130

KRSTARICATHE CRUISER

U desetak godina su, po narudbi istog investitora

Vojno graevinske direkcije, nastale u Zagrebu

tri graevine znaajnih dimenzija, tipoloki sline

i sve tri visoke arhitektonske razine.

Galerijska zgrada Ive Geria (1950.) na raskriju

Dri eve i Vukovarske ulice kao da je izvaena iz

funkcionalistiko-konstruktivistikog kataloga

30-ih (Bar, Vladimirov, Ginsburg). Svojom jedno-

stav nou i elegancijom plijeni panju, dodue

vie pro laznika i promatraa, a manje korisnika

skromnih gale rijskih stanova.

Kompleksna galerijska zgrada Drage Galia u Vuko-

var skoj, alias Proleterskih brigada, alias Moskov-

skoj, alias Varadinskoj br. 35A iz 1953. (Ne daj

se, Ines... ) je sa Catalanovom modulacijom stana,

Le Corbusierovim oblikovnim principom i Galievom

Pursuant to the order of the same investor the Military Construction Department three buildings of significant size were made in the same decade,

typologically similar and at a high architectural level.The deck access building made by Geri (1950),

standing on the corner of the streets of Drieva

and Vukovarska, seems to be taken from a func-tionalist/constructivist catalogue of the 30s (Bar,

Vladimirov, Ginsburg). Its simplicity and elegance

attract attention, but more from the passers-by and

sightseers than from the inhabitants of the humble deck-access flats.

The complex deck-access building made by Gali in

Vukovarska Street (formerly Proleterskih Brigada,

Moskovska and Varadinska), No. 35A, from 1953

(the year of the song Ne daj se Ines...), using Cata-

STAMBENA ZGRADAHOUSING BLOCKzagreb, hrvatska croatia 1961.

tekst written by TOMISLAV ODAKfotografija photo by DAMIR FABIJANI

branko raos slavko jelinek

132

strogou i dosljednou u interpretaciji totala

i detalja postala paradigmom stambene zgrade

kolektivnog stanovanja.

Raosova galerija u Zorkovekoj ulici, posljednja u

trolistu, projektirana je 1961. godine. Urbanistiki

gledano, radi se o krstarici koja se usidrila izmeu

brodica trenjevake periferije, izmeu vrtova

ma lih kua... na kraju perspektive, a scena i

mizan scena u dugih etrdeset i neto godina nije

se promijenila i Bogu hvala da je tako.

Park, zelena ploha sa june strane odvojila je

pri gradsku usitnjenu gradnju od respektabilnog

volu mena kao element pomirenja dvaju razliitih

princi pa organizacije i koritenja prostora. Razliiti

volu meni i intenziteti u kreativnom meuodnosu

samo dobivaju: sitna izgradnja, urbano disci-

plinirana ali amorfna u svojoj tepih interpretaciji,

Raosovom kuom dobiva zavrni identifikacijski

i oblikovni akord, a nova zgrada dobivaju pitomi

okoli kojim superiorno vlada, no s druge strane

u drugom mjerilu i drugim izraajnim i organizaci-

jskim sredstvima, vertikalnim adiranjem stambenih

jedinica nastavlja zateenu funkcionalnu matricu.

Umjesto crkve, kole, socijalne ustanove dogodio

se stambenjak koji u sebi sadrava potencijale

razvoja zajednikih i javnih prostora, to se naknad-

no i dogodilo.

Koliko je Raos sudjelovao u oblikovanju mizanscene

nije poznato, ali je vidljivo da se radi o smiljenom i

briljivo pripremljenom zahvatu u prostoru.

Odnosom prema tlu i nebu, znai osnovnim orisima,

definiran je arhitektonski volumen. Igra izmeu ta

dva horizonta moe biti suzdrana ili bogata, puna

detalja ili jednostavna, ovisno o sadraju, impera-

ti vi ma koji iz njega proizlaze, temperamentu i svje-

to nazoru autora, itd. Sve to moe biti arhitek tonski

lanos flat modulation, Le Corbusiers design principle

and Galis strict and consistent interpretation of

the whole and its details, has become a paradigm of

collective housing building.The last and the most recent member of the trio is the building in Zorkoveka, made by Raos in 1961.

From the aspect of urbanism, it is a cruiser anchored

between boats in the outskirts of Trenjevka, among

the gardens of small houses... at the end of the

perspective. The scenery and background have not

changed in these forty-something years, thank God.

