100 GODINA BAUHAUSA 100 YEARS OF BAUHAUS

Naučni simpozij: “Uticaj Bauhausa na savremenu arhitekturu i kulturu Bosne i Hercegovine“ Scientific symposium “The influence of the Bauhaus on contemporary architecture and culture of Bosnia and Herzegovina

Zbornik radova / Proceedings

Sarajevo 2020. Impressum / Impressum Koncept simpozija / Concept: Elša Turkušić Jurić Urednik / Editor: Elša Turkušić Jurić Organizacija i koordinacija simpozija / Organization and coordination: Izdavač / Published by: Vjekoslava Sanković Simčić Nacionalni komitet ICOMOS u Bosni i Hercegovini Aida Murtić / National Committee of ICOMOS in Bosnia and Elša Turkušić Jurić Herzegovina Jovana Bijelića 8, 71000 Sarajevo Naučni komitet simpozija www.icomosubih.ba / Scientific committee: Prof. dr. Vjekoslava Sanković Simčić Za izdavača / For publisher: Prof. mr. Asim Đelilović Elša Turkušić Jurić Dr. Andrea Baotić-Rustanbegović Prijevod na engleski jezik Doc. dr. Elša Turkušić Jurić / English translation: Aida Murtić, PhD cand. Dujam Simčić, Iva Simčić

Lektura / Text editing: CIP - Katalogizacija u publikaciji Fadila Gušo Nacionalna i univerzitetska biblioteka Bosne i Hercegovine, Grafičko oblikovanje / Design: Sarajevo Alisa Burzić 7.038.16:72(497.6)(082)

Štampa / Print: NAUČNI simpozij Uticaj Bauhausa na savremenu arhitekturu i Dobra knjiga d.o.o., Sarajevo kulturu Bosne i Hercegovine (2019 ; Sarajevo) Tiraž / Number of copies: Naučni simpozij Uticaj Bauhausa na savremenu 100 arhitekturu i kulturu Bosne i Hercegovine : [Sarajevo, 9 decembar 2019] : zbornik radova = Scientific symposium The Mjesto i godina izdanja / Place and year of influence of the Bauhaus on contemporary architecture and publication: culture of Bosnia and Herzegovina : proceedings / urednik Sarajevo, 2020. Elša Turkušić Jurić ; prijevod na engleski jezik Dujam Simčić, Iva Simčić. - Sarajevo : Nacionalni komitet ICOMOS u Bosni Naučni simpozij: “Uticaj Bauhausa na i Hercegovini = ICOMOS National Committee in Bosnia and savremenu arhitekturu i kulturu Bosne i Herzegovina, 2020. - 104 str. : ilustr. ; 25 cm Hercegovine”, 9.decembar 2019., Sarajevo Tekst uporedo na bos. i engl. jeziku. - Tekst štampan / Scientific symposium “THE INFLUENCE OF THE dvostubačno. - Biografije autora: str. 102-104. - Bibliografija BAUHAUS ON CONTEMPORARY ARCHITECTURE uz sve radove. - Abstract. AND CULTURE OF BOSNIA AND HERZEGOVINA”, December 9th 2019. Sarajevo ISBN 978-9926-8463-0-5 Organizator simpozija COBISS.BH-ID 29099526 / Organization: ------Nacionalni komitet ICOMOS u Bosni i Hercegovini / National Committee of ICOMOS in Bosnia and Publikacija je realizirana uz finansijsku podršku: Herzegovina Federalno ministarstvo obrazovanja i nauke / Jovana Bijelića 8, 71000 Sarajevo Publication suported by: Federal Ministry of Education www.icomosubih.ba and Science Sadržaj / Content

8 70 Predgovor / Foreword Adnan Pašić

Značajne pojave moderne 10 i savremene umjetnosti Uvod / Introduction i arhitekture Bosne i Hercegovine i naslijeđe Bauhausa na primjeru 14 Sarajeva: kratki pregled Miroslav Malinović, Siniša Vidaković / Important phenomena of the modern and Refleksije Bauhausa na contemporary art and arhitekturu stambenih architecture of Bosnia objekata u Banjoj Luci and Herzegovina and the i njihova recentna Bauhaus heritage - example degradacija of Sarajevo: short survey / Reflections of the Bauhaus on the residential architecture in Banjaluka 94 and its recent degradation Haris Sahačić

KADA MAJSTORI UTIHNU... 40 / WHEN THE MASTERS FALL Elša Turkušić Jurić, SILENT... Vedad Islambegović

Mogućnosti reinterpretacije 104 ideja Bauhausa – na primjeru Biografije / Biographies idejne zamisli stambenog naselja Ciglane u Sarajevu / REINTERPRETATION POSSIBILITIES OF THE BAUHAUS IDEAS – EXAMPLE OF CONCEPTUAL DESIGN OF THE CIGLANE ESTATE IN SARAJEVO Predgovor Foreword

Nacionalni komitet ICOMOS The ICOMOS National Committee (Međunarodni komitet za spomenike i in Bosnia and Herzegovina (ICOMOS - spomeničke cjeline) u Bosni i Hercegovini International Council on Monuments and aktivno i profesionalno se bavi zaštitom Sites) has been occupying itself actively i promoviranjem kulturno-historijskog and professionally with protection and i prirodnog naslijeđa. Tokom 2018. promotion of the cultural – historic and godine, kao Evropske godine kulturnog natural heritage. naslijeđa, započeli smo promoviranje During 2018, as a European year arhitekture XX. stoljeća u Bosni of the cultural heritage, we have begun i Hercegovini. Smatrali smo da je promoting the 20th century architecture podizanje svijesti o karakteristikama i in Bosnia and Herzegovina. We considered dometima modernizma u Bosni i Hercegovini raising awareness about characteristics u tom momentu bilo najrelevantnije. Tome doprinosi činjenica da je ovo naslijeđe and achievements of Modernism in Bosnia nedovoljno prezentirano i istraženo bez and Herzegovina to be the most relevant obzira na svoju raznolikost i bogatstvo at that moment. This is contributed by the u prostornom izričaju. Pored toga, fact that this heritage is under-represented ono se u našem društvu najmanje i vrednuje and poorly explored, despite its diversity i prepoznaje kao zajednička i kulturna and richness in its spatial expression. vrijednost. Besides, it is least valued and recognized as a shared and cultural value in our society. Tada je i začeta ideja o nastanku edicije posvećene arhitekturi It was then that the idea of ​​ i graditeljstvu XX. stoljeća u Bosni i creating an edition dedicated to the 20th Hercegovini. Ovom prvom publikacijom, century architecture and building in Bosnia kojom obilježavamo stogodišnjicu and Herzegovina has been conceived. It is nastanka škole Bauhaus, započinjemo with this first publication, with which we seriju čiji je cilj da ponudi različite are marking the centenary of the Bauhaus i nove poglede na našu neposrednu School, that we are launching a series graditeljsku i kulturološku prošlost. that will aim to offer different and new Sadržavat će određene teme koje uključuju perspectives on our immediate architectural pojedine autorske opuse, tipologije and culturological past. It will contain objekata, specifične oblikovne pojave specific topics that include individual i arhitektonske izraze, kulturološke i authors’ oeuvres, typologies of buildings, društvene fenomene itd. specific shaping phenomena and architectural expressions, culturological Potpuno smo svjesni da ovakav and social phenomena, etc. pionirski poduhvat ne može pružiti cjelovit pregled na složeno i po mnogo čemu We are fully aware that such a proturječno stoljeće koje je iza nas. Naša pioneering endeavour cannot provide a

6 PREDGOVOR namjera nije da budemo nostalgični prema comprehensive overview of the complex njemu, nego da sa određene vremenske and in many ways contradictory century i kulturološke distance prepoznamo i that has recently ended. It is not our prihvatimo trajne vrijednosti progresa, intention to be nostalgic for it, but to inovativnosti i emancipacije. Želimo recognize and embrace the enduring values​​ otvoriti mogućnosti kreiranja i promišljanja of progress, innovation and emancipation današnjeg suvremeniteta i vlastite kulture from a certain temporal and cultural unutar njega koja može ponuditi kritičku distance. We want to open up the refleksiju naslijeđenog. possibilities of creating and reflecting on today’s contemporariness and our own culture within that endeavour which can emancipate the heritage as well.

