economic, social and cultural phenomena of all time. The increase in travel has influenced tourism growth in previously unexplored regions, especially in rural areas, giving rise to a greater interest in tourism in contact with nature.
The Brazilian Pantanal is an example of this rise of rural tourism. It is a region of abundant fauna and flora, where tourism has been growing, but the hotel infrastructure is still weak, especially in small towns, which makes it difficult to visit these areas.
When well planned, hotels are able to promote tourism to a region, support local merchants, generate Jobs and stimulate cultural and economic activities.
In this way, this work intends to study the needs of a specific region, Bodoquena, located in the Pantanal, and propose a solution - in the form of an architectural project – to boost tourism in this region. The project includes hospitality through the hotel zone, education and vocational training through the hotel school and leisure through the ecopark.

The hospitality industry in Delhi NCR has seen tremendous growth in the past decade especially due to recent developments in the regional suburbs like Gurgaon and Noida. Both of these emerging satellite towns are a hub for IT and business sectors. As land is a prerequisite for any kind of development, Noida and Gurgaon are the logical answers to the burgeoning need for development in Delhi NCR. In terms of inventory, Noida and Gurgaon have more options than any other city in the NCR. These two areas are consequently expanding and growing, and expansion opens opportunities for further growth in real estate. It is for this reason that these two cities now have mature real estate markets for different sets of buyers and investors.

Among them, Gurgaon has significant number of hotels catering to the large scale businesses and corporate sectors, however Noida, although witnessed a huge growth in the business sector, lacks behind in the hospitality sector. Furthermore, what favors investors entering Noida is the lower pricing factor, which now promises better appreciation and returns on investments. The realty market in Gurgaon has now crystallized into one most favorable for buyers in the premium segment. About 17 million sq ft of fresh office supply is expected to enter the Noida market by the end of 2014. Even in terms of leasing activity, Noida is the second most favorable location contributing about 29% to overall office take-ups in Q4 of financial year 2012. Most of the transactions took place on the Noida-Greater Noida Expressway (TNN, 2013).

Despite the fact that in the history of Croatian architecture of the interwar period Expressionism neither took firm hold nor had the significance and reception like it had in Germany, there exists a whole series of architectural designs which display a pronounced influence of this style. In Croatian architecture Expressionism appeared roughly from around 1922 until the end of the 1920s and in the work of some architects even later, in the course of the 1930s. It occurred mainly under the influence of German and partly Austrian architecture and as a reflection of the incursion of Modernism, not as a result of the chaotic post-war climate, inflation or other economic changes. Architects of Croatian Expressionism did not form a homogenous group – they neither shared the same formation or social convictions, nor belonged to the same political circles. What they had in common were aspirations for the accommodation of architecture to the new world, its new needs and technical possibilities. Two German architects had a profound influence on the emergence of Expressionism in Croatian architecture – Hans Poelzig and Peter Behrens. Hans Poelzig trained three Croatian architects who in the course of the 1920s produced designs influenced by Expressionism: Drago Ibler, Zdenko Strižić and Josip Pičman. Especially important is the oeuvre of Drago Ibler, who created a whole series of Expressionist projects, most of which remained unbuilt. Particularly significant are his designs for the Epidemiology Institute (1922), for the Central Workers’ Insurance Office (1923) and for the Trading High School (1928) in Zagreb. His most important executed work of the 1920s was the interior of the theatre section of the pavilion of the Kingdom of Serbs, Croats and Slovenes at the 1925 Exposition internationale des Arts décoratifs et industriels modernes in Paris. Between 1926 and 1943 Ibler was the head of the Department of Architecture of the Academy of Fine Arts in Zagreb. Some of the architects trained at the Department, like Stjepan Planić, embraced Expressionist aesthetics. Peter Behrens’s influence on the emergence of Expressionism in Croatian architecture occurred through the work of his disciples educated at the Viennese Akademie der bildenden Künste (his most important Croatian disciple was Juraj (Georg) Neidhardt), as well as through his participation in the construction of the Zagreb City slaughterhouse complex. Behrens was the representative of architect Walter Frese from Berlin, who in 1928 produced the design for the city’s slaughterhouse, constructed between 1929 and 1931. Stylistic features of the buildings of this complex display a combination of elements of Expressionist and Neue Sachlichkeit architecture. Besides Behrens’s and Poelzig’s disciples, a number of Zagreb architects of the older generation also designed under the influence of Expressionist aesthetics. Among the most important is Ignjat Fischer, designer of the interior of the City Café at the Ban Jelačić Square in the very centre of Zagreb. It was executed in the years 1929-31 and represents the most important example of Expressionist architecture in Croatia. The City Café was designed under the influence of Poelzig’s works, more precisely of his most important building, the Grosses Schauspielhaus in Berlin. Almost at the same time, in 1928-30, the same square was embellished by the hotel and department store building owned by Svetozar Milinov and designed by Dioniz Sunko, which originally included an advertising tower with elements of Backsteinexpressionismus. A number of designs related to Expressionist architecture can be associated with the so-called Foundation block planned in the centre of Zagreb in late 1920s and early 1930s (among which stand out designs by Stjepan Planić, and Josip Pičman and Josip Seissel). From that time on, the International Style started to become fully dominant in Croatian architecture.

