napisao fotografije photographs by Arhiva Tomažič / Muzej za written by arhitekturo in oblikovanje, Tomažič archive / The Architecture Museum of Ljubljana (MAO) Miran Kambič (MK) Andrej Hrausky Funkcionalizam Functionalism i luk and Arch

¶ U razdoblju između dva rata u Sloveniji je dominirala snažna ¶ In the period between the two wars, the powerful personality pravca bili su Josip Costaperaria (1876. – 1951.), predstavnik ned his private school of architecture. Leading names of (MAO) osobnost arhitekta Jože Plečnika (1872. – 1957.). Svojim of the architect Jože Plečnik (1872–1957) was dominant in starije generacije koji je još prije Prvoga svjetskog rata studirao the new direction were Josip Costaperaria (1876–1951), a ugledom najznačajnijeg profesora arhitektonske škole i . By his reputation as the most significant professor at u Beču; Ivo Spinčič (1903. – 1985.) koji je diplomirao kod representative of the older generation who had studied in njemu svojstvenom ‘bezvremenom’ arhitekturom zasjenio je the architectural school and his unique ‘timeless’ architecture, Petera Behrensa u Beču nakon Prvog rata; Herman Hus (1896. Vienna before the First World War; Ivo Spinčič (1903–85) who sve druge arhitektonske pravce. Stoga na prvi pogled izgleda he overshadowed all other architectural directions. Therefore, – 1960.) koji se uskoro odmetnuo od Plečnika i prešao kod graduated in the class of Peter Behrens in Vienna after the kao da u Sloveniji funkcionalizam uopće nije postojao. Pa it seems at first sight that Functionalism never existed in pro­fesora Ivana Vurnika (1884. – 1971.). Vurnik se nakon 1925. First World War; and Herman Hus (1896–1960) who rather ipak se suvremena arhitektura razvijala uza svu teorijsku i Slovenia. And yet, contemporary architecture was developing, godine odrekao nacionalnog stila te je počeo i na fakultetu quickly abandoned Plečnik and joined the class of Professor institucionalnu potporu. Priređivane su izložbe suvremene helped by all the theoretic and institutionalized support. podučavati suvremenu arhitekturu. Konačno im se pridružio (1884–1971). Vurnik abandoned the National Style arhitekture, izdavane su knjige i časopis Arhitekt, Avgust Exhibitions of contemporary architecture were held, books još i France Tomažič (1899. – 1968.), prvi koji je kod Plečnika after 1925, and started to teach contemporary architecture, Černigoj (1898. – 1985.), jedini slovenski student Bauhausa je and the magazine Arhitekt were published, Avgust Černigoj diplomirao na novosnovanom Arhitektonskom fakultetu u also at the Faculty. Finally, they were joined by France Tomažič čak otvorio privatnu školu arhitekture. Vodeći nositelji novog (1898–1985), the only Slovene Bauhaus student, even ope­ Ljubljani i njegov prvi asistent. Isprva je vjerno slijedio Pleč­nika (1899–1968), the first to graduate in the class of Plečnik at the pa je tijekom njegove odsutnosti, kada je paralelno djelovao i u newly founded Faculty of Architecture in Ljubljana, as well as arhitekt architect Pragu, vodio gradnju njegovih projekata u domovini. Plečnik his first assistant. In the beginning, he loyally followed Plečnik, mu se odužio kada ga je naveo kao autora na spomen-ploči so when Plečnik was absent due to his parallel duties in Prague, ulaznog prostora Trgovačke komore u Ljubljani (1925. – 1927.). he supervised construction of Plečnik’s projects at home. In A ipak se Tomažič postupno odvraćao od svojeg učitelja, da return, Plečnik listed him as an author on the memorial plate bi ga 1930. godine napustio i pridružio se novom pokretu. in the entrance space of the Commercial Chamber in Ljubljana Od nekada vjernog asistenta preobrazio se u najgorljivijega (1925–27). And yet Tomažič gradually abandoned his teacher to Plečnikova kritičara. Bio je među inicijatorima osnutka Kluba leave him eventually in 1930, joining the new movement. From arhitekata, koji se prvi put predstavio u Ljubljani, u Jakopičevu a former loyal assistant, he transformed into one of Plečnik’s paviljonu 1933. godine. U uvodnom govoru pod naslovom most fervent critics. He was among the initiators for founding ‘Program slovenskih suvremenih arhitekata’ posredno je kri­ the Club of Architects which was presented for the first time tizirao­ Plečnika: ‘Mladi je arhitekt napustio magle Parnasa in Jakopič’s Pavilion in Ljubljana in 1933. In his introductory France Tomažič

