Arhitektura XX. Stoljeca-sazetci

7/31/2019 Arhitektura XX. Stoljeca-sazetci

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HRVATSKA ARHITEKTURAU XX. STOLJEU

M A T I C A H R V A T S K AZagre MMIX


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SADRAJ

Velimir NeidhardtEUROPSKI KONTEKST HRVATSKE ARHITEKTURE 20. STOLJEA . . . . . . . . . . . . . . . . 4

Kreimir GaloviKLUb HRVATSKIH ARHITEKTA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Tomislav PremerlAVANGARDA U HRVATSKOJ ARHITEKTURI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Sanja FilepLOKALNO U GLObALNOM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Radovan DelallePLANIRANJE I GRADNJA ZAGREbA TIJEKOM 20. STOLJEA:

VANIJI UTJECAJI, ALTERNATIVA I AVANGARDA . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Vesna MikiMODERNITET HRVATSKE ARHITEKTURE U DJELU ANTUNA ULRICHA . . . . . . . . . . 12

Silvija LimaniiVanja ankoPOZNATE ZGRADE NEPOZNATIH AUTORA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Darja Radovi MaheiTEME, TEZE I AUTORI ZASTUPLJENI NA STRANICAMAHRVATSKIH STRUNIH ASOPISA U 20. STOLJEU . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Daina Glavoi

MEURATNI OPUS RIJEKOG ARHITEKTA bRUNA ANGHEbENA . . . . . . . . . . . . . . 18

Boris MorsanKARLOVAC ZATITA OD RAZARANJA GRAENJEM . . . . . . . . . . . . . . . . . . . . . . . . 19

Antonio RubbiOD NEOSECESIJE DO POSTMODERNIZMA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Kreimir GaloviARHITEKTURA U NEZAVISNOJ DRAVI HRVATSKOJ (1941-1945) . . . . . . . . . . . . . . 22

Tomislav PremerlSAKRALNA ARHITEKTURA 20. STOLJEA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24


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Zlatko KaraSINAGOGALNA ARHITEKTURA DVADESETOG STOLJEA U HRVATSKOJ . . . . . . . . 26

Ljiljana epiINDUSTRIJSKA ARHITEKTURA 20. STOLJEA U HRVATSKOJU KONTEKSTU INDUSTRIJSKOG NASLJEA 20. STOLJEA U SVIJETU . . . . . . . . . . . 28

Iva KrblerHOTELSKA TURISTIKA bATINA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Zdravko ivkoviGRADITELJSTVO U RURALNOM PROSTORU REPUbLIKE HRVATSKEU 20. STOLJEU . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Manda HorvatTRADICIJSKA GRADITELJSKA bATINA(ZATITA, ObNOVA, RURALNI TURIZAM) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Radovan MieviNOVI REALITETI 21. STOLJEA USPON ZNANJA,

VIZIJE I KREATIVNE IDEJE GRADE bUDUNOST . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Ljubomir MieviENERGETSKI UINKOVITA, ODRIVA I INTELIGENTNA ARHITEKTURAU HRVATSKOJ NA PRIJELAZU STOLJEA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Ivo Maroevi, Zlatko Juri, Frano DulibiPRIJEDLOG NASTAVNOG PROGRAMA ObRAZOVANJE ZA ZATITU SPOMENIKANA FILOZOFSKOM FAKULTETU U ZAGREbU . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Boris LjubiiVIZUALNI KD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Fea VukiARHITEKTURA KAO KONTEKST KONSTRUKCIJE POJMA ObLIKOVANJE . . . . . . . 41

Andrija MutnjakoviU TRAGANJU ZA IZGUbLJENIM GRADOM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Ivan MuckoPLANIRANJE U ZAGREbU 1991-2007. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Vinko Penezi, Kreimir RoginaARHITEKTURA NA RAZMEU MEHANIKOG I DIGITALNOG . . . . . . . . . . . . . . . . . . 45


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Velimir NeidhardtArhitektonski fakultet Sveuilita u Zagrebu

EUROPSKI KONTEKST HRVATSKE ARHITEKTURE20. STOLJEA

Saetak

U ambicioznim naslovu definiran je krupni otvoreni zadatak koji stoji pred hrvat-skom kulturom, a posebice institucijama koje u svom imenu nose pojmove arhitektureurbanizma, teorije i povijesti umjetnosti, filologije, socijalne i kulturne antropologije,komunikacija, art-of-lifea, naravno i dizajna u svom totalitetu. Ovom saetom kro-nolokom pregledu s tek djelominim brojem spomenutih tema nemogue je nadje-nuti pridjev sveobuhvatnosti. Meutim, svojevrsnom apstrakcijom moe se znanstve-noj zajednici ponuditi vizija znanstveno-istraivakih sastojaka s kojima bi se podeuropskim i globalnim horizontom poela jasno razluivati hrvatska arhitektonska

pozicija. Posebni naglasci obradili bi naroite emitivne iskorake koji se u jedinstve-nom interaktivnom mijeanju rubnih silnica iz najmanje tri velike kulture, na kraju

ulijevaju u raznovrsne izvode arhitektonskih pojava.Potrebna je sloena definicija hrvatske arhitekture u smislu nove objektivizacije20. stoljea. Kulturnom konvencijom o znaenju nae arhitekture, s definicijamasimbolizacije hrvatskih specifinosti, moglo bi se djelotvornije reprezentirati hrvat-ske dosege u svjetskoj podjeli kulturnih osobitosti. Kriteriji za prosuivanje kritikihstavova trebaju biti na europskoj, odnosno svjetskoj razini, s jasnim definicijamaeminentnosti odabranih dostignua.

Ovaj je tekst poziv na taj napor, na sinergijsku sintezu svih dosadanjih kako op-irnih tako i i infinitezimalnih opisa hrvatskoga arhitektonskog 20. stoljea.

Bibliografija svega to je reeno o 20. stoljeu o hrvatskoj arhitekturi bio bi sustav-

ni poetak.1

Matica Hrvatska mogla bi biti stoerno mjesto realizacije ovog osebujno-ga projekta.

1 Postoje i strana djela koja su ve oradila svjetsku arhitekturu 20. stoljea, a unutar toga i hrvat-sku dionicu, primjerice: Udo KULTERMANN, Architecture in the 20th century, Van NostrandReinhold, New York, NY, 1993.


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VelimirNeidhardt Europski kontekst hrvatske arhitekture 20. stoljea

Summary

20TH

CENTURY CROATIAN ARCHITECTURE IN EUROPEAN CONTEXTThe article deals with the position of the Croatian architecture in the context of the

European architectural scene. The Croatian culture and the institutions that are connectedwith architecture (eg. history of arts, philology, social and cultural anthropology, communi-cation, design and many others) have to deal with many issues in order to define positionof the Croatian architecture.

It is necessary to issue a special cultural convention on the meaning of the Croatianarchitecture as well as to define main Croatian symols that are important for Croatian ar-chitecture to gain the place it deserves on the European scene.

The author gives short chronological review of the Croatian architecture from antique

to the present days.


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Kreimir GaloviMinistarstvo kulture Republike Hrvatske

KLUb HRVATSKIH ARHITEKTA

Saetak

etiri su stupa hrvatskog moderniteta s poetka 20. stoljea: Drutvo umjetnika, savezjugoslavenskih umjetnika Lada, drutvo Meduli iKlub hrvatskih arhitekta. Nji-hove e se sudbine u pojedinim trenucima dramatino ispreplitati pokreui u lokal-noj sredini snana tektonska nabiranja, koja e jasno odrediti razvojni put hrvatskeumjetnosti kroz itavo stoljee. No,naalost, slijedom itavog niza nesretnih okolnostitijekom vremena, djelovanje kluba past e u potpuni zaborav, a i ono malo podatakastvorit e varljivu koprenu urbanog mita.

Otkrie arhivaKluba hrvatskih arhitekta, te njegova konana rekonstrukcijaiznijet e na svjetlo dana potpuno suprotnu sliku o njegovu djelovanju ali i o ulozi

pojedinih aktera u njegovom osnivanju. Na prvom mjestu revidira se uloga arhitektaViktora Kovaia, koji je sve do otkria tog arhiva slovio kao njegov idejni zaetnik i

osniva.Naime, pisana e svjedoanstva dokazati kako je idejni zaetnik osnivanjaKlu-

ba hrvatskih arhitekta bio nepravedno minorizirani arhitekt Stjepan Podhorsky, kojie u svom atelijeru s bliskim prijateljem Vjekoslavom (Alojzom) Bastlom tijekom pro-ljea 1905. okupiti skupinu generacijski bliskih arhitekata ne bi li osnovali spomenutiklub.