FOREWORD 7 Uvod Introduction

Protekle godine je obilježena The centenary of the founding stogodišnjica od osnivanja škole Bauhaus, of the Bauhaus School was marked last jedne od najutjecajnijih i najprogresivnijih year, one of the most influential and škola arhitekture, dizajna, vizuelnih progressive schools of architecture, umjetnosti i urbanizma u svijetu. Tokom design, visual arts and urban-planning svog rada škola je otvorila niz pitanja in the world. In the course of its work, aktualnih za moderno doba, koja i the school has raised a number of issues danas pobuđuju pažnju suvremenog relevant to the modern age, which even čovjeka. Neosporan je utjecaj ove škole today attract the attention. The influence na društvena, kulturološka i umjetnička of this school on social, cultural and strujanja u Bosni i Hercegovini. Tim artistic trends in Bosnia and Herzegovina povodom NK ICOMOS u Bosni i is indisputable. On this occasion, the Hercegovini, u decembru 2019. godine u ICOMOS National Committee in Bosnia Sarajevu, organizirao je naučni simpozij and Herzegovina organized a scientific o temi „Utjecaj Bauhausa na savremenu arhitekturu i kulturu Bosne i Hercegovine“. symposium on “The influence of the Na ovaj način NK ICOMOS u Bosni i Bauhaus on contemporary architecture Hercegovini nastavlja započetu misiju and culture of Bosnia and Herzegovina” prezentiranja ostvarenja arhitekture, in Sarajevo in December 2019. In this way, društva i kulture u XX. stoljeću u Bosni the ICOMOS NC in Bosnia and Herzegovina i Hercegovini široj stručnoj, domaćoj i continues its mission of presenting the međunarodnoj javnosti. achievements of architecture, society and culture in the 20th century in Bosnia Sadržaj ove publikacije-zbornika and Herzegovina to a broad professional, radova čine dopunjena izlaganja učesnika domestic and international public. naučnog simpozija uz zaključni kritički osvrt jednog od moderatora simpozija. The contents of this publication Osnovni cilj naučnog simpozija je bio da - proceedings are supplemented by se ostvarenja bh. arhitekata, umjetnika the presentations of the scientific i ostalih protagonista argumentirano symposium’s participants with a pozicioniraju u kontekst internacionalnih concluding critical review by one of the kretanja avangardnih i modernih pokreta, moderators of the symposium. The main ali i ostalih značajnih diskursa koji su aim of the scientific symposium was obilježili XX. stoljeće. Nastojalo se to position with valid arguments the propitati koliko su bili dalekosežni utjecaji achievements of Bosnia and Herzegovina Bauhausa u Bosni i Hercegovini kako bi se architects, artists and other protagonists njihova zaostavština mogla valorizirati i in the context of international trends of nadgraditi u sadašnjem trenutku. the avant-garde and modern movements, Nakon sto godina od svog as well as other significant discourses osnivanja u Weimaru i osam i po decenija that marked the 20th century. It sought to

8 UVOD od prestanka rada u Berlinu, škola question how far-reaching the influences Bauhaus i dalje inspirira svojim of the Bauhaus have been in Bosnia and principima: pedagoškim i etičkim Herzegovina so that their legacy could be radom, kreiranjem slike svijeta kroz valorized and upgraded in the present, osjećaj za društvenu predanost, te contemporary moment. interdisciplinarnim pristupom kulturi. After one hundred years since its S pravom možemo reći da je Bauhaus i founding in Weimar and eight and a half danas utjecajan. Ovu konstataciju Deyan decades since leaving Berlin, the Bauhaus Sudjic nastoji obrazložiti argumentirajući School continues to inspire with its u svojoj knjizi „B is for Bauhaus“ iz 2014. principles: pedagogical and ethical work, godine kako nijedna škola arhitekture creating an image of the world through i umjetnosti do sada nije uspjela imati a sense of social commitment and an ono što je imao Bauhaus: znamenitu interdisciplinary approach to culture. zgradu koja otjelovljuje samu filozofiju We may well say that the Bauhaus is still škole, studente iz cijelog svijeta uz influential today. Deayn Sudjic seeks to prestižne direktore i nastavnike, kao jedne od vodećih kreatora i autoriteta substantiate this statement by arguing svoga vremena. in his 2014 book “B is for Bauhaus”, that no school of architecture and art has so Kada govorimo o vezi Bosne far managed to have what the Bauhaus i Hercegovine, Bauhausa i evropske had: a landmark building that embodies avangarde, neizostavno i najpoznatije the School’s philosophy itself, students je ime arhitekte Selmana Selmanagića, from all over the world and prestigious diplomiranog studenta škole Bauhaus, directors and teachers, as one of koje je našoj i internacionalnoj javnosti the leading creators and leading figures do sada predstavila Aida Abadžić-Hodžić of its time. nizom izlaganja, publikacija i izložbi. Unutar ovog simpozija otvorene su When speaking about the realtion teme percepcije i recepcije Bauhausa between Bosnia and Herzegovina, the u Bosni i Hercegovini tokom XX. Bauhaus and the European avant-garde, stoljeća do danas: kako i na koji način su the name of architect Selman Selmanagić, prihvaćene ideje Bauhausa u procesu a graduate student of the Bauhaus obrazovanja, oblikovanja i razvoja School - which has been presented so far graditeljske misli, povezivanja dizajna i to our national and international public tehnologije, modernizacije savremene with a series of publications, exhibitions životne svakodnevnice, te kakav je and lectures by Aida Abadžić Hodžić - is odnos današnjeg društva i struke spram the most famous and obligatory to be ostvarenja u duhu Bauhausa? mentioned. Within this symposium, the topics of perception and reception of Zbornik započinje radom pod the Bauhaus in Bosnia and Herzegovina nazivom „Refleksije Bauhausa na throughout the 20th century till present: arhitekturu stambenih objekata u Banjoj how and in what way have the ideas of the

INTRODUCTION 9 Luci i njihova recentna degradacija“ koji Bauhaus been accepted in the process nudi sažeti pregled znamenitih gradskih of education, design and development vila građenih u duhu svog vremena a of the architectural thought, the koje nose neke od odlika bauhausovskih integration of design and technology, principa. Građene od privatnih the modernization of contemporary investitora i projektirane od domaćih everyday life and finally, what is the arhitekata, nude pogled na jednu kulturu relation of today’s society and profession stanovanja i građenja kojom je započela to the creations done in the spirit modernizacija grada Banja Luka, ali of the Bauhaus? i njene (lokalne) kulture stanovanja The Proceedings begin with u međuratnom periodu (1918-1940). a paper entitled “Reflections of the Glavni fokus rada je stavljen na recentno Bauhaus on the Architecture on the stanje ovih objekata- zapuštenih ili Residential Architecture in Banjaluka and preoblikovanih do te mjere da gube Its Recent Degradation” which offers a svoje konceptualne karakteristike. Rad concise overview of the famous urban zaključuje da ovakva bezbrižnost prema villas built in the spirit of their time and naslijeđenom prostoru, koja graniči sa which bear some of the hallmarks of kičem, nije prisutna samo kod lokalnog the Bauhaus principles. Built by private stanovništva, niti vlasnika prostora nego investors and designed by local architects, i kod stručnih službi zaštite. they offer a glimpse into one housing Drugi rad pod nazivom and construction culture that began the „Mogućnosti reinterpretacije ideja modernization of the city of Banjaluka, Bauhausa – na primjeru idejne zamisli as well as its local housing culture in stambenog naselja Ciglane u Sarajevu“ the interwar period (1918-1940). The propituje opstojnost ideje kontinuiteta main focus of the paper is on the recent progresivnosti u razvoju arhitektonske state of these buildings - neglected or misli u Bosni i Hercegovini. Elaboriranje remodeled to the extent that they lose teme je zasnovano na kompariranju their conceptual characteristics. The nekih od osnovnih načela Bauhausa sa paper concludes that such carelessness, obilježjima naselja Ciglane, projektiranog which borders on kitsch, towards the sredinom 70. godina XX. stoljeća. Radom inherited space is present not only in se pokazalo da istraženi elementi the local population or the owner of the kompatibilnosti nisu direktni niti formalni, space, but also in the expert protection što ukazuje na elemente evolutivnog services. razvoja moderne misli na ovim prostorima. Another paper entitled Time je ponuđena i drugačija percepcija “Reinterpretation Possibilities of the na mogućnosti regeneriranja naselja, kao Bauhaus Ideas- Example of Conceptual i na karakter naslijeđa Bauhausa. Design of the Ciglane Estate in Sarajevo” Treći rad pod nazivom „Značajne questions the viability of the idea pojave moderne i savremene umjetnosti of progressiveness continuity in the

