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Participation in social and cultural life is the right of every human being, but for some persons (with disability, chronic illness, mobility and sensory issues…) it is greatly hindered by the inaccessibility of spaces and content. This topic has recently gained importance, owing to our growing awareness of the percentage of persons with mobility problems, and particularly regarding the aging population in many countries. Moreover, for several countries, the issue of accessibility is also related to the growing importance of tourism to their economy or the presence of many persons with disabilities related to wars. This paper presents the research on the evaluation of the accessibility of cultural locations (urban sites, museums, parks, theatres, etc.) through in- depth interviews and surveys with representatives of persons with disabilities, chronic illness, mobility and sensory issue and mental health issues, and by creating an evaluation multicriteria model with guidelines based on these inputs. The results reveal that while it is possible to evaluate the flow and content of cultural activities, there are problems of inaccessibility and lack of awareness among the general and professional public.

The paper addresses the oeuvre of a lesser- known Austrian architect Theodor Träxler in Rijeka (at that time called Fiume), which is thus far the only known city in Croatia in which this scholar of the Wagner School lived and worked. During the four-year period of his stay in Rijeka, from 1911 to 1914, Theodor Träxler participated in several residential and public building projects. He is linked with projects and their implementation in Port Warehouse 19, the Celligoi residential building, the Gubernia House, the Fenice Theatre, the Benedictine Monastery and the Marač residential building.

The melting ice installation in a shape of a house archetype represents the next reason for mass migrations: climate change.

Cilj ovog rada je prezentacija diplomske disertacije „Hotel Lišanj arhitekta ignjata Fischera, Novi Vinodolski“ na jugu Primorsko-goranske županije u blizini Crikvenice, sagrađenog 1923. godine u duhu Carske arhitekture. Autor hotela je poznati zagrebački arhitekt Ignjat Fischer koji je projekt napravio prije raspada Austro Ugarskog Carstva 1917. godine. U radu se analizira povijest hotela Lišanj koja se isprepliće s razvojem turizma u Novom Vinodoslkom. Analiza je fokusirana na povijesnu građevinu hotela Lišanj. Pored pregleda razvoja turizma na ovom području, analizirana je fazna dogradnja hotelskog kompleksa, te rekonstrukcija povijesne zgrade u nekoliko navrata do danas, a dana je i funkcionalna analiza te usporedba sa hotelom Esplanade u Crikvenici slične povijesti. Metoda rekonstrukcije temeljila se na „adiciji“ suvremene arhitekture, koja se trebala podrediti ambijentu u kojem nastaje. Slaba usklađenost i kvaliteta dograđenih sadržaja vjerojatno je razlog radi kojeg se hotelski lanci danas intuitivno reklamiraju prvenstveno povijesnim građevinama. Iako je i Carska arhitektura težila ujednačenosti arhitektonskog izričaja, s vremenskim odmakom ove građevine daju dodanu vrijednost još uniformiranijoj suvremenosti svjedočeći o slojevitosti povijesti prostora., The aim of this paper is to present the graduation thesis Architect Ignjat Fischer's Hotel Lišanj, Novi Vinodolski, in the south of Primorsko-Goranska County near Crikvenica, built in 1923. The hotel was designed by a well-known architect from Zagreb, Ignjat Fisher, who developed the project before the collapse of the Austro-Hungarian Empire in 1917. The paper analyzes the history of Hotel Lišanj, which intertwines with the development of tourism in Novi Vinodolski. The analysis is focused on the historic building of the hotel. A review of the phases of reconstruction of the hotel from the 1923 until today, and a functional analysis of today’s buildingin comparison to Hotel Esplanade in Crikvenica with a similar history is given. The method of hotel reconstruction was “addition” of new volumes in contemporary style, which design should have adapted to the context. Poor consistency and quality of new hotel facilities is probably the reason why hotel chains intuitively advertise themselves primarily with historic buildings. Although the imperial architecture aimed at uniformity of architectural expression, as the time passes, these buildings give an added value to an even more uniform contemporaneity, bearing witness to the multiple layers of the region's history.

Architects Jovan Korka, Đorđe Krekić and Georg Kiverov founded the KKK Group in 1931 in Zagreb, and worked together until 1939. During its activity, the Group built in total five public buildings for public use: The Chamber of Labour in Zagreb and Public Labour Exchange buildings in Zagreb, Osijek, Slavonski Brod and Karlovac. The emphasis on the analysis conducted was on hidden architectural and structural values of anthological buildings in the authors’ body of work, omitted in the existing research, and the presentation of unknown works. The survived buildings, the legacy of the KKK Group, are the testimony of functionalist and avant-garde modern architecture in Croatia.

The research presented is oriented to research questions: Do users without disabilities use, perceive and participate in cultural heritage spaces in different or similar way than users with disabilities? Can we find out? Is it possible to create a model of evaluation of accessibility and inclusiveness of space that gives realistic feedback on the inclusiveness of cultural heritage? How to create such a model? Verify the model on bases of user inputs. Does the legislation cover all aspects of use of cultural heritage, especially considering the flow and inclusion? Does the situation on site result from non-adherence to regulation or of lack in regulation? What is the situation of inclusiveness, why is it so, and how can the situation be improved?