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KreimirGaloVi Klu hrvatskih arhitekta

Summary

THE CLUb OF CROATIAN ARCHITECTS / (KLUb HRVATSKIH ARHITEK-TA)

The author descries one of the most important elements of the Croatiant architecturalscene from the eginning of the 20th century The Clu of Croatian architects that was oneof the most important tokens of modernity on the Croatian cultural scene. It was foundedin 1905 in Zagre.

Unfortunately, as the times were not in favour for the Clu, its activity was interruptedin 1913.

The memers of the Clu were the most emminent architects of the time like StjepanPodhorsky, Vjekoslav (Alojz) bastl, Viktor Kovai, Edo en, iril M. Ivekovi...

Discovered archives of the Clu ratify the role of Stjepan Podhorsky who is togetherwith Vjekoslav (Alojz) bastl the real founder of the Clu in spring 1905.


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Hrvatska arhitektura u XX. stoljeu

Tomislav Premerl

AVANGARDA U HRVATSKOJ ARHITEKTURI

Saetak

Moderna arhitektura u Hrvatskoj nije se dvadesetih godina 20. stoljea pojavila vehe-mentno deklaracijama i programima. Stvarala se kao zdrava humana misao vrstostojei na teorijskim postavkama pobornika moderne arhitekture u svijetu, a nastav-ljala se na djela bliskih prethodnika: Kovaia, Bastla Ehrlicha i Schna, na djela venovog shvaanja.

Summary

AVANTGARDE IN CROATIAN ARCHITECTURE

The author states that the modern Croatian architects from the 1920s rought the mo-dern elements in Croatian architecture from the contacts they had with modern Europeanarthitects and European architecture of the time as well as from their Croatian predecessorslike Kovai, bastl and Schn.


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Sanja FilepArhitektonski fakultet Sveuilita u Zagrebu

LOKALNO U GLObALNOM

Ins Leere gesprochen

Adolf Loos

Saetak

Namjera mi je osvrnuti se na hrvatsku arhitekturu izmeu dva svjetska rata, ali re-fleksno na dananju situaciju, te preispitati vrijednosne sustave u sada ve dva ra-zliita stoljea.

Summary

CROATIAN ARCHITECTURE AND THE WORLDWIDE ARCHITECTURE SCENE

The article deals with the present state of the Croatian architecture as well as the stateof the Croatian architecture etween the two World Wars.

It points out some of the main prolems the national architecture is confronted with atthe eginning of the 21st century.


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Radovan Delalle

PLANIRANJE I GRADNJA ZAGREbATIJEKOM 20. STOLJEA:

VANIJI UTJECAJI, ALTERNATIVA I AVANGARDA

Saetak

U razvoju gradova, 20. stoljee predstavlja razdoblje velikih promjena. Rast urbanogstanovnitva, sve vea izgradnja na sve veoj povrini teritorija, energetska rasipnost,neobuzdana potronja bez pokria i trka za profitom bez granica, dovode sve vieu pitanje zdrav i kvalitetan urbani ivot. Svjetski ratovi, posljedice nuklearnih raza-ranja, razliite ideologije i promjene drutveno-politikih sustava i pored izuzetnihtehnikih i znanstvenih dostignua novog industrijskog doba, samo su jo povealibrojne probleme izazvane neobuzdanim rastom velikih gradova s kojima se ovje-anstvo nikada ranije u svojoj povijesti nije suoilo. Kako je dolo do takvog razvoja

dogaaja? Kakvo urbano nasljee ostavljamo naoj djeci? Jesu li konture antigradao kojima je jo prije pola stoljea s toliko uvjerljivosti pisao Lewis Mumford1 postaledio dananje stvarnosti? Je li u suvremenom globalnom svijetu jo moemo definiratiosnovne karakteristike i vrijednosti po kojima se grad razlikuje od skupine zgrada,stambenih naselja ili urbane aglomeracije bez identiteta?

U dananjem vremenu u kojem su u pitanje dovedeni osnovni konstitutivni ele-menti fizike strukture grada, od bitnog je znaaja odgovoriti na brojna pitanja ve-zana za razvoj Zagreba tijekom 20. stoljea. Kakva su iskustva i pouke na primjeru

planiranja i gradnje Zagreba koja nam i danas mogu pomoi u traganju za odgovo-rima na jo vee izazove poetkom novog 21. stoljea?

Izlaganje sam podijelio na pet najznaajnijih razdoblja bitnih za osnovnu pro-blematiku koju razmatramo: znaajni utjecaji, alternativa i avangarda koji su imaliili mogli imati presudnu ulogu u planiranju i gradnji Zagreba.

1 Lewis MUMFORD, Grad u historiji, (Mit megalopolisa), Naprijed, Zagre 1965., str. 585-626.


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radoVaNdelalle Planiranje i gradnja Zagrea tijekom 20. stoljea

Summary

PLANNING AND bUILDING OF THE TOWN OF ZAGREb DURINGTHE 20TH CENTURY: MAIN INFLUENCES, ALTERNATIVE AND AVANTGARDE

The autor gives an overview of development of the town of Zagre during the 20thcentury. He points out some important prolems that parts of Zagre that are situated onthe other side of the river Sava passed during their planning and construction.


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Vesna MikiArhitektonski fakultet Sveuilita u Zagrebu

MODERNITET HRVATSKE ARHITEKTUREU DJELU ANTUNA ULRICHA

Saetak

Arhitekt Antun Ulrich jedan je od kljunih promicatelja moderne, u kojoj je aktivnoprisutan od 1928., otkada datira zgrada Veslakog kluba Uskok na Savi, kao njegovprvi realizirani objekt.

Za kolovanja u Beu kod Josefa Hoffmanna, pripremljeni su temelji Ulrichovamodernizma unutar ireg moderniteta umjetnosti. Vrijeme njegova kolovanja u Za-grebu i Beu vrijeme je opeg sazrijevanja arhitektonskoga jezika.

O modernitetu u suvremenoj arhitekturi propitujem pretee moderne i nove stvar-nosti. Moderna neposredno izvire iz novih tenji klasicizma prve polovice 19. st., izkubinog stila i poetka inenjerske arhitekture formirane unutar klasicizma bider-majera. Karakterizira je dosljednost i strogost forme koja polazi od revolucionarnogaklasicizma.

Summary

MODERNISM IN WORKS OF ANTUN ULRICH

Anton Urlichs work is a testimony of elonging to the modern European stream. Hiswork is a ratification of classicism of Croatian modern movement that is imued with classi-

cism that is an element of the Croatian tradition. Mediterranean element of Croatian culturehas the power of modification of the accepted foreign ideas together with its own power toproduce its own element.

At the eginning of the 20th century the expressions of art aimed at simplifying of formsthat was the only way of reaching the quintessence of the work of art. In order to make itthe architects took the path of rationalisation, simplification of form till its quintessence.

Ulrichs work in architecture from its eginning is restraint, controlled and reduced.He tries to maintain and more develop his own style ut without copying or following the

works of dominant figures in architecture of that time. The evidence of his originality is inkeeping the wall element in his work esides the tendencies that were prevailing at that

time: proscried horizontal openings.The asic element of the Croatian cultural identity in the 19th century is a classical


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VesNa miKi Modernitet hrvatske arhitekture u djelu Antuna Ulricha

heritage that was responsile for inauguration of the modern movement. In accordancewith the spirit of rationalism of the modern architecture, the element of traditionalism ofthe Croatian architecture is further developed y acceptance of cuic forms of classicism.

Anton Urlich is transfiguring the universality of modernism through tradition that leads himto authencity of his own expression.