10 UVOD i arhitekture Bosne i Hercegovine development of architectural thought in i naslijeđe Bauhausa na primjeru Bosnia and Herzegovina. Elaboration of Sarajeva: kratki pregled“ daje tematski the topic is based on a comparison of some širok, ali sažeto fokusiran hronološki of the basic principles of the Bauhaus pregled razvoja moderne misli u with the characteristics of the Ciglane arhitekturi, kulturi i umjetnosti Bosne i Estate, designed in the mid-1970s. The Hercegovine kontekstualizirajući način paper has shown that the researched bauhausovog promoviranja savremene elements of compatibility are neither direct forme Gesamtkunstwerka. Time, nor formal, thus indicating the elements of pored arhitektonske, rad ulazi i u druge the evolutionary development of modern segmente kulturne produkcije poput thought in this region. This offered a teatarske unutar strukovno-umjetničkog different perception of the possibilities udruženja sa kritičko angažiranim of the Estate’s regeneration, as well as djelovanjem do načina medijske of its Bauhaus heritage character. komunikacije u ekspanziji društvene, The third paper entitled kulturne i graditeljske emancipacije. U “Important Phenomena of Modern and svom zaključnom razmatranju rad se Contemporary Art and Architecture of osvrće na trenutno deprimirajuće stanje Bosnia and Herzegovina and the Bauhaus u kulturi i graditeljstvu podstaknuto Heritage - Example of Sarajevo: a Short najvećim dijelom globalnim tokovima Survey” provides a thematically broad, neoliberalizma. Izlaz iz takve situacije but concise and focused chronological moguć je u savremenoj interpretaciji overview of the modern thought univerzalnog naslijeđa Bauhausa. development in architecture, culture I sama zanimljiva rasprava koja and art of Bosnia and Herzegovina se povela na kraju izlaganja ponovno je by contextualizing the way in which oživjela potrebu za oblikovanjem nade the Bauhaus promotes contemporary u bolji svijet u kojoj arhitektura i kultura forms of the Gesamtkunstwerk. In moraju pronaći svoju ulogu. Presjek kroz addition to architectural work, the razvoj bh. društva u XX. stoljeću putem paper also deals with other segments sprege utjecaja bauhausovskih principa of cultural production, such as theatre i njegovog naslijeđa nije potpun, jer su within a vocational-artistic association pojedini segmenti društvene strukture with critically-engaged activities and the samo generalno obrađeni poput mode of media communication in the obrazovanja, urbanizma, tehnologije, expansion of social, cultural and umjetnosti i zdravstva. Međutim, pregled architectural emancipation. In its je ponudio tematski širok i dovoljno jasan concluding consideration, the paper uvid u srž karaktera utjecaja Bauhasa refers to the currently depressing state i samog koncepta avangardnosti i of culture and architecture, driven largely modernosti na našem prostoru. by the global currents of neoliberalism. There is a way out of this situation;

INTRODUCTION 11 Nadam se da ćemo ovom it is possible through a contemporary publikacijom započeti dalje razgovore o interpretation of the universal Bauhaus budućnosti našeg društva, arhitekture heritage. i umjetnosti kroz produktivnu i The very interesting debate that transformativnu ideju prihvatanja took place at the end of the presentation, prethodnih i nadolazećih kulturoloških revived the need of raising hopes for a izraza. better world, where architecture and culture must find their role. A cross- Elša Turkušić Jurić section through the development of the Bosnia and Herzegovina society in the predsjednica NK ICOMOS u Bosni 20th century through a combination of i Hercegovini the Bauhaus principles’ influences and the Bauhaus legacy is yet not complete, because certain segments of the social structure such as education, urban- planning, technology, art and health were only generally dealt with. However, the review offered a thematically broad and sufficiently clear insight into the essential character of the Bauhaus influence and the very concept of the avant-garde and modernity in our region. I hope that, with this publication, we will initiate further discussions about the future of our society, architecture and art through the idea of critically accepting both past and upcoming cultural expressions.

Elša Turkušić Jurić President of the NC ICOMOS in Bosnia and Herzegovina

12 UVOD

Refleksije Bauhausa na arhitekturu stambenih objekata u Banjoj Luci i njihova recentna degradacija

/ Reflections of the Bauhaus on the residential architecture in Banjaluka and its recent degradation

Prethodno priopćenje Tehničke nauke/ Arhitektura i urbanizam / Preliminary Communication Technical Science/ Architecture and Urbanism

Miroslav Malinović Siniša Vidaković

100 GODINA 14 BAUHAUSA Abstract Abstract

U radu se daje prikaz razvoja In this paper, the development of stambene arhitekture u Banjoj Luci the residential architecture in Banjaluka nastale u doba Moderne. Fokus se prvo in the period of the Modern Movement is stavlja na nastanak te arhitekture pod presented. Firstly, the paper focuses on refleksijom uticaja principa Bauhausa, the genesis of that architecture under the influence of the Bauhaus principles, while a potom se autor bavi problemom later, it occupies with the degradation degradacije tog nasljeđa, što se počinje problem of that heritage which became snažnije osjećati od 90. godina XX vijeka. harder in the 1990s. U prvom dijelu rada se daje kratak In the first part of the paper, prikaz analize porijekla, nastanka i razvoja a short survey on the origin analysis, arhitekture prvenstveno stambenih creation and development of the objekata nastalih u Banjoj Luci između architecture is presented, primarily the dva svjetska rata, a pod uticajem škole residential buildings that came into arhitekture Bauhausa. Jednoporodični being in Banjaluka between two World stambeni objekti, mahom stambene Wars and under the influence of the zgrade i javne institucije bivaju građeni u Bauhaus School of Architecture. Single- periodu 1929-1941. godine a za projekte family buildings, mainly apartment buildings and public institutions were se angažuju kako lokalne, tako i arhitekte built between 1929 and 1941, while both iz Zagreba i Beograda, školovane i u local and architects from Zagreb and inostranstvu. Belgrade educated abroad were hired for Počev od druge polovine XX the designs. vijeka, usljed različitih istorijskih From the beginning of the 2nd half zbivanja, objekti mijenjaju vlasnike, of the 20th century on and by virtue of bivaju prenamijenjeni, dograđeni ili se different historical events, the buildings gradnjom u njihovoj neposrednoj okolini have been changing their owners, their narušava integritet samih objekata do purposes and uses, have been extended mjere da izvorna arhitektura postaje or their integrity having been spoilt by neprepoznatljiva. U drugom dijelu rada constructions in the immediate vicinity to putem nekoliko odabranih studija kritički the extent that the original architecture becomes unrecognizable. In the second se sagledava problematika društvenih part of the paper, through several tokova koji vode procesima čiji je rezultat selected studies, the problem area of trajna degradacija ovog važnog opusa social trends is critically observed, trends moderne arhitekture u Banjoj Luci. which lead to processes whose result is a Ključne riječi: Bauhaus, Banja permanent degradation of this important Luka, arhitektura, nasljeđe, degradacija ensemble of the modernist architecture in Banjaluka. Key words: Bauhaus, Banjaluka, architecture, heritage, degradation

100 YEARS OF BAUHAUS 15 Uvod Introduction

Kvalitet i originalnost arhitekture, Quality and originality of the posmatrani kao svojevrstan grafikon, architecture, when observed as a gdje je X osa vrijeme, a Y osa upravo peculiar graph, where the x axis is time kvalitet i originalnost, mogu se preklopiti and the y axis is the very quality and sa grafikonom uspona i padova političkih originality can overlap with a graph of sistema i istorijskih (ne)prilika na ups and downs of political systems and nekom području: ništa novo u procesu historical circumstances and troubles razumijevanja razvoja arhitekture, bez in a certain area: this is nothing new diskusije. Arhitektura u globalu i jeste in the process of understanding vrlo vjeran odraz društvenih dešavanja architecture’s development, no need i istorijskih prilika nekog područja sa for any discussion. The architecture as dugoročnim refleksijama ekstrema tih a whole is a very accurate reflection faktora na kasnije izraze arhitekture. of social developments and historical Gdje je onda specifičnost ove circumstances of a certain area with long- problematike u slučaju Banje Luke? term reflections of extremes of those Dešavanja koja su uslijedila nakon factors on subsequent architectural disolucije Socijalističke Federativne expressions. Republike Jugoslavije rezultovala su Where is then, a specific quality of promjenom državnog sistema i uređenja, these problems in the case of Banjaluka? ulaskom u tranziciju, te, između ostalog, A chain of events that ensued after the neminovno dovela do veće potražnje Socialist Federal Republic of Yugoslavia za prostorom za gradnju objekata čije had dissolved, have resulted in a change tipologije u prethodnim istorijskim of system of state and government, razdobljima nisu postojale, ili su postojale the process of transition and among u manjoj mjeri. Ipak, takav skok nije nov other things, implacably led to a greater kao pojava u istoriji Bosne i Hercegovine. demand for space for the construction Prije samo 140 godina nekada moćna of structures whose typology had not Otomanska imperija smijenila se sa Austro- existed in previous historical periods or Ugarskim Carstvom, tada na vrhuncu had existed to a lesser extent. Still, such moći, kojem je na upravu data Bosna i a leap is not a new one as a phenomenon Hercegovina. Svakako da kvalitativno in history of Bosnia and Herzegovina. kontekstualizovano napredak donesen Only 140 years ago, the once powerful austrougarskim dolaskom ne može ni da se Ottoman Empire, was succeeded by poredi sa promjenama krajem 90. Iako su Austria-Hungary (then at the peak of austrougarske vlasti bile u mogućnosti da power); Bosnia and Herzegovina was given uklanjaju tragove arhitekture smijenjene to it for the purpose of administration. It imperije, činile su upravo suprotno. is certain that in the context of quality, Banja Luka je jedan od značajnijih progress brought by Austria-Hungary