Uticaj turizma na arhitekturu, urbanizam i dizajn u XX veku potvrđen je kroz intenzivnu izgradnju turističkih objekata. Radi pružanja turističkih usluga formirani su novi pristupi u planiranju prostora i razvijeni različiti tipovi turističkih objekata namenjeni smeštaju i boravku turista. Projektantske koncepcije turističkih objekata su se menjale tokom vremena, od zrelog modernizma internacionalnog usmerenja, preko skromnih realizacija u periodu socrealizma i rekonstrukcija ratom devastiranih objekata, zatim dominirajućeg funkcionalizma, socijalističkog estetizma, strukturalizma, brutalizma, kasnog modernizma i traganja za mogućnostima arhitektonskog regionalizma, pa do novih pristupa na tragu postmodernizma. Kroz predloženih pet hronoloških etapa razvoja moderne turističke arhitekture u Jugoslaviji razmotrene su arhitektonske odlike hotelskih (banjski, gradski, primorski i planinski hotel) i drugih turističkih objekata (turistička ili vikend naselja, kupališta). Arhitektura namenjena odmoru i razonodi turista je u kontekstu razvitka turizma u Jugoslaviji prošla kroz više faza uvek se menjajući i prilagođavajući potrebama i standardima turizma u okvirima aktuelnih arhitektonskih stremljenja. Uspon turizma je osim na arhitekturu imao uticaja na donošenje strategija prostornog razvoja turističkih regija, formiranje novih pristupa u prostorno-urbanističkom planiranju, primenu novih tehničkotehnoloških rešenja u gradnji i opremanju objekata, kao i na znatno više standarde u oblikovanju enterijera. Problematika istraživanja se zasniva na kritičko-interpretativnoj analizi relevantnih društvenih pojava i fenomena koji su uticali na procese planiranja i usmeravanja turističke izgradnje. Arhitektonsku raznolikost turističkih objekata su uslovili društveni i ekonomski činioci izraženi u fenomenu održivosti turističkog tržišta. Tipološka slojevitost turističke arhitekture, čija je izgradnja usko vezana za potrebe i strateška opredeljenja turizma, nije bila obuhvaćena sinteznim proučavanjem, pa pojedini tipovi turističkih objekata nisu detaljnije interpretirani i kritički obrađivani. Кroz iznošenje ključnih pojava i tokova, tumačenje specifičnih fenomena, kritička zapažanja i kontekstualizaciju modernističke projektantske prakse u turizmu pojašnjene su tipološke i društvene karakteristike jugoslovenske turističke arhitekture. Sintezni pristup je omogućio da se u svetlu novih i proširenih izvora kritički sagledaju izgradnja turističkih kapaciteta i njihova arhitektonska rešenja.
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The impact of tourism on architecture, urbanism and design in the 20 th century was reinforced by the increasing construction of tourist facilities. In order to provide tourism services, new approaches to space planning were formed and different types of tourist facilities intended for the accommodation of tourists were developed. The design concepts of tourist facilities changed through time, ranging from the international leanings of modernism, over modest efforts during the period of social realism as well as the reconstruction of the buildings destroyed during World War II, followed by the dominance of functionalism, socialist aestheticism, structuralism, brutalism, late modernism and the search for the possibility of architectural regionalism, to new approaches with traces of postmodernism. Architectural characteristics of hotels (spa hotels, town-, seaside- and mountain hotels) and other tourist facilities (weekend towns or resorts, public bathing areas) were considered through the five suggested chronological phases of development of modern tourism architecture in Yugoslavia. In the context of tourism development in Yugoslavia, architecture intended for relaxation and entertainment of tourists went through several phases, constantly changing and adjusting to the needs and standards of tourism within the framework of contemporary architectural endeavours. Aside from architecture, the rise of tourism also influenced the adoption of strategies of spatial development of tourist regions, the formation of new approaches to spatial and urban planning, the use of new technical and technological solutions in the contruction and the furnishing of facilities, as well as significantly higher standards in the area of interior design. The research is based upon a crtitical interpretative analysis of relevant social occurrences and phenomena which influenced the processes of planning and the direction of tourist construction. The architectural diversity of tourist facilities was also conditioned by social and economic factors expressed in the phenomenon of the tourist market sustainability. The typological stratification of tourist architecture, whose construction was narrowly tied to the needs and strategic orientation of tourism, was not encompassed in synthetic research, so certain types of tourist facilities are not subject to a detailed interpretation and critical review. Typological and social characteristics of Yugoslav tourist architecture were explained through the introduction of key occurrences and processes, interpretation of specific phenomena, critical observations and contextualizing the praxis of modernist architecture design. The synthetic approach allowed for a critical overview of the construction of tourist facilities and their architectural format in light of new and extensive sources.