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Silvija Limani i Vanja anko

POZNATE ZGRADE NEPOZNATIH AUTORA(Prolem atriucije na temelju arhivskih izvora)

Saetak

Prouavajui arhitekturu grada Zagreba izmeu dva svjetska rata s vremenskim od-makom od gotovo jednog stoljea, istraivai mlae generacije povjesniara umjetno-sti poput nas, nailaze na niz problema vezanih uz datacije ili atribucije, i to ne samoza slabo istraene opuse, nego i za kapitalna ostvarenja protagonista hrvatske mo-derne. Osnovni problem predstavlja izvorna arhivska graa koja nerijetko predstavlja

ponekad potpuno razliite rezultate od onih koji se ve godinama prenose u strunojliteraturi. Zato e ova studija ukazati na najee probleme pojedinih atributivnihmetoda, te e se pokuati ponuditi rjeenja koja bi potakla dijalog meu istraivai-ma svih generacija bez obzira na podruje njihova interesa.

Summary

WELL-KNOWN bUILDINGS, UNKNOWN ARCHITECTS(The prolem of attriution ased on archive documents)

There is a great amount of dispute as for attriution is concerned, not only attriutionof less important uildings, ut also the works of prominent authors from inter-war periodin Croatian architecture. The asic issue is the discrepancy etween literature and archive

documents. The dates or the attriutions vary in various sources, so this study is to attractattention to the fact and to try and find a way to a solution in a dialogue with other resear-ches.

During the research several methods of attriution may e used: attriution asedon archive documents (lueprints, uilding licences), architects archives, iliography (ofthe time and contemporary), comparative style analysis, witnesses of the time, etc. Themethod of attriution ased on archive documents is, in theory, the most reliale one.However, when applied, it shows certain prolems discussed thoroughly in this study. Thefirst prolem is when lueprints are signed y a different architect than is usually acceptedin references. This may e the case for young architects who, at the time their project was

eing developed, have not yet een licensed, so another architect from the same companywho is licensed signed the lueprints. Secondly, a very common prolem is when only


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silVija limaNii VaNja aNKo Poznate zgrade nepoznatih autora

the contractor is signed, not the architect. In such case it would e advisale to look intopossile permanent collaoration etween certain architects and contractors. Thirdly, thereis dispute aout the role of individual architects within a team, so many recent authors tend

to attriute a uilding to one of the two architects who had a single company and jointlysigned the lueprints. And finally, the most drastic prolem is when documentation is mis-sing or is incomplete and fragmentary.

All the prolems mentioned apply to well-known examples of modern architecturein the very city centre of Zagre, so they cannot e disregarded as trivial and they needimmediate attention. Other methods that can e applied are also sometimes inadequate,especially ecause of unreliale sources, so the conclusion is that all the methods have toe complemented in order to reach satisfactory results.


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Darja Radovi Mahei

TEME, TEZE I AUTORI ZASTUPLJENINA STRANICAMA HRVATSKIH STRUNIH ASOPISA

U 20. STOLJEU

Saetak

Arhitektonski asopisi su esencijalni izvor podataka za istraivae arhitektonske pro-dukcije i kulture. Iz asopisa saznajemo o graditeljskoj praksi, ali saznajemo i osloenoj kontradiktornosti pojedinih razdoblja s njihovim nastojanjima, otkriima,

fascinacijama i postignuima. Javna arhitektura, krenemo li kronoloki, imala jeprednost nad stanovanjem, gradska arhitektura nad izvangradskom, a uzori i eljemijenjali su se s pojedinim razdobljima i njihovim prioritetima. U asopisima itamoopise novogradnji, upoznajemo aktualne stavove prema graenju, otkrivamo dok-trine, nasluujemo ili izravno svjedoimo odreenim arhitektonskim problemima idebatama. Iz dananje perspektive itljivi su nam indikatori koji su najavljivali im-

plementaciju odreenih elja, projekata i ideja. S druge strane, udimo se potpunom

izostanku pojedinih tema, nespominjanju imena nekih arhitekata, nepostojanju re-akcija na odreene pojave.Za arhitekturu 20. stoljea struni arhitektonski asopisi bili su vaan, moda i

najvaniji medij. lanak saeto analizira i interpretira lanke koji su se javljali nastranicama dominantnih arhitektonskih asopisa u Hrvatskoj tijekom 20. stoljea,

fokusirajui se na:Viesti drutva ininira i arhitekta (1878-1914), meuratniTehni-ki list (1919-1939) iGraevinski vjesnik (1932-1941), poslijeratnuArhitekturu, (od1947. do danas) i osobitoovjek i prostor (od 1954. do danas), uz usputno spomi-njanje drugih umjetnikih, kulturnih i znanstvenih asopisa i revija.

Summary

ARCHITECTURE TOPICS, THESIS AND AUTHORSIN THE CROATIAN MAGAZINES ON ARCHITECTURE IN THE 20TH CENTURY

Magazines on architecture are one of the most important data source for those who areinterested in the history of architecture. It is very interesting to read aout some ideas that

were accepted and on the other side aout those that were rejected.The author states that the magazines on architecture are of great importance for the

20th century architecture. In this article some of the most important architectural topics that


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darja radoVimahei Teme, teze i autori zastupljeni na stranicama hrvatskih strunih asopisa u 20. stoljeu

were suject of the most important Croatian magazines on architecture in the 20th century(Viesti drutva ininira i arhitekta, Tehniki list, Graevinski vjesnik, Arhitektura and ovjeki prostor) are presented and analysed.


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Daina GlavoiMuzej moderne i suvremene umjetnosti, Rijeka

MEURATNI OPUS RIJEKOG ARHITEKTAbRUNA ANGHEbENA

Saetak

Bruno Angheben roen je u Rijeci 1891., u porodici doseljenoj iz junog Tirola. ko-lovanje na Politehnici u Budimpeti prekida zbog Prvoga svjetskog rata. Nakon rata,1922. diplomira u Italiji. Bio je zaposlen u rijekom Graevinskom uredu od 1927.do 1947., kada u velikom egzodusu naputa Rijeku i nastanjuje se u Veroni radei ustruci i na konzervaciji arhitekture. Umire 1977. u Veroni.

U Rijeci je kao arhitekt, projektant i restaurator-konzervator djelovao u meu-ratnom razdoblju pod talijanskom vlau, podigavi nekoliko reimskih graevina(Tempio Votivo, osnovnu kolu Niccol Tommaseo, stambeni blok I.N.C.I.S.), a radio

je i kao viegodinji voditelj projekta zadnje sistematizacije i ureenja komunalnoggroblja Kozala.

Summary

THE INTERWAR WORK OF ARCHITECT bRUNO ANGHEbEN IN RIJEKA

bruno Angheen was orn in Rijeka 1891 in the family of South Tyrol immigrants.His high education at budapest Polytechnics was interrupted y the World War First, after

which he graduated in Italy in 1922. He worked in the Technical Office of Rijeka from 1927

to 1947 when he opted for Italy, during the great afterwar exodus. He eventually settled inVerona, working in municipal architectural and conservation departement. Angheen diedin Verona in 1977.

Working in Rijeka etween the two world wars as an architect and conservator-resta-urator, under the Italian reign, bruno Angheen constructed several regime uildings (theTempio Votivo church, elementary school Niccol Tommaseo, I.N.C.I.S. residental houses).For many years he worked on the projects of systematization of the communal Kozala ce-metery.


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boris MorsanArhitektonski fakultet Sveuilita u Zagrebu

KARLOVAC ZATITA OD RAZARANJA GRAENJEM

Saetak

Gradovi tvrave, izgraeni prema projektima idealnih renesansnih gradova, stvaranisu tijekom vie od dva stoljea na granicama europskih drava. Njihovi oblici vezanisu uz utopije, zamiljene idealne zajednice, opise ureenog drutva i gradova. Kodizgradnje u ratnim zonama naputene su ideje o idealnom organiziranju drutva,ali su u najboljem smislu i u najjasnijem umjetnikom izrazu ostvarene karakteristi-ke renesansne arhitekture. Renesansna umjetnika i arhitektonska naela pravilnog

projektiranja, primijenjena su i adaptirana za izgradnju gradova tvrava.Karlovac i nakon njega Nove Zamky i Palmanova prvi su, u stilskom pogledu,

isti primjeri renesansne arhitekture u Europi i svijetu. Kao gradovi ujedno spadajuu najvee graevine renesanse i u mali broj realiziranih idealnih gradova. Prije njih

napravljen je tijekom vie od stotinu godina niz projekata takvih gradova ali nitijedan od graenih nema pravilni, simetrini tlocrt. Nakon prvih gradova s dosljed-no provedenom geometrijom pravilne strukture, u gradovima Karlovac, Nove Zamkyi Palmanova, izgraeno je jo nekoliko slinih projekata tijekom narednih stotinugodina.