A park, which is the green surface in the south,

separated suburban small-scale constructions from this considerable volume, forming an element of

reconciliation between two different principles of the

organization and use of space. The different volumes

and intensities profit from their creative interaction:

the small-scale houses, with their urban discipline but

amorphous in their carpet interpretation, get their

final identification and form in the Raos house, while

the new building gets a cultivated environment where

it can reign supremely. On the other hand, it uses

a different size and expressive and organizational

methods vertical stacking of residential units to continue the old functional matrix. Instead of a church, school or social care institution,

there came a housing block with the potentials to

develop common and public spaces, which subse-quently did happen. It is not clear how much Raos

participated in designing the background, but it was

obviously a planned and carefully prepared interven-tion in space.The relation with the ground and sky, in other words,

the basic outlines, define the architectural volume.

The interplay between those two horizons can be

restrained or rich, full of details or simple, as it de-

Drago Gali, stambena zgrada / residential building, Vukovarska 35a, 1953.

Ivo Geri, stambena zgrada / residential building, Vukovarska-Drieva, 1950.

134

vie ili manje uspjeno, ali pogreka u osnovnim

od nosima je nepopravljiva.

Raosova krstarica je upravo u tom smislu sjajna.

Pri zemlje je transparentno i primjerenom visinom

us po stavlja prirodan, leeran odnos prema tlu.

Trans for ma cije koje su tijekom eksploatacije nasta-

le nisu nau dile cjelini. Sadraji koji su bili iskljuivo

u funkciji stam bene zgrade (ne stano va nja, nego

zgrade) zami jenjeni su javnim i trgovakim prosto-

rima, ali se nita bitno nije dogodilo u osnovnoj

proporciji.

Glede urastanja u funkcionalnu i socijalnu strukturu

ireg okolia pozitivan pomak je nesumnjiv. Osobina

dobrog projekta je da daje ivotu ansu... Ona e biti

iskoritena na nama nepredvidiv ali ivotan nain.

Nasuprot mekom i transparentnom prizemlju atika

dimenzijom, geometrijom i likovnom interpretaci-

jom neopozivo, vrsto definira gornji rub okvira u

koji je smjeten ostatak od osam katova zgrade.

Malo brojni otvori atike naznauju da se iza iste,

ravne plohe nalaze svrsishodni prostori koji mjes-

timino diskretno proviruju u svijet horizonta, a ne

iskljuivo neba.

Izmeu prizemlja i atike postoje samo dinamine

horizontale - galerija na sjeveru i loa sa ostakljenim

pends on the content, its resulting imperatives and

the authors temperament and world view, which can

all be more or less successful from the architectural aspect; however, a mistake in basic relations would

be irremediable.It is precisely in that sense that the Raos cruiser is great. A transparent ground floor level has an ap-propriate height that establishes a natural, relaxed

relationship with the ground. Transformations made

during exploitation have not harmed the whole. Con-tents that were meant exclusively for the residential

building (not for residents, but for the building) have

been replaced by public and commercial premises,

but there were no important modifications to the

basic proportions. Undoubtedly, a step forward has been made with

regard to growing into the functional and social

structure of the wider surroundings. A good project

always gives life a chance... It will be used in an un-foreseeable but living way.

Opposite the soft and transparent ground floor, the at-tic uses its dimension, geometry and visual interpreta-tion irrevocably and strongly to define the upper edge

of the frame that houses the rest of eight floors.

The few openings in the attic indicate that the pure,

tlocrt 9. kata / 9th floor plan

tlocrt karakte -ristinog kata / typical floor plan

tlocrt prizemlja / ground floor plan

presjek / section

136

ogradama na jugu. Na prvi po-

gled ini se da je zgrada bez sit-

ne strukture proelja pro zo-

ra, vrata i svih onih neiz bje nih,

uglavnom remetilakih ele-

me nata. ak su se i pregrade

lo a izmeu stanova zagubile

u materijalu (staklu) i obliku.

De talj, tamo gdje se pojavljuje,

dis kretan je, u funkciji cjeline.

Ostakljenje i zatita stubita

na galeriji doimlju se pomi-

nim; minimalistikim jezikom

proporcije, obli ka i materijala.

Jo je jednom pokazano da ma-

nje moe biti vie.

Unutarnja struktura je jedno-

stav na, konstrukcija skeletna,

stambena struktura ujedna-

e na, na razini standarda voj-

no-graevinske direkcije.

Dimenzioniranje i i dispozicija

prostora su solidni.

Zadatak je postavljen i savla-

dan na razini Geria, Galia,

Vitia, Raice, dakle onih koji

su imali privile giju projektirati

za tada najvanijeg investitora

vojsku.