100 GODINA 16 BAUHAUSA primjera u Bosni i Hercegovini u kojem su cannot be even compared with the novopridošli inženjeri iskazali senzibilitet changes at the end of the 1990s. Although prema tradicionalnom i orijentalnom the Austria-Hungarian authorities were izrazu u arhitekturi otomanskih mahala, able to remove architectural traces of te su, koristeći prirodnu granicu, the former empire, they were doing prirodnim tokom rječice Crkvene povukli exactly the opposite. Banjaluka is one of granicu između stare – otomanske i nove the more significant examples in Bosnia – austrougarske Banje Luke. I tada su novi and Herzegovina where newly-come objekti, do tada nepoznatih tipologija, kao engineers showed sensibility towards što su sudovi, bolnice, banke, gimnazije, traditional and oriental expression in sportske hale itd., svoje mjesto našli na the architecture of Ottoman quarters slobodnom prostoru bez ugrožavanja (mahalas) and used a natural border, identiteta arhitekture i urbanog tkiva the natural flow of the Crkvena river ranijih istorijskih epoha. by drawing a border between the old - Austrougarske vlasti su svojim Ottoman and the new – Austria-Hungarian pristupom u planiranju Banje Luke, Banjaluka. And then, new structures, up svjesno ili nesvjesno, u novom urbanom to that point unknown types like courts, tkivu ostavile dovoljno prostora za hospitals, banks, grammar schools, kasnija širenja do kojih je došlo za vrijeme sports halls etc., found their place in Kraljevina Srba, Hrvata i Slovenaca, the unoccupied space without putting in kasnije Kraljevine Jugoslavije, i to danger the identity of the architecture ponajprije u vrijeme postojanja Vrbaske and urban tissue of the former banovine, 1929-1941. godine, kao historical periods. dijela pomenutih kraljevina. Stambena arhitektura u tom periodu razvija se, The Austria-Hungarian authorities između ostalog, pod uticajem jednog od have left, either consciously or najmoćnijih pravaca Moderne arhitekture unconsciously with their approach at the – Bauhausa, stvarajući nekoliko veoma planning of Banjaluka, enough space for uspješnih realizacija širom grada. latter expansions in the urban fabric, the Nažalost, vrijeme koje je iza nas expansions that came into being at the postalo je svjedok stvaranja mutiranog time of the Kingdom of Serbs, Croats and grafikona sa početka uvoda. Izlaskom iz Slovenes, then Kingdom of Yugoslavia, ratnih nedaća i ekonomskim oporavkom, primarily in the period of the Vrbaska prvenstveno privatnog sektora, Banovina or Vrbaska Banate (1929- društvene norme su, nažalost, drastično 1941), as a part of the aforementioned pale, a posljedice po istorijske objekte, kingdoms. Residential architecture of mahom nacionalne spomenike Bosne i that era developed, inter alia, under the Hercegovine, postale su katastrofalne. influence of one of the most powerful Polarizacija među društvenim slojevima, trends of the modern architecture – kao i jačanje karakteristika društvenih the Bauhaus, creating thus several very normi koje su u prethodnim vremenima successful structures across the city.

100 YEARS OF BAUHAUS 17 bile odbacivane doveli su do trenutnog Unfortunately, the time that has odnosa prema nasljeđu. passed, has become a witness of creating Kroz odabrane studije slučaja the mutated graph mentioned at the pojedinih objekata pokazuje se nazadnost beginning of the introduction. After the društva čija su djelovanja, naročito war troubles and with the economical skraja 90., do današnjih dana dovela do recovery, primarily the private sector, apsolutne degradacije ovih originalnih social norms have unfortunately djela arhitekture ponikle na marginama decreased drastically, while consequences tekovina Bauhausa. Značajan naučni for historical structures, mainly national doprinos istraživanju i dokumentovanju monuments of Bosnia and Herzegovina, arhitekture stambenih objekata dao have become catastrophic. Polarization je Siniša Cvijić, arhitekta iz Banje Luke, among society classes, as well as growing čija je knjiga „Moderna stambena strong when it comes to characteristics arhitektura“ Banja Luka, 1929-1941, u of social norms which had been rejected izdanju Zaduzbine „Andrejevic“ iz 2014. in previous periods, all have led to the godine, jedno od najsveobuhvatnijih current attitude towards heritage. izdanja koje se bavi ovom tematikom. By elaborating through selected Nalazi Siniše Cvijića su u osnovi ovog rada studies of particular structures, it is sa aspekta verifikovanih vremena gradnje clearly shown how much society went pojedinih objekata, biografskih podataka backwards, whose actions, especially at uključenih arhitekata, te arhitektonske the end of the 1990s until today, have dokumentacije (planovi i izgledi). led to absolute degradation of these original works of architecture, arisen in the margins of the Bauhaus attainments. Important scientific contribution to the research and documentation Banja Luka u of residential structures’ architecture međuratnom periodu was given by Siniša Cvijić. An architect from Banjaluka, whose book Modern Dolaskom austrougarskih vlasti Residential Architecture; Banjaluka 1929- na tlo Bosne i Hercegovine 1878. godine 1941, Andrejević Endowment Edition from stvorila se težnja sa premošćavanjem 2014 is one of the most comprehensive nekoliko vijekova otomanskog prisustva, editions that deals with this topic. Cvijić’s prije svega kroz unapređivanje društvenih findings are making the base of this work normi, kulture, obrazovanja, ali i from the aspect of verified construction arhitekture. U 40 godina boravka strane periods of particular structures, vlasti većinom inostrane arhitekte su bile biographical data of involved architects u mogućnosti da za potrebe u prvom redu and architectural documentation (floor javnih investicija praktikuju kasne oblike plans and appearances). obnova istorijskih stilova i eklektičkih

100 GODINA 18 BAUHAUSA uticaja iz inostranstva, mahom i uz Banjaluka in the upotrebu lokalnih tradicionalnih formi. Tako su izrazi obnove renesanse, baroka i inter-war period kasnije raznih istoricizama, ali i pojedinih lokalno-specifičnih pravaca kao što je When Austria-Hungary came pseudomavarski, u veoma kratkom roku to Bosnia and Herzegovina in 1878, an intention was made to bridge several uvedeni u Bosnu i Hercegovinu (Malinović centuries of the Ottoman presence, first 2014, 41-58). of all through improving social norms, Zbivanja izazvana Velikim ratom culture, education, but architecture as su prekinula lanac razvoja i dovela do well. During the 40 years of the Austria- perioda stagnacije karakterističnog za Hungarian presence, mostly foreign cijelu Bosnu i Hercegovinu. U poslijeratnim architects were able to practice late godinama, primjera radi, njemački kulturni forms of the Historical Styles and eclectic pokreti i arhitektura uopšte bazirali su se influences from abroad (usually with the na stvaranju „nove škole“ čiji će, kasnije use of local traditional forms) primarily će se ispostaviti, najjači predstavnik biti for the needs of public investments. Thus, upravo Bauhaus. Bauhaus će doprinijeti expressions of the Renaissance, Baroque pokušaju etabliranja promijenjenog Revival and later various Historicisms, njemačkog identiteta nove, napredne but also particular locally-specific styles nacije, daleko od kolonijalnih tendencija. like pseudo-Moorish one, were in a Istovremeno, bilo je potrebno više od short period of time introduced in Bosnia decenije vremena da se novoformirana and Herzegovina. (Malinović 2014, 41-58). Kraljevina na tlu današnjih republika Circumstances caused by the izdigne iz pepela i krene putem napretka, Great War, cut short the chain of oslobođena istorijskih stega ranijih developments and led to a stagnation unutrašnjih i spoljnih sukoba. period that is characteristic for Bosnia and Herzegovina. For example, German Puristički pristup – novi duh cultural movements and architecture in modernih principa, bezornamentalne the post-war years were generally based arhitekture lišene lokalnih uticaja i on the creation of the ‘’New School’’, tradicija, internacionalnog pristupa i whose (as it was later turned out to zapadnoevropske čistote masovno javlja be) strongest representative was the se tek 30. godina u Kraljevini Jugoslaviji. Bauhaus. The Bauhaus contributed to the Osnivanjem banovina, kao novih effort of establishing a changed German administrativnih jedinica, stvoreni su identity of the new, progressive nation, uslovi preobražaja zaostalog društva - far from colonial tendencies. At the nacionalno, religijski i staleški duboko same time, it took more than a decade podijeljenog, i zakržljalih urbanih cjelina for the newly-formed kingdom to rise – opterećenih istorijskim pristupima, from the ashes and set off on the way zastarjelom arhitekturom i urbanističkim of progress, liberated from historical planiranjem nemoćnim da odgovori chains of various inner and outer conflicts.