Karlovaka Zvijezda danas ima oteen veliki dio oboda, sruene bedeme, zgradeugraene u anac i novu izgradnju koja je zauzela veliki dio zelene povrine izvantvrave.

U izlaganju je pokazan niz izvedenih i novim planovima predvienih oteenjagraenjem u tvravi, na njenom obodu i izvan nje. To razaranje vodi u postepeno

nestajanje povijesnog spomenika jer ga pretvaraju u potpuno bezlini grad u kojemse gube razlike izmeu periferije i centra. Jedna od najvanijih zadaa zatite jeouvanje preostale zelene zone izvan tvrave i uklanjanje substandardne izgradnjekojom je ve oteena.


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Summary

KARLOVAC PROTECTION FROM DEVASTATION CAUSED bY bUILDINGFortified cities ased on ideal Renaissance city plans were constructed for over two

centuries on the orders of European countries. Their shapes are connected to utopian,imaginative ideal communities and descriptions of regulated society and city. In the instan-ces of city planning in the war zone, ideas of ideal society were aandoned, ut characteri-stics of Renaissance architecture were achieved in their est and clearest artistic expression.

Artistic and regular architectural planning principles of the Renaissance were applied andadopted for the construction of fortified cities.

Karlovac and, later, Nove Zamky and Palmanova, are the first and stylistically cleanestexamples of Renaissance city architecture in Europe. As cities, they are among the largest

structures of the Renaissance, as well as eing among the few ideal cities actually constru-cted. Over the period of more than a hundred years efore them, a series of similar cityplans were made ut none of those constructed ore a regular, symmetrical plan. AfterKarlovac, Nove Zamky and Palmanova, the first cities with regular structural geometry planconsequently applied, several similar projects were constructed over the next century.

Karlovac star fort today has extensive damage to the perimeter, with demolished ram-parts, uildings constructed inside the ditch and new developments that claimed a largeportion of the green area surrounding the fort.

The presentation shows a series of already done as well as planned uilding-induceddamages to the fort, its perimeter and surroundings. This devastation leads to gradual disap-

pearance of a historical monument y turning it into a completely amorphous city where alldifferences etween the city centre and its periphery fade. One of the most important tasksof conservation is protection of the remaining green area surrounding the fort, as well asremoval of sustandard uildings causing the devastation.


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Antonio Rui

OD NEOSECESIJE DO POSTMODERNIZMA

Saetak

Jedinstvena djela nastala od vremena talijanskog racionalizma do postmodernizmau Istri, doprinijela su visokoj razini arhitektonske kulture u Istri i imamo razlogavjerovati da je doista tona pomisao da se na prostorima Istarskog poluotoka desilavana i vrijedna arhitektura moderne i postmoderne te da se moe mjeriti s visokomeuropskom razinom arhitektonske produkcije.

Summary

ISTRIA: FROM NEO-SECESSIONIST MOVEMENT TO POSTMODERNISM

The author descries works in architecture that originate from the 19th till the 21st centuryon the region of the Istra peninsule. According to the author these works are of great artistic

value and can stand together with the great European works of that time.


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Kreimir GaloviMinistarstvo kulture Republike Hrvatske

ARHITEKTURA U NEZAVISNOJ DRAVI HRVATSKOJ(1941-1945)

Saetak

Hrvatska arhitektura u razdoblju Nezavisne Drave Hrvatske (1941-1945) jedno jeod vanih poglavlja hrvatske arhitekture. Uvrijeeno je miljenje da u tom razdobljuzbog ratnih dogaanja dolazi do prekida cjelokupnog arhitektonskog djelovanja, nouvidom u povijesnu, arhitektonsku, te grau koju nalazimo u onodobnim dnevnimlistovima svjedoimo injenici da su svi imbenici koji obuhvaaju arhitektonskudjelatnost: natjeaji, projekti, izvedbe, publicistika, prisutni tijekom itavog tog razdo-blja. Glavni nositelj cjelokupne graevne djelatnosti je drava.

Najistaknutije obiljeje arhitekture tog vremena je dvojnost je izmeu kontinu-iteta moderne i tzv. Heimatstila (pukoga graditeljstva) prema uzoru na tadanje

prijateljske zemlje. Prisutna je veina arhitekata, od kojih e neki aktivno djelovati

sve do sloma NDH (Aleksander Freudenreich, Stjepan Podhorsky, Ivan Zemljak, JurajDenzler, Vladimir Potonjak, Stjepan Plani, Zvonimir Pogaj, Zoja Dumengji idr.), neki od njih djelovat e u ilegali (Andro Mohorovii), od kojih e se neki tijekomvremena pridruiti NOB-u (Neven egvi, Milovan Kovaevi, Josip Seissel, Rikard iMiro Marasovi i dr.), no, neki e od njih tragino zavriti na stratitu neke od su-kobljenih strana (Zvonimir Kavuri), ali javljaju se i nova imena vana za poratnuarhitektonsku scenu (Bruno Mili).

SummaryCROATIAN ARCHITECTURE DURING THE INDEPENDENT STATE OF CROATIA

The period from 1941 till 1945 of the Independent State of Croatia (Nezavisna DravaHrvatska) is one of the most important periods in the history of Croatian architecture. It isconsidered that the overall architectural activity has een stopped ecause of the war uthistorical, architectural and other data that can e found in daily newspapers from thattime give evidence that all factors that contriute to architectural activity (iddings, project

works, construction processes) are present during all that period. The state is the only res-ponsile for all the construction processes.

The foremost characteristic of the architecture of that time is a duality etween continu-


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KreimirGaloVi Arhitektura u Nezavisnoj dravi Hrvatskoj (1941-1945)

ation of modernism and Heimatstil. The period is also famous for the architects that wor-ked at that time: Aleksander Freudenreich, Stjepan Podhorsky, Ivan Zemljak, Juraj Denzler,

Vladimir Potonjak, Stjepan Plani, Zvonimir Pogaj, Zoja Dumengji, Andro Mohorovii,

Neven egvi, Milovan Kovaevi, Josip Seissel, Rikard, Miro Marasovi, Zvonimir Kavuri,bruno Mili...


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Tomislav Premerl

SAKRALNA ARHITEKTURA 20. STOLJEA

Saetak

Povijest arhitekture velikim je dijelom i povijest sakralnog prostora. Tek od velike ikljune, sveobuhvatne svjetonazorske preobrazbe u 19. stoljeu gradnja sakralnihgraevina postaje sporedni dio arhitektonske djelatnosti, ona se gubi ne samo u kvan-titeti, nego ponajprije u iskrenoj vrijednosti koju je nosila kroz povijest, prestaje bitikulturoloki fenomen usko spleten u cjelovitost duhovnog i stvaralakog djelovanja.Zato je i kritiko ispitivanje sakralne arhitekture 20. stoljea sloena zadaa, timvie, jer nae stoljee obiluje golemim i kontroverznim, esto agresivnim i naprasitimlomovima svijesti i naravno, zabunama u praktinoj provedbi. Kao dio stvaralatvasakralna je arhitektura bila izloena svim promjenama i umjetnikih i ideolokih

programa, a da njena osnovna zadaa nije mogla doi u pitanje. Zanimljivo je da-

nas ve pratiti kako se to zbivalo, pa nam je dozvoljeno da pokuamo nakon vejednog stoljea kritikim pristupom sabrati i klasificirati padove i dosege izraajasakralne arhitekture, te ocijeniti njena djela s naeg gledita.

Kroz ovo burno stoljee crkvena je umjetnost, posebno graditeljstvo, uz krupne,u umjetnosti kljune perturbacije prolazila i kroz nekoliko politikih reima koji suznatno utjecali na njen razvoj. Jasno su uoljivi periodi intenzivnije izgradnje i oniu kojima je ona gotovo potpuno izostala. Kreativni dosezi i padovi dijelom se poklapa-

ju s politikim reimima, ali nas ovdje vie zanimaju umjetnika vrijednost, utjecajii veze naeg stvaralatva u sustavu cjelokupnog razvoja crkvenog graditeljstva 20.stoljea u svijetu, ili barem u naem srednjoeuropskom okruju. Jasno su zamjetnatri osnovna razdoblja: od prijelaza stoljea do kraja Prvoga svjetskog rata, razdobljezakanjelog historizma i moderne arhitekture koji se isprepliu izmeu dva svjetskarata, te gotovo pedesetogodinje razdoblje poslije Drugoga svjetskog rata u kojemu su

posebno izraene tri faze izostanak gradnje i neznatne improvizacije do II. vati-kanskog sabora (1962-1965), razdoblje poslije Koncila do 1990., te razdoblje kad seuz politike promjene mijenja odnos prema crkvenoj gradnji i ona slobodnije poinjesvoj graditeljski zamah.