Apstrakt | Ovim radom se istražuje uticaj socijalističkog estetizma na turističku arhitekturu socijalističke Jugoslavije, tokom sedme i osme decenije dvadestog veka, čije su aktivno planiranje i izgradnja predstavljali neodvojiv deo jugoslovenskog turizma kao značajne privredne grane. Nakon raskida odnosa sa Sovjetskim Savezom i napuštanja normatizama socijalističkog realizma, u novonastalom kultruno-političkom miljeu u jugoslovenskoj umetnosti se polovinom pedesetih godina javlja specifičan fenomen nazvan socijalistički estetizm, orijentisan ka ideji modernosti i unutrašnjim vrednosno-ideološkim premisama, u procesu konstituisanja specifičnog jugoslovenskog identiteta proklamovanog liberalnog društva. Shodno tome, jugoslovenski turizam predstavljao je specifičan socijalistički eksperiment ispoljen kroz širok spektar, za socijalistički etos i komunističko okruženje, progresivnih nastojanja i aktivnosti, doprinoseći izgradnji jugoslovenske kulture. U tom kontekstu turistička arhitektura ima poseban značaj, jer se specifičnost turističke arhitekture ogledala u likovnoj dopadljivosti i prostornoj celovitosti (mnogi turistički objekti, posebno oni visoke kategorije bili su projektovani u total-dizajnu), iz čega je proistekao pragmatičan estetizovani model turističke arhitekture, koja je imala važnu ulogu u prezentaciji jugoslovenskog turizma, posebno stranim turistima od kojih je znatno zavisio turistički profit. Ako je turizam u deceniji posle Drugog svetskog rata imao izrazito socijalni karakter, onda je tokom sedme i osme decenije bio orijentisan savremenim turističkim standardima i sadržajima, reprezentujući ulepšanu sliku jugoslovenskog društva. Novi oblik socijalističkog turizma je proistekao iz davanja smisla slobodnom vremenu, koje postaje privilegija posleratne radničke klase, dok država slobodno vreme koristi zarad postizanja socijalne harmonije, utiče na obnovu i podstrek radne energije, jača nacionalni identitet i opštu kolektivnost, čini ljude zadovoljnim i ponosnim. Jugoslovenska ideologija jednakosti je upravo u domenu turizma imala uporište za emancipaciju jugoslovenskog društva i integraciju jugoslovenskog identiteta. Turistička „propaganda“ iskazana jezikom arhitekture davala je punu slobodu arhitektima u kreiranju i oblikovanju turističke arhitekture nadahnute regionalnim karakteristikama Jugoslavije, što je uticalo na pojavu autonomnog estetskog izraza umerenog modernizma. Različiti pristupi i oblikovna rešenja turističke arhitekture obogatili su modernistički vokabular jugoslovenske arhitekture koja je figurisla između modernosti i tradicije, odnosno internacionalizma i regionalizma, pri čemu je socijalistički estetizam imao normativnu ulogu skrivene ideologije. Takođe, ovo istraživanje otvora pitanja problematike i principa zaštite socijalističke turističke arhitekture.