Stanovi u okviru poznatih she-

ma za odabranu tipo logiju

sjever komunikacija i servis,

jug boravljenje, spavanje i vanj-

ski prostori. Solidan standard.

Da je standard solidan, blizu

potreba i zahtjeva korisnika,

po kazuje injenica da je una-

to vreme no sti graevine vrlo

malo intervencija koje su inae

dio folklora i koje s jedne stra-

ne pokazuju manjak na kontu

kulture prostora i njegove kon-

tro le, a sa druge na nedostatak

prostornog i inog standarda ko-

ji se nekontroliranim interven-

ci jama krpa i po pravlja.

Pri kraju prie: boja. Boja je sa-

stavni dio arhitek ton ske inter-

pre tacije. Po definiciji crna i

bi jela nisu boje, nego ekstremi

na granicama spektra, gdje je-

dan sve apsorbira, a drugi sve

reflektira.

Ipak u ovom sluaju bijeli

seg ment spektra, primi jenjen

flat surface hides purposeful spaces that occasionally take a discreet look at the world of the

horizon, not only the sky.

Between the ground floor and

the attic, there are only dynamic

horizontals, a deck in the north

and a loggia with glass-covered

railings in the south. At the first

glance, it seems that the build-ing does not have the intricate front structure windows,

doors and all those unavoidable elements that usually interfere. Even the partitions of loggias between flats disappeared in

the material (glass) and form.

When there are details, they are

discreet, serving the whole. The

glazing and protection of the

deck staircase seem (re)mo va-

ble; the minimalist language of proportions, forms and materi-als showed yet again that less

can be more.The internal structure is simple,

the structural framework, the

residential structure is bal-anced, following the standards

of the Military Construction Department. The dimensions and arrange-ments of the space are good. The task was set and resolved

at the level of Geri, Gali,

Viti, Raica, those who were

privileged to work for the most

important investor of the time the military.The flats follow the well-known

schemes for the chosen typolo-gy the north for communica-tions and ancillary rooms, the

south for living room, bedroom

and outside spaces. A good

standard.The quality of the standard,

close to the needs and require-ments of the users, is confirmed

by the fact that the building in its advanced age has given very little cause for interventions,

which are a part of folklore any-way, revealing on one hand the

deficit in the culture and control

of space, and on the other the lack of spatial and other

standards that are patched and repaired through

unregulated activities.Finally, the colour. Architectural interpretation always

includes colour. By definition, black and white are not

colours, they are the extremes of the spectrum, one

absorbing everything, the other reflecting everything.

Still, in this case, the white segment of the spectrum,

applied to all the visible surfaces of the front, makes

it seem as if the building, with its railings of stained

glass, is a transparent reflection dipped in whiteness.

True, all those years and faulty maintenance have

made it a little grey and worn out, but this is not such

a bad thing.

na sve vidljive plohe proelja, ini da zgrada sa

mlje nim staklom ograde postaje transparentni

odsjaj umoen u bjelinu. Istina, kroz sve ove godine

i manj kavo odravanje malo je posivjela i pohabala

se, ali ni to nije loe.

Elementi oblikovanja i organizacije prostora koje

Raos koristi nisu originalni; sve je to ve vieno i dio je

usvojenog arhitektonskog vokabulara svog vre mena,

ali u datom kontekstu okolia i graevine primijenjeno

je senzibilno i promiljeno tako da moemo govoriti

o rijetko postignutom suglasju namjere i rezultata

ostvarenih jezikom i sredstvima svog vremena.

Uostalom, umjesto beskrajnih analiza postavimo

pitanje: to bi bilo da Raosova krstarica otplovi?

138

Odgovor e rei sve ono to o

ovoj sjajnoj kui u ovom tekstu

nije reeno.

Konano, vano je naglasiti

da je realizaciju Raoso vog

idejnog projekta preuzeo biro

arhitekta Slavka Jelineka koji

je iskus tvom, organizacijskom

razinom i profesionalnou u

razradi svim sigurno pridonio

arhi tek tonskom i graditeljs-

kom rezul tatu.

The elements for forming and organizing space used by Raos

are not original. It was done be-fore, it belongs to the accepted

architectural vocabulary of that age, but it was applied in the

given context of surroundings and of the building itself with

sensibility and consideration,

achieving a rare harmony of intention and result by means of the language and means of its time.Anyway, instead of endless

analyses, we could ask: what if

Raos cruiser sailed away?

The reply to that question will

say everything that has not been said here about this great building.At the end, it must be noted that

Raos design was realized by the

office of the architect Slavko Je-linek, whose experience, organi-zational level and professional

approach to the task certainly contributed to the architectural and constructional result.