U vremenu do 1945. podignuto je stotinjak upnih crkava, a poslije 1945. osniva-ne su i nove upe, osobito u gradovima i to u privatnim kuama, ak i u stanovima,

pa je teko dati toan broj graevina. U ovom je prikazu dan samo izbor relevantnihgradnji ovog stoljea koji moe dati dobru, i potpuniju sliku vremena. Izabrani su

vredniji primjeri, ali i oni koji su im, prema naem sudu, suprotnost.


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tomislaVPremerl Sakralna arhitektura 20. stoljea

Summary

SACRAL ARCHITECTURE IN THE 20TH

CENTURYThe history of architecture comprises also architecture of sacral places. From the 19th

century the architecture of sacral uildings ecomes supplementary part of architecture. Itis possile today to give an ojective view on sacral uildings that have een made in the20th century in Croatia.

The author divides the 20th century sacral architecture in Croatia into three main pe-riods:

1.) the end of the 19th century till the First World War2.) the period etween two world wars3.) the period after the Second World War which can also e divided into three peri-

ods:a) asence of uilding and period of improvisation till The Second Vatican Council

(1926-1965)) the period after The Second Vatican Council (1926-1965)c) the period with the lieral change towards the institution of church when it starts

again its uildingTill 1945 in Croatia many churches were uilt and after 1945 many parishes were foun-

ded in cities all over Croatia.In this article the author gives review on the selection of the Croatian churches uilt in

the 20th century.


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Zlatko KaraArhitektonski fakultet Sveuilita u Zagrebu

SINAGOGALNA ARHITEKTURADVADESETOG STOLJEA U HRVATSKOJ

Saetak

U posljednjem sloju izgradnje idovskih obrednih objekata u Hrvatskoj, tijekom prvatri desetljea 20. stoljea izgraeno je devet sinagoga koje stilski pokrivaju rasponod kasnoga historicizma (Osijek Donji grad: W. C. Hofbauer, 1901-1903.; Rijeka velikiTempio: L. Baumhorn, 1901-1903), do secesije (Orahovica, 1911.; Kutina:S. Benedik i A. V. Baranyai, 1910-1914.; Bjelovar: O. Goldscheider, 1912-1914), artdco stilizacije i neoklasicizma (Vinkovci: F. Funtak, 1922-1923), kasnog akademiz-ma (Nova Gradika: S. Lang, 1923-1925), do izrazitog neomudjar stila (Opatija:V. G. Angyal i P. Fabbro, 1925-1927) i naposljetku rane moderne (Rijeka malaortodoksna sinagoga: V. G. Angyal i P. Fabbro, 1930-1932).

U valorizacijskom segmentu istie se po meunarodno relevantnoj autorskoj atri-buciji veliki rijekiTempio, djelo najznaajnijega maarskoga sinagogalnog arhitek-ta Lipta Baumhorna. Profinjenom likovnom kvalitetom izdvaja se moda najljepanaa sinagoga, ona u Bjelovaru, a avangardnim modernitetom potvrdila se malaortodoksna sinagoga u Rijeci koja je danas uzorno obnovljena i zatiena kao kul-turno dobro.

Summary

ARCHITECTURE OF SYNAGOGUES IN CROATIA IN THE 20TH CENTURY

In the late period of synagogue uilding in Croatia, (the first three decades at the e-ginning of the 20th century), nine synagogues had een uilt.

According to their style they elong to: the late historicism (Osijek Donji grad: W. C.Hofauer, 1901-1903; Rijeka ig synagogue: L. baumhorn, 1901-1903); secession (Ora-hovica, 1911; Kutina: S. benedik and A. V. baranyai, 1910-1914; bjelovar: O. Goldscheider,1912-1914), art dco(Vinkovci: F. Funtak, 1922-1923), late academic art (Nova Gradika: S.

Lang, 1923-1925), neomudjar(Opatija: V. G. Angyal and P. Faro, 1925-1927), and earlymodernism (Rijeka small ortodox synagogue: V. G. Angyal and P. Faro, 1930-1932).


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ZlatKo Kara Sinagogalna arhitektura 20. stoljea u Hrvatskoj

Synagogue Tempioin Rijeka has its international value. Its author is one of the mostwellknown Hungarian architects of synagogues Lipt baumhorn.

by its artistic quality the synagouge in bjelovar can e entitled as the Croatian most

eautiful synagogue.Small ortodox synagogue in Rijeka is known y its avant-garde and modernity and as

such is renovated and proclaimed as cultural heritage.


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Ljiljana epiArhitektonski fakultet Sveuilita u Zagrebu

INDUSTRIJSKA ARHITEKTURA 20. STOLJEAU HRVATSKOJ U KONTEKSTU INDUSTRIJSKOG

NASLJEA 20. STOLJEA U SVIJETU

Saetak

Kao dio ire shvaene tehnike batine, kojom su prema definiciji AIA-e (Udrue-nja industrijskih arheologa) obuhvaene sve zgrade vezane uz pojavu industrijskerevolucije kao i novih materijala vezanih uz njezinu pojavu, u ovom se radu osimtvornica u uem smislu obrauju i prometne zgrade, skladita, objekti javnih slubi,trnice te posebno izlobeni paviljoni koji su nastali kao dio potrebe za izlaganjemnovih proizvoda industrijskog doba.

Summary

INDUSTRIAL HERITAGE OF THE 20TH CENTURY IN CROATIA IN THE CONTEXTOF THE GENERAL THE 20TH CENTURY INDUSTRIAL HERITAGE

This paper understands industrial heritage in its wider sense including all the uildingsof the so called technical heritage according to the AIA definition. These are the uildingsthat appeared with the Industrial revolution and the invention of new materials (transport,power and pulic service uildings, warehouses, markets, as well as the exhiition pavilli-ons for the world exhiitions).

Roughly speaking the technical heritage architecture in Croatia in the 20th century coulde divided into four periods:

1. First period represents a continuation of the 19th century processes and ends withthe outreak of the WW1.

2. Period etween the two world wars in which this architectural practice is treated asless important architectural task as it was during the 19 th century. It was only in 1930s thatappeared some examples of technical uildings that could e compared to the other uild-ings in prevailing Modernism. Special importance can e given to the projects of Czecharchitects for the bata complex in Vukovar (the main bata architect F. L. Gahura who is a

well known Czech functionalist) and the project for the French pavillion at the Zagre Fairmade y the world famous French engineer R. Lafaille.

3. The period after the WW2 could e named a heroic period when started the country

reuilding. The construction of ig industrial complexes started in close cooperation of


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ljiljaNa ePi Industrijska arhitektura 20. stoljea u Hrvatskoj

structural engineers and architects. The Croatian architects were at the head of this deve-lopment oth in Yugoslavia and Croatia. Specially important for the understanding of thisperiod is the paper y S. Gomo written for the Congress of the architectural students of

the FNRJ expressing the need for the valorization of this segment of architectural practiceespecially at the faculties of architecture.

This period culminates with the pavillions y I. Viti and b. Raica for the new ZagreFair in 1957. From that moment on the Croatian architecture stood equal to the world archi-tecture oth in the structural and architectural sense.

The period is carried out mainly y the architects who were the Modern Architectureprotagonists etween the wars to e later followed y their students educated at the ZagreFaculty.

4. Fourth period covers the time until the Homeland war and represents solidificationof this particular task with very high standards achieved y the architects who graduated

from the Zagre Faculty of Architecture as students of the professors-protagonists of theModern architecture etween the two world wars.


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Iva Krler

HOTELSKA TURISTIKA bATINA

Saetak

Hotelska arhitektura nastala tijekom 20. stoljea na hrvatskom dijelu Jadrana, jako jevaan element povijesti razvoja arhitekturalnih oblika na jadranskoj obali, nastalihzbog poveane potrebe za turistikim kapacitetima od ezdesetih godina 20. stoljeanadalje. Hotelska arhitektura kao arhitektura odmora i zabave te pokazatelj i mjerastupnja urbanog razvoja, pribliavanja urbanom ivotu, okoliu i ivotu u skladus okoliem, kao takva arhitektima je ponudila slobodu upotrebe sloenijih planova ioblika negoli je to bio sluaj sa stambenim zgradama iz tog razdoblja.