Ključne reči | Socijalistički estetizam, arhitektura, turistički objekti, estetizam, SFR Jugoslavija, turizam, propaganda, identitet, modernizacija

 
Abstract | This paper studies the influence of socialist aestheticism at the tourist architecture of socialist Yugoslavia during the seventh and eighth decade of the twentieth century, whose active planning and construction represented the rise of Yugoslav tourism as a major economic sector. After the rupture of relations with the Soviet Union and leaving normativism of socialist realism, in the new culturally-political milieu in Yugoslav art arises in mid-fifties specific phenomenon called socialist aestheticism, oriented to the idea of modernity and to internal value ideological premises, in the process of constituting the specific Yugoslav identity of proclaimed liberal society. Accordingly, the Yugoslav tourism was a specific socialist experiment manifested through a wide spectrum (for socialist and communist ethos and context) of progressive efforts and activities, contributing to the construction of the Yugoslav culture. Tourist architecture in this context has a special significance, because the specificity of tourism architecture mirrors in visual attractiveness and spatial integrity (many tourist facilities, especially those of high category were projected in total-design) from which it is derived pragmatic anesthetized model of tourism architecture which had important role in the presentation of Yugoslav tourism, especially foreign tourists – one of which is substantially dependent on tourism profit. If Yugoslav tourism in the decade after the Second World War had pronouncedly social character, then during the seventh and eighth decade it was oriented to modern tourist standards and facilities, representing an embellished picture of Yugoslav society. A new form of socialist tourism is derived from giving the sense on free time which becomes the privilege of the post-war working class, while the state used free time in order to achieve social harmony, and also encourages and strengthens labor energy, national identity and general collectivity, makes people happy and proud. Yugoslav ideology based on the idea of equality precisely in the field of tourism had a stronghold for the emancipation of the Yugoslav society. Tourist „propaganda“ expressed by the architectural language gave full freedom of architects in the creation of tourist architecture inspired by the regional characteristics of Yugoslavia, which has resulted by the occurrence of an autonomous aesthetic expression of moderate modernism. Different approaches and design solutions of tourist architecture enriched the modernist vocabulary of Yugoslav architecture which was figured between modernity and tradition, or between internationalism and regionalism, where the socialist aestheticism had normative role of hidden ideology. This research also raise the questions about the protection problems and principles of the Yugoslav socialist tourist architecture.

Key words | Socialist aestheticism, architecture, tourist facilities, aestheticism, SFR Yugoslavia, tourism, propaganda, identity, modernization