146 Vila Oblak, Ljubljana, Slovenija, 1931.–1933. Villa Oblak, Ljubljana, Slovenia, 1931-1933 France Tomažič, Vila Oblak France Tomažič, Villa Oblak 147 i stupio je u živi život. Za njega nema sumnje da će načela social elite who perceived the new architecture as a symbol koja danas čovjeka preoblikuju biti odlučna za uređenje živo­ta of their business success. Villa Oblak plays the same role in novog razdoblja. Ne zatvara se između četiri zida i ne sni­va the architecture of Slovenia as Mies’s Villa Tugendhat in the više na papiru o zlatnim gradovima i starim vremenima. Vrlo Czech Republic. Both were above averagely luxurious, they je svjestan toga da su vremena Medicija, renesansnih kra­ represented the reaches of state-of-the-art technology, and lje­va i knezova ostala daleko iza nas i neće se više vratiti, a both were built as wedding presents. ¶ In his article ‘Flats and me­cene se više ne rađaju. Mrsko mu je da se šepiri time što Houses’, Tomažič explained his approach to the project: ‘A su stvorili Grci, Egipćani i drugi u teškoj borbi sa životom i building or flat should no longer depend on the stylistic forms tvrdim kamenom.’1 ¶ Tomažič je 1931. godine položio državni of past times. A building as a whole has to be the subject of

tlocrt visokog prizemlja

ground floor plan

perspektiva, crtež speech titled ‘The Programme of Slovene Contemporary Archi­ ispit i otvorio vlastiti biro. Nakon prve samostalne realizacije, an intensive study so that no part should be subordinated to tects’, he criticized Plečnik indirectly: ‘A young architect left kuća u nizu za Uzajamno osiguranje u Ljubljani (1931.), vilom another. Forms have to be as simple as possible in order to perspective drawing the mists of Parnassus and entered a living life. For him, there Oblak se odlučno odmetnuo od arhitektonskih načela svojeg preserve the readability of the whole. Apart from the building is no doubt that the principles which transform a man today učitelja i potom projektirao nekoliko stambenih kuća, koje itself, the issue of its immediate surroundings, as well as of will be decisive for designing life in a new era. He does not shut predstavljaju vrhunac funkcionalističke arhitekture u Sloveniji. the entire city is equally important. Why build another good himself away between four walls and he no longer dreams of Uz vilu Kopač (1936.), koja je nažalost 1973. srušena, svjedoči quality, healthy and beautiful flat in an unhealthy environment golden cities and old times on a sheet of paper. He is very o tome i vila dr. Franca Griveca na Prulama (1934.), koja of narrow streets and closed, tiny courtyards? Architecture aware that the times of the Medici, Renaissance kings and svojim­ konceptom proizlazi iz Le Corbusierove arhitekture. is dealing today with these issues and we can already note princes are far behind us and are not going to come back, and Ironija je da je Tomažiča trgovcu Francu Oblaku preporučio great successes, primarily in western and northern countries. Maecenas are no longer born. He hates to brag about what upravo Plečnik, koji je naime poznavao obitelj investitora. In our country as well, this issue has already been tackled. In Greeks, Egyptians and others created in a heavy struggle with Iako su mladi arhitekti govorili o svijetlim stanovima, sva­ 1933, among others, a new family villa for F. Oblak was built on life and solid stone.’1 ¶ In 1931, Tomažič passed the state exam komu­ dostupnima, gradili su za društvenu elitu, koja je u Rakovnik. It is situated on the southern slope of Golovec, and and opened his own office. After his first independent realization, novoj arhitekturi vidjela simbol svoje suvremene poslovne is open towards the south and west along the entire width of the terrace housing for Mutual Insurance in Ljubljana (1931), uspješnosti. Vila Oblak ima u arhitekturi Slovenije sličnu ulogu its main front with a view reaching across Barje to Krim. The he decidedly turned away from the professional views of his kao Miesova vila Tugendhat u Češkoj. Obje su natprosječno house is designed together with its future garden in order to teacher and then designed several family houses that represent raskošne, predstavljaju dosege najsuvremenije tehnologije i create a single entirety and they are interpenetrated without the very peak of Functionalist architecture in Slovenia. Along obje su sagrađene kao vjenčani darovi. ¶ U članku ‘Stanovi strict borders. The main staircase is placed in the open space of with Villa Kopač (1936) which was unfortunately demolished i kuće’ je Tomažič objasnio svoj pristup projektu: ‘Zgrada the main access. The ground floor will contain secondary rooms in 1973, evidence of this is Dr France Grivec’s villa in Prule i stan ne smiju više ovisiti o stilskim oblicima proteklih and the winter garden, the first floor the flat of the house owner, (1934) whose concept is based on Le Corbusier’s architecture. vremena. Zgrada mora kao cjelina biti predmetom intenzivnog a great admirer of nature and flowers; for him, the house and The irony is that Tomažič was recommended to the merchant proučavanja, a ne da je neki dio podređen drugome. Forme garden are one and the same. Walls are open, windows large, France Oblak by Plečnik himself who knew the client’s family. moraju biti što jednostavnije kako bi se očuvala preglednost the rooms flow from one to the other; everything is airy and Although young architects talked about flats filled with light cjeline. Osim zgrade, isto je tako važno pitanje bliže okoline, light to the extreme. The house is no longer a closed box, but which would be affordable by all, they were building for the kao i cijeloga grada. Čemu napraviti još jedan dobar, zdrav i it represents a part of ordered nature as a dwelling for a man. External forms are simple, light and clear, there is no trace of 1 France Tomažič: ‘Program slovenskih sodobnih arhitektov’ in the book by Rado 1 France Tomažič, ‘Program slovenskih sodobnih arhitektov’, u knjizi Naš dom; heaviness and bleakness. The house leaves on the visitor an (MAO) Kregar Naš dom; kakšen naj bo? Book I, Ljubljana, 1934, page 8 kakšen naj bo?, Rado Kregar, I. knjiga, Ljubljana, 1934., str. 8.