Za razliku od hotelske izgradnje s kraja 19. stoljea pa sve do kraja tridesetih go-dina 20. stoljea, gdje je prepoznata visoka arhitektonska, urbanistika i morfolokavrijednost mnogih hotela, period nakon Drugoga svjetskog rata s naglaskom na ez-desete i prvu polovicu sedamdesetih godina velikim je dijelom jo uvijek percipiran

kao kaotino razdoblje socrealistike doktrine masovnog turizma, u kojemu se tekpojedina hotelska ostvarenja pokazuju trajnim arhitektonskim vrijednostima.

Od formaliziranih tipiziranih preuzimanja elemenata geometrijskog purizma iracionalizma do izraenog posuivanja od lokalnih mediteranskih arhitektonskihtradicija, hotelska arhitektura bila je vaan tipoloki i morfoloki element u hrvatskojtradiciji moderne arhitekture 20. stoljea. Ta bi se injenica trebalo uzimati kao te-melj uvoenja u dublju analizu hrvatske hotelske arhitekture koja ukljuuje i izdva-

janje hotela koji bi trebali postati dio nepokretnog nacionalnog kulturnog naslijea.Time bi se omoguila daljnje budue odreenje otrih parametara prema kojima bi seodluivalo koje bi hotele trebalo renovirati, koje morfoloki i/ili tipoloki promijeniti,

a koje naprosto sruiti.

Summary

HOTEL ARCHITECTURE IN CROATIA

Twentieth-century architectural construction in the Croatian part of Adriatic was veryimportant for the history of the development of architectural forms on the Adriatic shoreecause the increased need for tourist capacities from the mid-sixties onwards resulted inarchitecture of high quality.


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iVa Krbler Hotelska turistika atina

Hotel architecture, as rest and leisure architecture, is an indicator and measure of thelevel of uran development, the approach to uran living, the landscape and life in tune

with it, and it offered architects much greater freedom to use complex ground plans and

to shape volumes than did the design of residential uildings at that time. Continuing frompre-war traditions of modern architecture to post-war so-called high modernism and lateinternational style, geometrical purism, rutalism, decorative and organic structuralism, andduring the sixties and early seventies generating what was known as critical regionalism,hotel architecture on the Adriatic shore and islands comprises a large numer of hotels ofdiffering creative achievement.

From the formalized typified takeover of elements of geometrical purism and rationa-lism to expressive orrowing from local Mediterranean architectural traditions, hotel archi-tecture was an important typological and morphological element in the Croatian traditionof modern twentieth-century architecture. This should e used as a asis to introduce in the

further analysis of Croatian hotel architecture on the Adriatic shore and islands the categoryof the tradition of modern hotel architecture, which implies singling out the hotels that sho-uld ecome part of the immovale national cultural heritage. This would enale the futuredefinition of strict parameters for deciding aout which hotel uildings may e renewed,

which morphologically and/or typologically changed and which pulled down.


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Zdravko ivkoviMinistarstvo kulture Republike Hrvatske

GRADITELJSTVO U RURALNOM PROSTORUREPUbLIKE HRVATSKE U 20. STOLJEU

Saetak

Na poetku 20. stoljea graditeljstvo u hrvatskom ruralnom prostoru je u posljednjemstadiju razvoja. Misli se na kvalitativni razvoj u smislu tradicijskih prostorno oblikov-nih karakteristika, to e rei da upravo na poetku 20. stoljea hrvatsko narodno(tradicijsko) graditeljstvo dosie svoj vrhunac. Ubrzo, ve dvadesetih godina 20. sto-ljea dolazi do pojava dekadencije.

IVKOVI, Zdravko, Prilog vrednovanju uorenih naselja u Hrvatskoj, Zornik za narod-ni ivot i oiaje, knjiga 49., Zagre 1983.

IVKOVI, Zdravko, Hrvatsko narodno graditeljstvo, I., II., III. sv., Ministarstvo prosvjete,kulture i porta Zavod za zatitu spomenika kulture Zagre 1993.

Summary

bUILDING IN RURAL REGIONS OF THE REPUbLIC OF CROATIAIN THE 20TH CENTURY

At the eginning of the 20th century the uilding in rural regions of the Repulic ofCroatia reaches its peak. After that comes a period of stagnation.

After the Second World War many architects are engaged in reconstruction of villagesthat were destroyed during the war. Some of them are: Kauzlari, Gomo, Plani, Freu-denreich and many others.

The main characteristic of the rural regions are uilding of Zadruni dom and schoolsin many villages.

It is important to mention that many villages disappear, their inhaitants migrate totowns so that the future of rural uilding in the Repulic of Croatia is of no good perspec-tive.


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Manda HorvatMinistarstvo turizma Republike Hrvatske

TRADICIJSKA GRADITELJSKA bATINA(ZATITA, ObNOVA, RURALNI TURIZAM)

Saetak

Nezanemariva je injenica da je veina graevina naseljenog prostora u svijetu pri-padala tradicijskom graditeljstvu iako ga povijest arhitekture veinom zanemaruje.Rije je o graevinama i umijeu gradnje nastalim u seoskim prostorima namijenje-nim stanovanju i gospodarskoj djelatnosti seoskog stanovnitva. Umijee gradnje ikonstruktivna rjeenja ovisila su o znanju kojim je raspolagala odreena drutvenazajednica. Samouki strunjaci razvijali su svoja graditeljska umijea, radili za po-trebe svoje najue zajednice, obitelji, a kasnije i za potrebe drugih. U tehnolokomsmislu graditelji jesu bili amateri, ali su jako dobro znali da treba graditi u skladu sekonomskim potrebama svakodnevice, funkcionalno bez suvinih graevina.

Analizom stanja bilo kojeg podruja ruralne Hrvatske dolazi se do istog zaklju-

ka hrvatsko selo i seosko graditeljstvo doivjeli su velike socio-ekonomske promjenetijekom 19. i 20. stoljea, ali se jo do danas nitko sustavno ne bavi planiranjem irazvojem sela. Promijenjen nain ivota i gospodarenja u drugoj polovici 20 stoljea,a napose i sve to je obiljeavalo tradicijsko graditeljstvo, postalo je rtvom industrijsketehnike, gospodarskih i socijalnih promjena.

SummaryTRADITIONAL bUILDING HERITAGE PRESERVATION, RENOVATION,

RURAL TOURISM

The todays picture of many villages in Croatia has changed significantly. Traditionalregional characteristics and values of rural areas are lost. In Croatia, too, depopulation is theprincipal reason of a poor status of villages and traditional uilding heritage. Contemporary

way of land cultivation has destroyed many of landscapes and imposed a new methods ofuilding. Fashion trends in spatial planning and architecture have resulted in a destructionof the remaining cultural values without taking into account traditional values of uilding ofa certain area regional specifics of uilding structures and diversity of material.


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Many traditional houses made of stone, wood or rick have een replaced y new,inadequate structures and inadequate usage of new materials without respecting guidelinesof the experts conservators and spatial planners.

Croatia has still not made a program that would systematically deal with renovationand development of villages and which would at the same time serve as the asis for therural heritage preservation (y preserving material and non-material cultural heritage). Oneof the contemporary concepts of preserving uilding heritage in general is revitalization that is, restoration through a new purpose while still preserving its character and guaranteeits protection and meeting the needs of modern life.

When discussing the issue of uilding heritage, the selection of purpose and the adequ-ate adaptation of uilding heritage in general reflect the complexity of the procedure in thefirst place.

As regards the selection of purpose, one of the specific choices may e ruralor village

tourismwhich has only started to develop in Croatia in the last several years. Rural tourismis the term used in the context when rural culture represents its main product which is eingoffered. It is developed in rural areas y using indigenous values of the area and promotesrenovation of agriculture according to regional tradition, revives agrarian landscape, andtraditional housing and farm ojects.

based on the European experience in the development of rural tourism, y adoptingregulations and laws we are slowly taking their path. Some of our regions in which thenumer of inhaitants is decreasing and unemployment is high (Hrvatsko zagorje, Lika,Gorski kotar, umerak, hinterland and islands) may e revitalized y an adequate deve-lopment of rural tourism.