Autour de 1900, alors que la culture viticole vit une periode tres difficile dans le canton de Vaud, Lavaux connaTt un important developpement lie au tourisme. En quelques annees, routes, funiculaires et lignes de chemins de fer, hötels, pensions,
cliniques, bazars, chapelles, boutiques et cafes se juxtaposent aux vignobles seculaires, alors regulierement decimes par la grele, le phylloxera et le mildiou. La «Station climatique» de Chexbres, «balcon sur le Leman», est alors consideree comme l'un «des rares endroits [...] oü Eon puisse oublierle monde et ses preoccupations dans la contemplation d'une nature ideale »; Beaumaroche, rebaptise autourde 1900 Mont-Pelerin, «montagne de l'air, du soleil et de la gälte », est decrit comme l'un«des sites charmants qui attirent l'etranger surnos rives ». Aujourd'hui, certains«monuments» de cet episode un peu oublie de l'histoire regionale sont toujours en fonction, d'autres
reaffectes et transformes, plusieurs en dangerde disparition ou dejä perdus. Malgre la difficulte de reunirune documentation surcette etape du developpement de Lavaux, quelques pistes concernant la promotion du site, les acteurs de cette histoire, les interets economiques en jeu et les infrastructures realisees meritent d'etre tracees afin d'apprehender la mutation d'une region viticole ä la topographie complexe en une station reputee.

Sažetak | Ovim radom se istražuju projektantske aktivnosti arhitekte Nikole Dobrovića (1897–1967) na Jadranskom primorju tokom četvrte decenije 20. veka, prikazane kroz konkursne projekte i realizacije turističke arhitekture u Splitu i Dubrovniku, kojima je dat značajan doprinos razvoju međuratnog arhitektonskog modernizma i avangardne misli, ali i podstrek razvoju savremene turističke privrede međuratne Jugoslavije. Kroz nekoliko projekata turističke namene na Jadranu (kupalište, dvorana za zabavu, hotel, centar turističkog saveza), na kojima su postignuti visoki arhitektonski i estetski dometi međuratnog modernizma, arhitekta Dobrović je istovremeno ukazao na potrebno usmerenje razvoja savremene turističke izgradnje oblikovane prema zahtevima novih turističkih aktivnosti. Iako su neki od ovih projekata ostali nerealizovani, jer za njih nije bilo razumevanja u ondašnjoj stručnoj javnosti i društvenom miljeu, u Dobrovićevom opusu oni predstavljaju izraz visokih modernističkih stremljenja svojstvenog prosedea u jugoslovenskoj arhitektonskoj praksi tridesetih godina. Tržišni aspekti u turizmu su podsticali težnju investitora za izgradnjom hotela koji bi pratili nove standarde u hotelijerstvu i time zadovoljili prohteve zahtevnih gostiju, koji su, posećujući evropska turistička odredišta, osetili kvalitet standardizovane hotelske usluge. Uz primenjene modernističke principe u arhitekturi hotela „Grand” na Lopudu pokraj Dubrovnika, jedinstvenom primeru moderne hotelske arhitekture u Jugoslaviji, arhitekta je težio i socijalnoj komponenti savremenog turizma prilagođenog novom profilu turiste.
Ključne reči: Nikola Dobrović, modernizam, turistička arhitektura, Jadransko primorje, turizam

Abstract | This paper is a research of the designing activities of the architect Nikola Dobrović (1897-1967) in the Adriatic Sea region in the 1940s, represented by his designs for competitions and tourist facilities architecture in Split and Dubrovnik. They were a great contribution to the development of the avant-garde thought and Modernism in architecture in between the two World Wars, as well as a stimulus for the development of modern tourist economy in the interwar Yugoslavia. In several designs of tourist facilities at the Adriatic Sea (public bathing sites, entertainment hall, hotel, tourist office), which showed high architectural and aesthetic value as examples of interwar modernism, Nikola Dobrović drew attention to the necessity of developing modern tourist structures designed according to the requirements of new tourist demand. Some of these designs have remained unrealized, because there was not enough understanding for them among the expert public and the wider social community, but they still are excellent expressions of Dobrović’s modernist ideas and his authentic architectural language so important for the Yugoslav architecture of the 1930s. The market aspects of tourism inspired the investors to plan construction of hotels that would follow new standards in the hospitality industry in order to meet the requirements of demanding guests who got used to the standards of high quality hotel services, visiting other European tourist resorts. Having applied modernist principles in the architecture of the Grand Hotel on Lopud, near Dubrovnik, as a unique example of modern hotel architecture in Yugoslavia, the architect has also pointed to the social aspect of the modern tourist industry oriented at a new profile of tourists.
Key words: Nikola Dobrović, modernism, tourist architecture, Adriatic Sea, tourism