100 YEARS OF BAUHAUS 19 na rastuće zahtjeve savremenog A puristic approach – a new spirit doba. Svakako da tekovine moderne of modern principles, a non-ornamental arhitekture nisu bile nepoznanica u architecture deprived of local influences arhitekturi Kraljevine Srba, Hrvata i and traditions, of international approach Slovenaca i ranije, ali je potrebno da se and West European purity, appears razumije da je tek poslije Šestojanuarske massively only during 1930s in the diktature formalizovan sveopšti pristup Kingdom of Yugoslavia. When the osavremenjivanju Kraljevine – što je banovinas (banates) were founded, as moderna arhitektura, koja se ontološki new administrative units, transformation protivila korišćenju istorijskih stilova, conditions for the underdeveloped jedina u tom trenutku imala kapacitet da society were created – the society that preuzme i simbolički odgovori političkim was deeply divided along religious, ethnic htjenjima za nacionalnim jedinstvom and class lines and degenerated urban (Ignjatović 2017). units - burdened by historical approaches, Banja Luka, prvi put od vremena outdated architecture and town planning Sofi Mehmed-paše i Gazi Ferhad-paše that was not capable of responding to new, Sokolovića, postaje upravni centar neke growing demands of the contemporary oblasti – Vrbaske banovine. Prvi ban era. It is certain that modern architecture Svetislav Milosavljević za arhitekturu attainments were not unknown in the centralnih javnih objekata Banske architecture of the Kingdom of Serbs, uprave i Banskog dvora uvažava više Croats and Slovenes and even earlier, but tradicionalne i forme obnove „narodnog one needs to comprehend that it was only stila,“ koji će se odlično uklopiti sa srpsko- after the 6th January dictatorship, that a vizantijskom arhitekturom Sabornog universal approach to make Yugoslavia hrama arhitekte Dušana Živanovića iz a contemporary country was formalized 1925-1929. godine, koji zauzima centralnu – which the modern architecture (being poziciju u Banjoj Luci. Ipak, drugi javni i ontologically against the use of Historical privatni objekti bivaju oslobođeni tereta Styles) was the only one in that moment tih uticaja i primaju moderni karakter. capable to take over and symbolically Važno je napomenuti da su drugdje, u respond to political demands for the pojedinim banovinama, npr. Primorskoj national unity. (Ignjatović 2017) u Splitu ili Dunavskoj u Novom Sadu, Banjaluka becomes the gotovo istovremeno kada i u Banjoj Luci, administrative centre of the Vrbaska za arhitekturu centralnih objekata već Banovina region – for the first time since tada birani savremeni izrazi (Kadijević Sofi Mehmed-Pasha and Gazi Ferhad 2018, 229; Dobrović 1976). Pasha Sokolović. The first ban Svetislav Milosavljević takes into consideration more traditional forms, as well as forms of the ‘’folk style revival’’ for the architecture of central public structures

100 GODINA 20 BAUHAUSA Uticaj Bauhausa of the Banate Administration Building and Ban’s Court Building which would na moderni izraz u extraordinarily blend with the Serbian- arhitekturi Banje Luke Byzantine architecture of the Orthodox Cathedral (architect Dušan Živanović from Bauhaus, termin koji često i 1925-1929) which occupies the central u govornom jeziku i u istoriografiji position in Banjaluka. Still, other public ravnopravno zastupa formalni naziv and private structures were liberated same škole, ali i njene tekovine, formalno from the burden of those influences je postojao kao institucija 1919-1933. and received a modern character. It is godine. Filozofija škole, razumijevanje important to mention that the banate djelatnosti ne samo arhitekata nego i (banovina) structures elsewhere, for slikara, kipara, majstora raznih zanata i example the Primorska Banovina Building uopšte rukodjelaca, jeste ono što čine in Split and the Dunavska Banovina istinske vrijednosti Bauhausa. Za razliku Building in Novi Sad (built simultaneously od mnogih drugih pravaca i škola s početka with the Banjaluka one) have already XX vijeka, Bauhaus se nije temeljio na received contemporary expressions as teoriji i interpretaciji shvatanja, nego na the public use architecture. (Kadijević radu i proizvodnji i upravo je to dovelo do 2018, 229; Dobrović 1976) dalekosežnih uticaja na arhitekturu prvo u okruženju, a kasnije i u svijetu. Refleksije Bauhausa, upravo u kontekstu načina obrazovanja, organizovanja same škole i unutrašnje filozofije, van same Njemačke se teško Influence of the nalaze u izvornim tekovinama škole Bauhaus on the modern nego u prostim fizičkim uticajima izgleda bezornamentalne arhitekture expression in the objekata čija forma prati funkciju. Tako su Banjaluka architecture najčešće bijele fasade, ugaoni balkoni, nerijetko polukružni, staklene zid-zavjese, The Bauhaus, a designation which konstruktivno oslobođeni ostakljeni in everyday’s speech and historiography uglovi, geometrizovani prozorski otvori, equally designates the formal name vertikalne prozorske trake, kubične forme of that school and its achievements, pokrivene ravnim krovovima ili diskretno existed formally as an institution from naglašavanje detalja bojom, između 1919 to 1933. The school’s philosophy ostalih, postali nepogrešivi indikatori and understanding the work of not only pripadnosti ili uticaja Bauhausa. architects, but painters, sculptors, skilled Činovnički paviljoni arhitekte workmen of various crafts and craftsmen Edgarda Kobencla iz 1930. godine, prve in general, are the very essence that višespratne stambene zgrade u Banjoj are true values of the Bauhaus. Unlike Luci, Gradska opština arhitekte Milana many other schools and trends from

100 YEARS OF BAUHAUS 21 Slika 1: Kuća direktora Niže poljoprivredne škole, arhitekta Nikola Fedorov (1936); (autori, 2019.) / Image 1: House of Director of Junior agricultural school, architect Nikola Fedorov (1936); (authors, 2019)

Popova, podignuta 1931. godine (Cvijić the beginning of the 20th century, 2014, 29), Dom kralja Petra Prvog, the Bauhaus was not based on theory kasnije Narodno pozorište, arhitekte and interpretation of understanding, Josifa Goldnera iz 1934. godine but on the work and production and it (Vidaković 2006, 96) samo su neki od was this fact that led to overwhelming reprezentativnih primjera objekata koji influences on the architecture, first in the su nedvosmisleno nagovijestili takve immediate vicinity and afterwards in the uticaje Bauhausa u Banjoj Luci. Pored world as well. ovih, ruski emigrant Nikola Fedorov How Bauhaus is reflected, in (Vidaković 2006, 100-1), diplomirao na the very context of education manner, Arhitektonskom odsjeku Tehničkog organization of the school itself and its fakulteta u Beogradu 1928. godine inner philosophy, is hardly to be found (Cvijić 2014, 109), izvodi još upečatljivije in the form of the school’s original objekte kao što su Hirurški paviljon (1934-1936) i Higijenski zavod achievements outside of Germany, but it (1932-1933) (Mikić, 2004, 374), is to be encountered in simple, physical koji, takođe, odišu Modernom sa influences of the structures’ non- pojedinim elementima ekspresionizma ornamental architecture appearances kao što su prepoznatljivi ugaoni whose form follows the function. In this detalji Eriha Mendelsona. way it was most frequently white façades,

100 GODINA 22 BAUHAUSA Slika 2: Kuća Stane Kecman, arhitekta Ibrahim Salihagić (1940); (autori, 2019.) / Image 2: House of Stana Kecman, architect Ibrahim Salihagić (1940); (authors, 2019)