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Radovan Mievi

NOVI REALITETI 21. STOLJEA USPON ZNANJA,VIZIJE I KREATIVNE IDEJE GRADE bUDUNOST

Saetak

Nalazimo se u vremenu poetka 21. stoljea s brojnim dilemama, ali i optimistinimvienjima budunosti suvremenog svijeta. Evidentno je poveanje znanja, razvojaznanstvene i teorijske misli, adekvatnih metoda i pristupa u razrjeavanju sve slo-enijih problema, ali i potekoa njihove aplikacije. Impresivan razvoj novih visokihtehnologija, sredstava informatike i komunikacije, ekspanzije drutvene uinkovi-tosti, procesa globalizacije i integracije zahtijeva sustavne i strukturalne promjene,

posebno znanstveno pouzdane procjene moguih i oekivanih promjena. Globalnosti integralnost postaju osnove stratekog razvoja uinkovitosti i pravaca razvoja svijetau kojem ivimo.

U referatu Hrvatski prostor temeljno nacionalno dobro, koji je napisanna inicijativu Urbanistikog instituta Hrvatske d.d., naglasio sam: Oslanjanjei nekritiko preuzimanje iskustava zapadnoeuropskih gradova i analognih mo-dela improviziranih standarda, uz ope spoznaje da kapitalistiko drutvo imaproblema u razvoju svojih gradova i prostora, kao i da je zapadnoeuropski gradu krizi, nee nas dovesti do eljenih ciljeva. (Zornik Uranistikog instituta Hr-

vatske d.d., Zagre 1997)

Summary

THE NEW REALITIES OF THE 21ST CENTURY THE RISE OF KNOWLEDGE,VISIONS AND CREATIVE IDEAS bUILD THE FUTURE

Our era, the eginning of 21st century, is aundant with dilemmas ut also with optimi-stic views of the future of modern world. Increased knowledge, development of scientificand theoretical discourse, adequate methods and approaches in solving ever more complexprolems are evident, as well as difficulties in their application are. There is an impressivedevelopment of new high technology, means of information and communication, expansi-on of social efficiency, gloalisation process and unification of requirements for systematicand structural changes, especially scientifically reliale estimations of possile and expec-

ted changes. Gloality and integration are ecoming the new foundations for strategic de-velopment of efficiency and courses of development of the world we are living in.


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In the paper Hrvatski prostor temeljno nacionalno doro (Croatian Space Funda-mental National Wealth), written upon the initiative of the Uranistiki institut Hrvatske d.d.(Croatian Uran Institute, shareholding) I emphasised the following: Relying on and uncri-

tical assumption of experiences from the western-European cities and analogue models ofimprovised standards, along a general notion that the capitalist society has prolems in thedevelopment of its cities and spaces and that the western-European city is in a crisis, will notring us to the desired goals.... (Collection of Papers of the Uranistiki institut Hrvatsked.d. /Croatian Uran Institute, shareholding/, Zagre 1997)


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discourse and practice in the area of ecologically and energy-efficient architecture, which issystematically and more intensely developed parallel with ethical commitments of todayscivilisation.

Due to alarming and realistically worrying status of the environment, the gloal war-ming and other prolems caused y the emission of green-house gases, the eginning ofthis century and the millennium is characterised y gloal conventions on protection andimprovement of the state of the environment along appropriate local activities on imple-mentation of various agreements and directives, especially in the area of energy efficiencyin architecture which serves as the asic integration element of the concept of sustainaledevelopment. The end of the past century has defined the low-energy architecture as athree-litre house and so-called passive house or one-litre house, i.e. the energy standard

which consumes the energy equivalent to only one litre of fuel oil per square meter annu-ally for heating of the space throughout the entire heating season. At the turn of the century,

the architectural design and construction of passive houses egan also in Croatia.Authors idea is a redefinition of architecture which is, along all previous asic deter-minants, defined also as an exceptional energy medium. The architecture is conceived asa power plant without emission of CO

2and with the energy produced excessive to own

needs. Therey, high health standards of thermal, light and sound comfort are enaledtogether with permanent supreme quality of the interior air, thanks to implementation ofcontemporary installation systems and the intelligent IT support.


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39

Ivo Maroevi, Zlatko Juri, Frano DuliiFilozofski fakultet Sveuilita u Zagrebu,

Odsjek za povijest umjetnosti

PRIJEDLOG NASTAVNOG PROGRAMAObRAZOVANJE ZA ZATITU SPOMENIKANA FILOZOFSKOM FAKULTETU U ZAGREbU

Saetak

Na znanstvenom skupu Hrvatska arhitektura u XX. stoljeu u organizaciji MaticeHrvatske eljeli smo prikazati odreena poetna iskustva u obrazovanju i strunomusavravanju za konzervatorsku i restauratorsku djelatnost na Filozofskom fakultetuu Zagrebu. Za povijest obrazovanja za zatitu spomenika na Filozofskom fakultetuu Zagrebu kljuna je 1950. godina kada prof. Tihomil Stahuljak zapoinje s preda-vanjima i predaje sve do 1982., a nasljeuje ga prof. dr. sc. Ivo Maroevi od 1983.do 2007.1

Summary

PROPOSAL FOR EDUCATIONAL PLAN AND PROGRAMOF EDUCATION FOR PROTECTION OF CULTURAL MONUMENTS

AT THE FACULTY OF PHILOSOPHY ZAGREb

The article is aout initial experiences that the Faculty of Philosophy in Zagre haveacquired in education in curating/curatorial practice and restoration.

Professor Tihomil Stahuljak is the first professor who started teaching aout protectionof cultural monuments in 1950. In 1983 he was followed y professor Ivo Maroevi that

gave lessons till 2007. Professor elimir Koevi taught museology from 1976 till 1981.

1 Prof. elimir KOEVI predaje muzeologiju u razdolju 1976-1981.


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40


boris Ljuii

VIZUALNI KD

Saetak

Dodiri arhitekture i dizajna su svakodnevni. Njihov spoj je esto toliko cjelovit da ih jeteko razdvojeno promatrati. I arhitektura i dizajn kodiraju vrijeme u kojem nastaju,a nerijetko ga i odreuju, i to ne samo u trenutku nastanka nego i kao njegov futur.

Nae hrvatske prilike (i neprilike) imaju vie zasebnosti. Povijesni hod i dananjevrijeme se unato diskontinuitetima ipak na poetku 21. stoljea nalaze u sintezi.Svatko od nas koji piemo i pokazujemo ili dizajniramo svoje vienje, naao se u dvasustava, dvije drave i vie sloenih stanja. Moji projekti, bilo da su realizirani ilinagraivani i nerealizirani, nose svjedoanstvo o vremenu u kojem su dizajnirani,a neki od njih bi se mogli i realizirati u buduem vremenu. Moju power point pre-zentaciju od 266 slika i dva video rada sa suzdranim komentarom jer je slika bolje

predstavljala ono to sam htio pokazati, trebam preurediti za ovaj zbornik. Pokuat

u to napraviti u nekoliko slika s neto duim komentarima.

Summary

VISUAL CODE

Architecture and design are in permanent contact. Their conjunction is so unique thatsometimes it is hard to look at them separately. Architecture and design determine present

as well as the future.The author presents his way of looking at reality through his projects that are testimonyof time they are designed in.


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41

Fea Vuki

ARHITEKTURA KAO KONTEKST KONSTRUKCIJEPOJMA ObLIKOVANJE

Saetak

Tijekom pedesetih godina u kulturi prostora kojeg danas zapremaju Hrvatska i Slo-venija, disciplina arhitekture je imala vaan formativni znaaj za utemeljenje se-mantikog polja oblikovanja, odnosno, za proces njegove konstrukcije tijekom cijelete dekade. Uz kontekst primijenjenih umjetnosti, kontekst drutvenog aktivizma ustanogradnji i kontekst edukacijskog aktivizma i likovne kritike, upravo je arhitektu-ra dala vrlo neposredan prinos smislu i sadraju pojma oblikovanje kakav je otadastandardan i u hrvatskoj i u slovenskoj kulturi. tovie, ak i na institucionalnoj razi-ni, arhitektura je u edukacijskom smislu posluila i kao prostor izgradnje temelja zaobrazovanje u podruju koje se danas u hrvatskoj identificira pojmovnom oznakomdizajn, pa je i Studij dizajna danas dio Arhitektonskog fakulteta u Zagrebu. lanakanalizira diskurzivno polje pojma oblikovanje kroz formativne napore u etiri kon-

teksta tijekom pedesetih godina, s posebnim osvrtom na arhitekturu.