S’il est reconnu que l’arc lémanique est un acteur majeur de l’industrie
des étrangers entre 1850 et 19208, si l’architecture hôtelière est enfin reconnue comme l’un des apports majeurs de la période éclectique en Suisse et que ses décors intérieurs ont fait l’objet de plusieurs analyses, le vitrail reste le parent pauvre de ces études ; il ne s’agit sans doute pas d’un dédain dû à des questions de qualité : les inventaires des vitraux
d’immeubles d’habitation existent et prouvent que le qualitatif ne prime pas dans l’approche scientifique récente – à l’unicum, on sait que l’on doit souvent préférer le typicum pour cette période qui a constitué un boom immobilier sans précédent : la masse compte plus que l’individu.
C’est plutôt en raison de son cadre, longtemps mésestimé – une architecture « commerciale », facile, sans grand intérêt artistique, selon des préjugés qui perdurent encore en dépit des nombreuses études scientifiques sur cette architecture tout sauf banale – que le vitrail hôtelier doit sa longue éclipse. Approché au mieux au cas par cas, le vitrail d’hôtel n’a de loin pas encore révélé tout son potentiel dans l’histoire de la diffusion des techniques et des formes durant
une période cruciale du renouveau du vitrail en Suisse. A partir de quelques cas répartis autour de l’arc lémanique, notamment à Lausanne, Vevey et Montreux, il est possible de démontrer l’intérêt et la pertinence d’une telle recherche.

The study examines the background of two, non-realised projects planned by Hungarian architects in Turkey as an example of the Turkish-Hungarian architectural relationship in the recent past. In the context of the Turkish architecture in 1950s which was resulted by the different movements of early-republican period and the Hungarian architecture after the 2nd World War based on the knowledge of European modernist schools.
The essay examines the process of the attempt to export the architectural knowledge of Hungary: the uniformised state architectural offices with their individual genii like István Janáky worked by the modern spirit of BAUHAUS.
The study analyses the locales of the plans in Turkey and their historical architectural and sociological differences. The location of the Kavala Oteli is Fenerbahçe, Istanbul. The location of the İşhane-project (Ulus, Ankara) is the main field of the early-republican architecture of Turkey with the significant ’neighbours’ like Ankara Palas or İş Bankası. How can a new hotel building behave in the historical urban texture in Istanbul? And how can a business building behave in the new capital, Ankara? The design methods and the new technical and functional aspects will also be examined.
Finally, the result of the two projects will be presented. Firstly, what has happened with the plots and their surroundings and what was the effect of the published and the exhibited plans on the public opinion and the Hungarian architecture. Secondly, which are the common ways of the two countries by defining their modernist behaviours.

Rad istražuje uticaj balkanske tradicije i podeblja na arhitekturu modernih turističkih objekata, čija je aktivna izgradnja tokom druge polovine 20. veka značajno uticala na razvoj turizma socijalističke Jugoslavije. Jugoslovenski turizam, kao specifičan socijalistički eksperiment, predstavljao je odraz društvenih razvojnih tokova i doprinosio konstituisanju jugoslovenskog identiteta, kao i propagiranju zajedništva i kolektivne sreće. Modernizacijska uloga turizma se manifestovala kroz stalnu graditeljsku delatnost što se vidno odražavalo na arhitekturu turističkih objekata. Nakon komercijalizacije turističke privrede, početkom šezdesetih godina prošlog veka, turistička ponuda je stalno rasla, naročito izgradnja modernih turističkih kapaciteta čija arhitektonska rešenja svedoče o autorskoj inovativnosti i slobodi pristupa novim konceptima modernog oblikovanja. Odstupanje od načelâ moderne arhitekture, usled neminovnosti razvoja, bilo je posebno izraženo na tipologiji turističkih objekata, koji su zbog komercijalnog i tržišnog karaktera bili podložni novim projektantskim mogućnostima i trendovima. Asimilirajući moderno i kontekstualno u arhitekturi turističkih objekata, projektanti su oblikovali prostore savremene funkcije, koristeći tradicionalne oblikovne elemente ili materijale karakteristične za podneblje u kome
se gradi.
Ključne reči: Jugoslavija, turizam, socijalizam, turistički objekti, moderna arhitektura, regionalizam, balkanska tradicija