Uticaji Bauhausa, uostalom corner balconies, often semicircular, glass niti drugih savremenih tokova ranije screens, glazed corners without pillars, ili kasnije, nisu dolazili neposredno u, geometrical window openings, vertical realno gledano, provincijsko okruženje ribbon windows, cubic forms covered Banje Luke za razliku od centara kao što in flat roofs or discreetly emphasizing a su Sarajevo, Beograd ili Zagreb. Rijetki su detail with colour, that became inter alia autori koji su istovremeno u Banjoj Luci i unmistakable indicators that something drugdje u inostranstvu imali angažmane pertains to the Bauhaus or its influence. na značajnijim projektima. Odatle je Civil servants’ pavilions of the architect potpuno jasno zašto su uticaji putovali Edgard Kobencl from 1930, the first dugo, posredno preko rijetkih publikacija, multistorey residential structures in još rjeđih putovanja ili prenosom znanja Banjaluka, The City Municipality by the sa predavanja u školama arhitekture, architect Milan Popov erected in 1931 najčešće u Beogradu i Beču. Razumljivo, (Cvijić 2014, 29), The House of King Petar I, sa tim je povezana i čistota izraza i later the National Theatre by Josip Goldner uopšte prisutnost tih uticaja. from 1934, (Vidaković 2006, 96) are only Stambena arhitektura zauzima some of the representative examples of poseban položaj u procesu razumijevanja structures which unmistakably heralded odjeka Bauhausa, kao svojevrsne mode those Bauhaus influences in Banjaluka. svog vremena, u arhitekturi Banje Luke. Apart from these, Russian immigrant

100 YEARS OF BAUHAUS 23 Format jednoporodičnog stanovanja, Nikola Fedorov (Vidaković 2006, 100- relativno malih dimenzija i nezavisan 1), graduated from the Department of od javnog uticaja grada ili banovine, Architecture of the Technical Faculty in bio je odličan poligon za ispitivanje Belgrade in 1928 (Cvijić 2014, 109), creates nove arhitekture. Investitori su bili even more impressive structures like u mogućnosti da angažuju privatne the Chirurgical Pavilion (1934-1936) and arhitekte, ali istovremeno i spremni da Public Health Institute (1932-1933) (Mikić prihvate nove ideje bilo zbog pomodnosti 2004, 374), which also exude the Modern ili stvarnog razumijevanja novog duha Movement with particular elements of vremena (Cvijić 2014, 32). Funkcionalno, expressionism, like the recognizable kuće tog vremena ne odstupaju od corner details of Erich Mendelsohn. kuća građenih u većim centrima kao što The Bauhaus influences as well su Beograd ili Zagreb, te imaju javnu, as influences from other contemporary servisnu i privatnu zonu. trends earlier or later did not come Pored objekata kao što su vila directly to the provincial surroundings Emerika Paskole, vila doktora Branka of Banjaluka, unlike centres like Petrovića, vila Franje Klindića i kuća Sarajevo, Zagreb or Belgrade. There Žorža Paskole, cijeli je niz stambenih are few architects who were active and objekata koji su svojom arhitekturom, involved in more significant projects konstrukcijom i primijenjenom simultaneously in Banjaluka and materijalizacijom prišli korak bliže elsewhere abroad. Hence, it is clear evropskim tokovima Bauhausa: kuća why the influences travelled so slowly, direktora Niže poljoprivredne škole, indirectly through rare publications, even Nikola Fedorov, 1936, kuća doktora rarer travels or transfer of knowledge Branka Petrovića, Bogdan Petrović, 1934, from lectures at schools of architecture, kuća Stane Kecman, Ibrahim Salihagić, most frequently in Belgrade and Vienna. 1940, kuća Amalije Licitar, Ibrahim Understandably, expression purity and Salihagić, 1940. i mnoge druge. presence of these influences in general are linked to this fact. Residential architecture takes up a special place in the understanding process of the Bauhaus echoes (which Odabrane studije was a sort of fashion of its period) in the Banjaluka architecture. The one-family slučaja stambenih dwelling size, which was relatively small objekata u Banjoj Luci in dimensions and independent of public 1929-1941. influence of the city and the banate, was an excellent testing ground for the new Degradacija kulturno-istorijskog architecture. Investors were able to hire nasljeđa nije nova pojava na našim private architects, but at the same time prostorima i, nažalost, kako vrijeme were ready to accept new ideas, either

100 GODINA 24 BAUHAUSA odmiče, sve je češća. U Banjoj Luci samo for faddishness or because they really indikativan je, primjera radi, slučaj kuće understood the new spirit of time (Cvijić porodice Šeranić u nekadašnjoj mahali 2014, 32). Functionally, houses of that Gornji Šeher, građene još 1580. godine, period do not depart from those ones a koja se nalazi u fazi samourušavanja. built in larger centres like Belgrade or Odabrane studije slučaja su profilisane Zagreb and have public, service and na način da što ilustrativnije prikažu private zones. stanje pomenute grupacije objekata, i Apart from the buildings like the to u odnosu na više faktora degradacije: villa of Emerik Paskola, villa of doctor nebriga vlasnika i neredovno investiciono Branko Petrović, villa of Franjo Klindić održavanje, zanemarivanje prostornog and the house of Žorž Paskola, there is integriteta objekata i parcela kroz a number of residential buildings which, prostorno-planska dokumenta, ćutanje with their architecture, construction institucija i namjerno uništavanje and applied materialization, went a arhitekture objekata kroz neprimjerene step closer to the European trends of dogradnje, adaptacije i prenamjene the Bauhaus: the house of the Lower i, konačno, ćutanje društva i šire Agricultural School’s director - Nikola zajednice na degradaciju ovih objekata. Fedorov, 1936, doctor Branko Petrović’s Odabrani objekti u tom svjetlu obostrano house - Bogdan Petrović, 1934, the house jednoznačno daju najbolju sliku o stanju of Stana Kecman - Ibrahim Salihagić, problematike, ali nikako nisu usamljeni 1940, house of Amalija Licitar - Ibrahim u tom stanju, nažalost. Jednako važno bi Salihagić, 1940, and many others. bilo prikazati i ostale radove arhitekture istog razdoblja, mahom pomenute ovdje.

Selected studies of Osobine arhitekture residential architecture in Banjaluka 1929-1941 Vila Emerika Paskole Degradation of the cultural- Vila Emerika Paskole (23.6.1904- historical heritage is not a new phenomenon 15.2.1981), banjalučkog industrijalca i in our region and unfortunately, it grows jednog od najvećih zemljoposjednika even steadier as time passes by. In u Banjoj Luci svog vremena, nalazi se Banjaluka alone, an indicative example u Grčkoj ulici, nadomak užeg gradskog is a case of the Šeranić family house in jezgra. Tačni podaci o gradnji, projektu, the former Gornji Šeher Mahala (quarter) kao i vremenu izgradnje nisu poznati, built in 1580 and which is currently in ali prema sekundarnim izvorima, self-crumbling stage. Selected studies kuća je izgrađena sigurno prije 1939. of the case are well-defined (in as much

100 YEARS OF BAUHAUS 25 Slika 3: Vila Emerika Paskole, osnova i izgled; (Cvijić 2014, 37.) / Image 3: Villa of Emerik Paskola, ground floorplan and elevation view; (Cvijić 2014, 37.)

godine, a prema projektu donesenom iz illustrative way as possible) to show the inostranstva, pretpostavlja se iz Italije ili condition of the aforementioned group Austrije. Investitor Paskola je bio vlasnik of structures all in relation to several ciglane koja se nalazila u neposrednoj degradation factors: owners’ lack of care blizini parcele, kao i najvećeg banjalučkog and irregular investment maintenance, hotela „Bosna“ (Cvijić 2014, 37-8). spatial integrity neglect of structures Realizovani projekat predstavlja and lots through physical planning jedno od najizdašnijih rješenja documents, silence of institutions and jednoporodične stambene arhitekture sa deliberate destruction of structures’ kraja 30. godina, uzevši u obzir prostranost architecture via inappropriate extensions, parcele, pažljivo odabranu orijentaciju i adaptations and changes of use and uopšte originalno okruženje sa vještački finally the silence of society and wider izvedenom pokrenutom topografijom, i community to the degradations of these to sve u užem gradskom jezgru. Kuća je structures. Considering this context, the osnove u obliku latiničnog slova „L“. Krila selected buildings give the best picture su postavljena tako da se na njihovom about the condition both mutually and suticanju, na južnoj strani, nalazi glavni unambiguously, but they are by no means ulaz odakle se pristupa prostranom holu, the only ones, unfortunately. It would be koji dalje vodi ka salonima i trpezariji, equally important to show the remaining orijentisanim zapadno, te spavaćoj architectural works of the same period zoni orijentisanoj južno. Sjeverno, krila generally mentioned here. zatvaraju veliku terasu, koja je sačuvana od pogleda sa glavne ulice. Servisne