Summary

SEMANTIC MEANING OF THE TERM DESIGN IN ARCHITECTURE

During 1950s the term design has passed its semantic formatting in the Repulic ofSlovenia as well as in the Repulic of Croatia. Architecture is the field where this term has

gained its true meaning.The article deals with the semantic formatting of the term design during four decadesin Croatia and Slovenia with the special review of its implementation in architecture.


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Andrija Mutnjakovi

U TRAGANJU ZA IZGUbLJENIM GRADOM

Saetak

lanak obuhvaa autorova razmiljanja o moguoj koncepciji grada 20. stoljea.Osnovne premise temelje se na kritici koncepcije gradskog prometa kojim se nameeurbana struktura, te na kritici planetarne standardizaciji tipologije zgrada u obliku

kvadara. Projektom stambene zgrade u Osijeku (1968) predlae se graenje viekat-nog armirano-betonskog skeleta u kojemu e stanari po svom nahoenju popunja-vati zatvorene i otvorene prostore i sami oblikovati proelja svojih stanova. Projektomstambenog naselja u Beogradu (1965) predlae se gradnja kontinuiranih stambenihzgrada da bi se oslobodile obimne javne povrine, s tim da se promet iz obilaznice

podzemno dovodi do garaa ispod zgrada. Projektom stambenog naselja Petralka uBratislavi predlae se objedinjavanje stanovanja i prateih funkcija u jednoj zgradi,koja je poput barokne palae (Versailles) smjetena u prostranom parku. Projektomgradskog centra u Tel Avivu (1963) rjeava se gradski proimet smjetavanjem voznihtraka na krovove zgrada koncipiranih poput vijadukata u ijim se donjim etaama

nalaze stanovi, tornjevi na krianjima sadravaju garae i servise stanovanja. Pro-jektom novog gradskog rajona u Osijeku (1983) razdvaja se raster prometnica odstrukture stanovanja organiziranog poput niza pjeakih trgova. Projektom stam-benog naselja Sopnica u Zagrebu (2007) nastoji se revitalizirati urbanistika idejagrada iz 1965. godine. U tijeku je realizacija projekta stambene zgrade Zelendvor uZagrebu (2004.) raenog kao reminiscencija na prethodna razmiljanja o biomor-

fnim formama zgrade s hortikulturno obraenim krovnim plohama. Time je jasnoiskazana negacija zgrade i grada u shemi euklidske geometrije u dobu neeuklidskihspoznaja.

Summary

THE SEARCH FOR THE LOST CITY

The article rings the authors reflections on the possile conception of the 20th centurycity. basic premises are founded on the critic of the city traffic that is responsile for theuran structure of city itself. The author also criticizes the standardization of uildings thatare usually placed in the form of parallelepiped.

In examples he presents in this article (some of the city quarters he designed in Osijek,belgrade, bratislava, Tel Aviv and Zagre) the author offers some of the solutions for theprolems in todays architecture.


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Ivan Mucko

PLANIRANJE U ZAGREbU 1991-2007.

Saetak

Pregled planiranja Zagreba krajem prethodnog i poekom ovog stoljea svodi se napregled izrada, donoenja i izmjena generalnog urbanistikog plana.

Razdoblje tranzicije Zagreb je doekao s GUP-om izraenim 1986. Nakon deset-ljea pojedinanih manjih izmjena, Gradski zavod za planiranje razvoja se krajemdevedesetih daje na velik posao izrade novog GUP-a. Prvi put prezentiran u trenut-ku promjene gradske vlasti 2000. godine, novi GUP je tek u ljeto 2003., sedamnaestgodina nakon prethodnog, usvojen na gradskoj skuptini.

Izraen kao provedbeni plan novi GUP se temeljio na ideji zatite i dovrenjaformiranih (kosolidiranih) i detaljnijoj planskoj razradi praznih (nekonsolidiranih)gradskih podruja.

Summary

PLANNIG OF ZAGREb IN THE PERIOD FROM 1991 TILL 2007

Zagre entered the period of transition with a general plan of 1986. After a decade ofpunctual changes citys Planning department egan working on a new plan y the endof 1990-s. First time presented in summer of 2000, it took 3 years for the new plan to eaccepted in the city assemly.

General plan of 2003 was ased on the idea of protection and completion of consoli-dated areas and oligatory detailed planning of uncosolidated areas.A short analisys od plans parameters shows that it is largely overdimensioned.According to the census of 2001, there were 255 000 flats with total area of 16.600.000,00

m, and 720 000 inhaitants in Zagre. Average size of a flat was 65m, and average numerof inhaitants per flat was 2,8.

According to the new plan it is possile to uild 55.617.595,00 m of flats, or 855 655flats with 2.395.835 inhaitants, which is 3.3 times greater than the present numer of in-haitants.

There are several reasons for overdimensiong of general plan: large territory, intentionto use space to the limits, high land prices etc., which all together lead to planning of a veryhigh density over a very large territory.


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This results in a development which is spread over an enormous area in which indi-vidual projects emerge in an unpredictale sequence. In this unefficient random develo-pment matrix costs of infrastructure rise well over the limits of the citys udget.

And what kind of a plan can we expect in the future? Proaly the est would e a planased on analisys of all kinds of relevant data resulting in an efficient matrix which achievesest development effects within moderate costs.


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Vinko Penezi, Kreimir Rogina

ARHITEKTURA NA RAZMEU MEHANIKOGI DIGITALNOG

Saetak

U radu se ispituju pojavnosti arhitekture s posebnim naglaskom na one fenomenoloke,a ne samo funkcionalne i estetike.

Predavanje Iz vizualne civilizacije k audio-taktilnoj kulturi koje je 3. listopada1990. odrano u Tokiju povodom nagraenog natjeajnog projekta Staklena kua2001. relativizira predominantne karakteristike materijala na raun audio-taktilnihmogunosti.

Projekt Reality Show Para-Site House predstavlja ideju korporalnosti u uskoj vezis elektronikom dok projekt Arhitektura u Digitalno doba istrauje potencijale infor-matikih tehnologija u kreiranju jedne nove multisenzorske prirode.

Summary

ARCHITECTURE IN bETWEEN MECHANICAL AND DIGITAL

Some of the projects that are presented in this paper examine main manifestations ofarchitecture: functional, aesthetic as well as phenomenological.

In the project The Glass House 2001, awarded in Tokyo 1990, the authors literallyturned the topic upside-down and proposed a glass house for a lind person, making the

late 20th century dominant visual characteristics of the material relative and privileging theaudio-tactile for the 21st century instead.

The project Reality-Show Para-Site House is dealing with the possiilities of dwelling indense and defined contemporary surroundings paradigm of which is No-Stop City y Archi-zoom. Considering Post-Spatial Uranism - Post-Natural Ecology - Post-Pop Population theidea of selfgenerating implants faulated more y rules of Internet than classical uranisticscience principles was introduced.

The project Architecture in the Digital Era presents Datasupermarket (infoscapes -mediascapes - e-scapes) that is ecoming electronic tent for modern nomads, hypertextualspace surfers. In this nature for itself form is given y flow of instantaneous relations.

Ever-changing constellations and configurations of desired data and media produce totaldigital experience. Hypermultimedia uilding offers information and knowledge through


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personalised amience and natural environments. It is neither lirary (analogue), normediateque (analogue-digital), ut datascapes (digital), highly personalised tactile-corporealsimulacrum, electronic environment where its replace ricks, information replace mortar,

interfaces replace walls... Consisted of ritual (physical anchors - phone oxes) and virtual(cyer matrix - transformational algorithms) part of the pulic/social event. Entering phoneox one changes digital constellations and configurations around it y desiring media anddata, creating environment constructed totally y information themselves updated in thereal time. Datascapes conditioning mutations are morph jungle, liquid lounge, chill-outkaleidoscope, defragmentation oasis, reality-show para-site, lur mall, electronic shadow,pierced void...

Documents

Arhitektura XX. Stoljeca-sazetci