To reveal the trajectory of the Hotel Central of Rio de Janeiro, inaugurated in 1916, is to accompany the urban development of the then capital of Brazil, and especially of the Flamengo neighborhood. Evoking articles and images from popular magazines and newspapers of the time, postcards, and the basic aspects of the urban transformation carried out in the administration of Mayor Pereira Passos (1902-1906), all these recover the formatting of the Rio de Janeiro imagery as a city of fun, of beaches, of sea bathing, and the expansion of public urban space in the Rio de Janeiro’s Belle Époque. The affirmation of the lodging activity as a specialized field that was coming into existence is identified in parallel to the urban expansion of the city, through the recognition of some hostelry references, focusing Hotel Central as a turning point. |

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| Revelar la trayectoria del Hotel Central de Río de Janeiro, inaugurado en 1916, es acompañar el desarrollo urbano de la entonces capital de Brasil, y en especial del barrio dl Flamengo. Evocando artículos e imágenes de la prensa de la época, tarjetas postales, y los aspectos básicos de las transformaciones urbanas realizadas en la administración del prefecto Pereira Passos (1902-1906), se rescata la construcción del imaginario de Río de Janeiro como ciudad de la diversión, de la vilegiatura, de las playas, del baño de mar y de la expansión del espacio público urbano en la Belle Époque de Rio de Janeiro. Se identifica en ese momento la afirmación de la actividad hotelera como un mercado y un campo especializado que se va constituyendo en paralelo a la expansión urbana de la ciudad, mediante el reconocimiento de algunas referencias hoteleras, teniendo el Hotel Central como punto de inflexión. |

| Revelar a trajetória do Hotel Central do Rio de Janeiro, inaugurado em 1916, é acompanhar o desenvolvimento urbano da então capital do país, e em especial do bairro do Flamengo. Evocando artigos e imagens da imprensa da época, cartões postais, e os aspectos básicos das transformações urbanas realizadas na adminis-tração do prefeito Pereira Passos (1902-1906), resgata-se a construção do imaginá-rio do Rio de Janeiro como cidade do divertimento, da vilegiatura, das praias, do banho do mar e da expansão do espaço público urbano na Belle Époque carioca. Identifica-se nesse momento a afirmação da atividade hoteleira como um campo especializado que vai se constituindo em paralelo à expansão urbana da cidade, mediante o reconhecimento de algumas referências hoteleiras, tendo o Hotel Central como ponto de inflexão.

Fronte ao panorama expansivo que presenta a industria hoteleira da Coruña nos prósperos anos de 1920, os 30 parecen baleiros de iniciativas novas. Pero a realidade é que a comezos da nova década os arquitectos Antonio Tenreiro e Peregrín Estellés abordan dous proxectos turísticos de promoción pública que rivalizan en ambición cos mellores exemplos anteriores. Relegados non obstante ao papel, ilustran dúas formas de concibir o hotel de vacacións, tipo ligado cunha parte significativa da historia hoteleira de Galicia.

Unlike the outlook of expansion that Corunna’s hotel industry presents during the thriving 1920s, the 1930s seem empty of new enterprises. But in fact, at the beginning of this decade, architects Antonio Tenreiro & Peregrin Estellés took charge of two state-sponsored tourist projects that compete in ambition with the highest previous examples. Although they were not built, these projects illustrate two ways of conceiving the resort hotel, a type linked to a significant part of the Galician hotel history.

This work is a pro-seminar work written by a student in the second year of the photography department at Bezalel, in the course "of Jerusalem during the British Mandate." During the course we discussed many issues related to the mandate by the knowledge of the history and the period (the company for Jerusalem, the blueprints Jerusalem, recognizing the central figures operating in Israel and abroad (Herbert Samuel, Ronald Storrs, Ashby, Kaufman, Mendelssohn, Harrison) Understanding traditions of construction and designs of architectural that have been changed almost every decade by changing perceptions of architects: the preservation of the existing (vernacular architecture and old traditions) to combine modernity which was a record at that time (local Bauhaus).