100 GODINA 26 BAUHAUSA prostorije za poslugu se nalaze na sjeveru Characteristics of architecture velikog krila sa trpezarijom, čime su jasno povučene granice između opsluživanog i opslužujućeg prostora. Konstruktivno, Emerik Paskola’s villa objekat je riješen sa masivnim sistemom, zidovima od opeke i armiranobetonskom The villa of Emerik Paskola (23rd rebrastom tavanicom iznad suterena. June 1904 - 15th February 1981), an industrialist from Banjaluka and also one Opšti duh Moderne u arhitekturi of the biggest landowners in that region ove kuće nije prisutan u cijelosti, and in that period, is situated in Grčka ponajprije zbog kosog krova. Moderni Street, close to the very city centre. The izraz, svakako, dominira u poziciji exact data about the construction, the objekta na parceli, kao i prostoru koji je project and the construction year are sačinjen u mikroambijentu, potom čistom not known, but according to secondary funkcionalnom i naprednom rješenju u sources the house was built before 1939 samom planu, kao i u bezornamentalnom with certainty, according to a project tretmanu fasada. Dvovodni krov i presumably brought from Italy or Austria. razvijena osnova, svakako, imaju korijen The investor Paskola was the brickyard u uticajima eklekticizma. Vila je dobila owner; the brickworks were situated in status nacionalnog spomenika Bosne i the immediate vicinity of the lot, as well Hercegovine od 2010. godine. as the largest hotel in Banjaluka named “Bosna’’. (Cvijić 2014, 37-8). The executed project represents Vila doktora Branka Petrovića one of the richest solutions for the one-family residential architecture Projekat za vilu doktora Branka at the end of 1930s, bearing in mind Petrovića izvele su arhitekte Stojan the extensiveness of the lot, carefully Borovnica i Bogdan Petrović. Arhitekta selected orientation and generally Stojan Borovnica, porijeklom iz Maglajana original surroundings with artificially pokraj Banje Luke, studije arhitekture created topography and all of this in the završio je na Visokoj tehničkoj školi u Beču very city centre. The house’s planview is 1912. godine, dok je Bogdan Petrović, in the shape of the Latin script “L” letter. rođen u Sarajevu, diplomirao 1926. u The wings are placed in a way that Zagrebu (Cvijić 2014, 107-8). the main entrance is situated at their Gradnja je izvedena 1939. godine. intersection on the southern side from Vila dr Petrovića zauzima ugaonu poziciju where one approaches to the spacious na raskršću ulica Ive Lole Ribara i Gajeve, vestibule which leads to salons and a neposredno iza glavnog gradskog trga, dining-room that are oriented towards Trga Krajine, koji u vrijeme gradnje nije the west and also, to the sleeping zone, bio formiran. Ugaona parcela na kraju oriented towards the south. In the Gajeve ujedno prekida slog kuća i zgrada northern part, the wings close a big

100 YEARS OF BAUHAUS 27 Slika 4: Vila doktora Branka Petrovića, osnova prizemlja i sprata; (Cvijić 2014, 49.) / Image 4: Villa of MD Branko Petrović, ground and upper floor floorplan; (Cvijić 2014, 49.)

Slika 5: Vila doktora Branka Petrovića, pogled sa ugla Ive Lole Ribara i Gajeve - fotografija iz 80ih godina; (Cvijić 2014, 50.) / Image 5: Villa of MD Branko Petrović, as seen from the corner of Ivo Lola Ribar and Gajeva streets - photograph dated in the 1980s’; (Cvijić 2014, 50.)

100 GODINA 28 BAUHAUSA u nizu, mahom građenih istovremeno. terrace, sheltered from the main street Upravo postavljanje kuće na regulaciju views. Service rooms for servants are omogućilo je istovremeno naglašavanje located in the north of the big wing with ugla izborom slobodne forme fasade u the dining-room; thus, a clear line has been prizemlju i iskorišćavanje velikog dvorišta drawn between the served and serving u pozadini parcele. Unutrašnjost je rooms. Constructively, the structure was formirana oko centralnog hola odakle designed with a massive system, brick se u prizemlju pristupa ordinaciji i walls, and reinforced concrete ribbed dnevnoj zoni, orijentisanim ka ulici, ceiling above the basement. odnosno sobama i opslužujućim The universal spirit of the Modern prostorima na spratu. Konstruktivno, Movement in this house is not present kuća je riješena korišćenjem opeke za entirely, first of all because of its sloped masivne zidove i armiranog betona roof. The Modern Movement expression za tavanicu, a pokrivena je ravnim krovom certainly dominates in the structure’s (Cvijić 2014, 49-50). position on the lot, as well as in the space which was created in a micro-ambience, in its pure functional and progressive design in the very plan and also, in Vila Franje Klindića the non-ornamental treatment of the façades. Double-sloping roof and Vila Franje Klindića, koju je izveo developed plan certainly have their arhitekta Ibrahim Salihagić 1940. godine, root in the eclectic influences. The villa predstavlja jedno od najuspješnijih is listed as a Bosnia and Herzegovina rješenja arhitekture u oblasti national monument in 2010. jednoporodičnog stanovanja u Banjoj Luci ne samo u periodu između ratova nego i u XX vijeku uopšte. Ibrahim Salihagić, porijeklom iz Kotor Varoši, arhitekturu Villa of doctor Branko Petrović je učio na Tehničkom fakultetu u The project for doctor Branko Beogradu, gdje je i diplomirao 1936. Petrović’s villa was compiled by godine. U Banjoj Luci ima zavidan opus, architects Stojan Borovnica and Bogdan a nakon rata je osnovao, sada već Petrović. Architect Stojan Borovnica čuvenu, banjalučku projektansku kuću, originally from Maglajani near Banjaluka „Projekt“ (Cvijić 2014, 108-9). finished his studies of architecture at the Kuća za Franju Klindića je High Technical College in Vienna in smještena u prednji dio parcele 1912, while Bogdan Petrović, born in orijentisane ka ulici Ive Andrića. Novost Sarajevo, graduated in Zagreb in 1926. je korišćenje hola za funkciju trpezarije (Cvijić 2014, 107-8) i istovremeno smještanje dominantnog The villa was constructed in 1939. polukružnog stepeništa u isti prostor Doctor Petrović’s villa takes up a corner (Cvijić 2014, 52-3). Stepenište je position at the crossroads of Ive Lole

100 YEARS OF BAUHAUS 29 Slika 6: Vila Franje Klindića, izgled i osnova; (Cvijić 2014, 53.) / Image 6: Villa of Franjo Klindić, elevation view and ground floorplan; (Cvijić 2014, 53.)

iskorišćeno kao najvažniji oblikovni Ribara and Gajeva Streets, immediately elemenat na samoj fasadi s obzirom na behind the main city square - Krajina to da njegov cilindrični volumen daje Square, which was not formed at the identitet objektu. U prizemlju je, pored time of the construction. The corner lot hola, dnevna zona orijentisana ka ulici, at the end of Gajeva Street interrupts dok su kuhinja i pomoćne prostorije at the same time the style of houses orijentisane ka dvorištu. Na spratu se and buildings in a row that were mainly nalaze dvije spavaće sobe i kupatilo. built simultaneously. It was exactly Fasadom dominiraju otvori koji prate placing the house on the regulation that raspored prostorija unutra, simetrično synchronously enabled emphasis of the raspoređeni, uz dva akcenta: ugaoni corner by selecting a free façade form on prozor na prizemlju i vertikalne trake the ground-floor and taking use of the svjetlarnika na stepeništu sa profilima large courtyard at the back of the lot. bojenim u crveno, naslanjajući se tako i na The interior was formed around a central tekovine De Stijla. vestibule from where one approaches to the ordination and living room oriented towards the street, that is, towards Kuća Žorža Paskole rooms and serving rooms on the floor. In terms of construction, the house was Kuća Žorža Paskole nalazi se built by using bricks for massive walls and na uglu ulica Jovana Dučića i Grčke, u reinforced concrete for the ceiling and neposrednoj blizini vile Emerika Paskole. is covered in flat roof. (Cvijić 2014, 49-50)