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lijepi stan u nezdravu okolišu uskih ulica i zatvorenih tijesnih impression of cheerfulness and lightness, a sense of freedom. osjećaj slobode. Tu se može disati punim plućima.’2 ¶ Vrijednost master also added the finishing touch: namely, the owners (Mk) dvorišta. Tim pitanjima se danas bavi arhitektura i možemo One can draw deep breaths here.’2 ¶ The value of Villa Oblak is vile Oblak nije u njenom zauzimanju za tada već dobro poznata contacted him later for the garden plans. Afterwards, merely bilježiti već velike uspjehe, prije svega u zapadnim i sjevernim not in its advocating of then already well known directions for načela suvremene arhitekture, koja je Le Corbusier sažeo u an additional exterior staircase was built after his designs, as državama. I kod nas je već započelo djelovanje na tom planu. contemporary architecture which Le Corbusier summarized čuvenih pet točaka (Les cinq Points d’une Architecture Nouvelle), a transition from the back of the house into the garden. Godine 1933. je između ostaloga sagrađena nova stambena in the famous five points (‘Les Cinq Points d’une Architecture već u odstupanjima od njih. Tu je ipak riječ o Plečnikovu utjecaju vila za gospodina F. Oblaka na Rakovniku. Nalazi se na južnoj Nouvelle’), but in its deviation from them. Here, Plečnik’s koji se pokazuje u uporabi jednostavnoga kvadratnog modula padini Golovca i po cijeloj je širini glavnog pročelja otvorena influence is still present and is manifested in the use of a (bez zlatnog reza) i prije svega luka iznad ulaza u vilu. Luk ćemo prema jugu i zapadu, pogled se pruža preko Barja do Krima. simple square module (without Golden Section) and above vrlo teško naći u tadašnjoj funkcionalističkoj arhitekturi, a još Kuća je projektirana zajedno s budućim vrtom tako da tvore all in the arch above the villa’s entrance. We will hardly find manje je bio korišten kao simbolički označitelj ulaza. Po nekim cjelinu, te se bez čvrstih granica međusobno prožimaju. the use of an arch in the Functionalist architecture of that se izvorima Tomažič ugledao u lukove koje je koristio Auguste Glav­ne stube smještene su u otvorenom prostoru glavnog time and it was even less used as a symbolic designator of Perret u krojačnici Esders u Parizu 1919. godine. ¶ Kako je Plečnik prila­za. U prizemlju će biti raspoređene sporedne prostorije i an entrance. According to certain sources, the models for u početku kumovao toj Tomažičevoj narudžbi, a vilu je gradila zimski vrt, a na prvom katu stan kućevlasnika, velikog prijatelja Tomažič’s arches were those that Auguste Perret had used građevna tvrtka koja je bila stalni izvođač Plečnikovih projekata, prirode i cvijeća; za njega su kuća i vrt jedno. Zidovi su otvoreni, in the 1919 tailor’s shop Esders in Paris. ¶ Since Plečnik was tako je majstor dodao još i konačnu ‘točku na i’, naime poslije su prozori veliki, prostorije prelaze jedne u druge, sve je u najvećoj behind this commission of Tomažič’s in the beginning, and mu se obratili vlasnici zbog planova za vrt. Tada su po njegovim mjeri prozračno i svijetlo. Kuća više nije zatvorena kutija, već the villa was built by the construction company that was planovima izvedene samo dodatne vanjske stube, kao prijelaz predstavlja dio uređene prirode kao čovjekova boravišta. Vanjs­ otherwise a regular contractor for Plečnik’s projects, the stražnjeg dijela kuće u vrt. ke su forme jednostavne, lake i jasne, nema ni traga težine i tmurnosti. Na posjetitelja kuća ostavlja dojam vedrine i lakoće, 2 France Tomažič: ‘Stanovanja in hiše’, Dom in svet No. 1-2, Ljubljana, 1935, pp 2 France Tomažič, ‘Stanovanja in hiše’, Dom in svet, br. 1-2, Ljubljana, 1935., str. 80-88 80–88.

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