This presentation aims to give an overview of the history and architectural solutions of Zagreb's hotels built in a hundred-year-long period, from the 1830s to the early 1930s and the emergence of modern architecture. The first hotel called Pruckner was built in Zagreb in 1830. It reflected the city's economic growth, which occurred mostly because of wheat trade that went through this city on the routes from South Hungary and Slavonia to the North Adriatic coast. Since rich traders primarily used the hotel, it is not surprising that it was one of the biggest and most lavishly decorated buildings in the town. It was only after the 1862 construction of the South Railway system (Südbahn) that connected Zagreb with Vienna and Trieste that a larger number of people started visiting Zagreb. Consequently, a new hotel (called At the Austrian Emperor) was built in 1865 – 1866 according to Franjo Klein's design with a lavishly decorated Romantic facade. The construction of another railway route, which from 1872 connected Budapest and Rijeka via Zagreb, led to a subsequent increase in the number of visitors and the construction of new hotels at the turn of the century (Grand hotel, 1890 – 1891 ; Palace Hotel, 1907). The dissolution of the Austro-Hungarian Monarchy and the creation of a joint state of South Slavs was at first beneficial to Zagreb that turned into the main financial and economic centre of the new state. In 1922 – 1925 the luxurious Esplanade Hotel was built for the new entrepreneur elite, according to designs made by Berlin architect Otto Rehnig (who had built a hotel of the same brand in the centre of Berlin, not far from Potsdamer Platz) that were greatly modified by Zagreb architect Dioniz Sunko. Somewhat later, the Milinov Hotel (1928– 1930) was erected on Zagreb's main square, whose design had also been entrusted to Sunko, who used a mixture of Art Deco and German Expressionism for the facades of this building. After its completion, the Milinov Hotel was the tallest secular building in Zagreb, and the only one crowned with a large illuminated advertisement. Zagreb hotel buildings stood out by their splendour and size. They helped this city foster a metropolitan culture, new styles, and new ways of advertising, as well as provided entrepreneurs with an opportunity to stay longer in the city. Their construction was related to the economic development of the city and primarily the needs of entrepreneurs, and not tourism.

Η εργασία έχει ως θέμα τη διαμόρφωση ενός boutique hotel, στον χώρο όπου στεγαζόταν και λειτουργούσε το Μοτέλ Ξενία, στον Καρτερό Ηρακλείου, το οποίο έχει χαρακτηριστεί ως διατηρητέο. Στο πρώτο μέρος της παρούσας πτυχιακής γίνεται αναφορά στο Πρόγραμμα Ξενίατου ΕΟΤ, στον επικεφαλή αρχιτέκτονα Άρη Κωνσταντινίδη, στην περιοχή μελέτης αλλά και στην υπάρχουσα κατάσταση μετά από επίσκεψη της ομάδας εργασίας στον χώρο τον Αύγουστο του 2020. Στο δεύτερο μέρος παρουσιάζεται ο σχεδιασμός, από την πηγή έμπνευσης μέχρι και την τελική μορφή του ξενοδοχείου όπως αυτή διαμορφώθηκε μετά από εκτενή μελέτη σχετικά με τις απαιτήσεις ενός boutique hotel.
The thesis subject is the transformation to a boutique hotel of the listed historic Xenia Motel which was operating at Karteros Heraklion. During the first part of the thesis, the study presents the Xenia program which was carried out by the Greek National Tourism Organization, the lead architect Aris Konstantinidis, the site and the current state of the Motel after a site visit in August 2020. In the second part of the thesis, we present the design of the proposal, from the source of inspiration up to the final look of our proposal, as it was shaped through extensive research about the requirements of a boutique hotel.

The review deals with the question to what extent the reuse of a Servite convent to Arco north of Lake Garda, executed by the young Bolzano-based büro noa* | network of architecture, has been successful. The article also analyzes the main spatial and functional transformations of the project.