100 GODINA 30 BAUHAUSA Objekat je građen u periodu 1938-1939, Villa of Franjo Klindić po projektu Suljage Salihagića, strica Ibrahima Salihagića (Komisija 2010, 6). Franjo Klindić’s villa, created Suljaga Salihagić, rođen u Kotor Varoši, by architect Ibrahim Salihagić in 1940, posjedovao je sopstveno građevinsko represents one of the most successful preduzeće, zahvaljujući čemu je bio u architectural designs in the field of one– dodiru sa velikim brojem savremenih family dwelling in Banjaluka, not only objekata u Banjoj Luci (Cvijić 2014, 108). in the inter-war period, but in the 20th Kuća je spratnosti Po+P+2 sa century in general. Ibrahim Salihagić tri nezavisna stana organizovana oko originally from Kotor Varoš, studied centralnog hola i odvojenim opslužujućim architecture at the Technical Faculty in prostorijama i sobom za poslugu. Iako Belgrade, where he graduated in 1936. kompaktne osnove postavljene na samu In Banjaluka, he has an enviable oeuvre, regulaciju ugaone pozicije, svaka etaža while he also founded the famous ima drugačije riješena fasadna platna, Banjaluka project bureau called ‘’Projekt’’ koja u kombinaciji sa balkonima daje after the war. (Cvijić 2014, 108-9) utisak pokrenute i dinamične forme. The house for Franjo Klindić Sama fasada je bezornamentalna i is located in the front part of a lot bijela. Ugaoni balkoni, trakasti prozori oriented towards Ive Andrića Street. i smjenjivanje prostornih kompozita The innovation in this house is using the vestibule for a dining-room and at the same time, locating a dominant semicircular staircase in the same space (Cvijić 2014, 52-3). The staircase is used as the main forming element in the façade itself, bearing in mind that its cylindrical volume gives identity to the structure. There is a living zone oriented towards the street on the ground-floor and next to the vestibule, while the kitchen and service rooms are oriented towards the courtyard. There are two sleeping rooms and a bathroom on the first-floor. The façade is dominated by openings which follow layout of the rooms inside; they are symmetrically aligned with two emphases: the corner window on the Slika 7: Kuća Žorža Paskole, pogled sa ugla ground-floor and vertical openings of Jovana Dučića i Grčke ulice; (Cvijić 2014, 70.) the light well on the staircase (with the / Image 7: House of Žorž Paskola, as seen from the corner of Jovan Dučić and Grčka frames coloured in red) - leaning in that streets; (Cvijić 2014, 70.) way to the De Stijl achievements.

100 YEARS OF BAUHAUS 31 punog i praznog bili su veoma vješto Žorž Paskola’s house organizovani akcentujući ugaonu poziciju kuće, a da pri tome neki od elemenata The house of Žorž Paskola is nije posebno istaknut. located at the corner of Jovana Dučića and Grčka Streets, in the immediate vicinity of Emerik Paskola’s villa. It was built between 1938-39, according to a project of Suljaga Salihagić, an uncle of Ibrahim Salihagić (Komisija 2010, 6). Degradacije Suljaga Salihagić, born in Kotor Varoš, owned his own engineering firm, by virtue Degradacija kojoj su prikazani of which he was linked to a large number objekti i njihova okruženja podvrgnuti of structures in the contemporary je višeslojna. Već posljednjih decenija Banjaluka. (Cvijić 2014, 108) XX vijeka zub vremena je počeo da nagriza objekte, a usljed nemara i nemogućnosti The house has a cellar, ground- samih vlasnika da redovno održavaju floor and two floors with 3 independent objekte, mala oštećenja su ubrzo flats organized around the central postala veliki problemi, prije svega ravni vestibule and separated by service rooms krovovi i terase, limom obrađeni and a room for servants. Although it has detalji, kao i prozorski otvori izloženi a compact plan view, placed on the very vremenskim uticajima. regulation of the corner position, each floor has differently designed façade Vila Franje Klindića je, od surfaces which, combined with balconies, pomenutih, sačuvala najviše sopstvenog give an impression of moving and integriteta. Ostala je u svojini porodice dynamic form. The façade itself is non- Klindić. U novije vrijeme je na istoj parceli ornamental and white. Corner balconies, izgrađen još jedan pomoćni objekat, a horizontally emphasized windows and sama kuća se ne koristi za stanovanje. Ono the alternance of composition in terms što je nepovratno narušilo cjelinu jeste of open and closed surfaces were very novija promjena regulacionog plana kojim skilfully organized, accentuating the je dozvoljena gradnja višespratnica sa house’s corner position, without any of veoma visokim stepenom iskorišćenosti the elements being specially prominent. prostora, i to već na susjednim parcelama, tako da se od situacije niza manjih jednoporodičnih objekata u Ulici Ive Andrića, sa prepoznatljivim dvostranim drvoredom i intimnom atmosferom, došlo do brutalnog regulacionog plana Degradations koji predviđa uklanjanje većine postojećih objekata i gradnju blokovske strukture, Degradation, to which the a taj proces je već u poodmaklom toku. aforementioned structures and their Novogradnja sama po sebi kao proces surroundings are subjected to, is

100 GODINA 32 BAUHAUSA nije problematična, već njen odnos multi-layered. Already in the last prema postojećem koji u potpunosti decades of the 20th century, structures negira prisustvo susjednih objekata i bez started to be ravaged by time and by ikakvog senzibiliteta prema okruženju virtue of being neglected and grabi maksimalan obuhvat volumena impossibility of the owners to keep them zauzetosti, ostavljajući tako postojeće in good repair regularly, small damage objekte u svojoj sjeni. soon became big problems, primarily flat Vila doktora Branka Petrovića je roofs and terraces, details made with tin, još 70. godina grandioznim projektom as well as window openings exposed to „Grad“ (Dom radničke solidarnosti, weather conditions. Robna kuća „Boska“ i hotel „Palas“), Among the aforementioned, autorskog trojca Ljerka Lulić, Velimir the villa of Franjo Klindić retained the Najdhart i Jasna Noso, bila predviđena most of its own integrity. It remained a za uklanjanje. Do uklanjanja, u konačnici, property of the Klindić family. In recent nije došlo, a projektno rješenje je times, one additional structure was kasnije adaptirano i uvaženi su položaj i built on the lot and the house itself is značaj vile. Zbog atraktivnosti lokacije, not used for residing any more. The prizemlje kuće orijentisano ka ulici je fact which irreversibly degraded the adaptirano sa potpuno novim fasadnim site is a new change of the regulation otvorom sa trotoara i taj prostor se dugo plan which permitted construction of koristio kao poslovni. Republički zavod za multistorey buildings with a high level of zaštitu kulturno-istorijskog i prirodnog utilizable area even on neighbouring lots; nasljeđa Republike Srpske je 2012. therefore, from the situation where there godine dao stručno mišljenje za sanaciju, adaptaciju, nadogradnju i dogradnju was a row of medium–sized one-family objekta sa mjerama zaštite i preporukom structures in Ive Andrića Street with a da se projektno rješenje pribavi putem recognizable two-sided line of trees and javnog arhitektonskog konkursa. Još intimate atmosphere, we came to the 2013. godine je pokrenut postupak za brutal regulation plan which plans to izdavanje lokacijskih uslova za adaptaciju, demolish most of the existing buildings rekonstrukciju, dogradnju i nadogradnju, and to construct a housing complex. This a 2018. godine su započeti opsežni radovi process is already advanced. The newly- na glavnoj uličnoj fasadi, kao i u dvorištu erected building is not problematic as objekta. Glavna fasada je u nivou prizemlja a process per se, but it is its relation to u potpunosti otvorena, čime je u cijelosti the existing structures that completely narušen izgled same kuće, a dodatno su denies them their presence and thus takes na ostatku fasade montirani neprimjereni up maximal volume of the space without reklamni panoi. U dvorištu je dograđen još any sensibility, leaving the structures in jedan objekat ugostiteljskog karaktera, its shadow.As early as the 1970s, the villa čija je ljetna bašta u potpunosti zatvorila of doctor Branko Petrović was planned to kuću i sa dvorišne strane i time zaokružila be demolished by the grandiose ‘’Grad’’

100 YEARS OF BAUHAUS 33 Slika 8: Vila Franje Klindića, pogled iz ulice Ive Andrića u neposrednom okruženju dva nova višespratna objekta; (autori, 2019.) / Image 8: Villa of Franjo Klindić, view from the street of Ivo Andrić in the immediate vicinity of two new multi-storey buildings; (authors, 2019)

intervencije koje su u cijelosti uništile project (Working Solidarity Club, Boska izvornu arhitekturu. Department Store and Palas Hotel) by architects Ljerka Lulić, Velimir Neidhardt Vila Emerika Paskole i kuća Žorža and Jasna Noso. In the end, demolition was Paskole, zbog svoje blizine, te zbog not finalized, the project was altered and sveobuhvatnosti degradacija kojima su the importance and position of the villa podvrgnute, nažalost, veoma ilustrativno were taken into consideration. Because of pokazuju tretman objekata ovog tipa i the attractive location, the villa’s ground- potencijala u Banjoj Luci. Vila Emerika floor, oriented towards the street, was Paskole se koristila za stanovanje do 1992. adapted with a completely new façade godine, kada je prenamijenjena u svrhu opening, accessible from the sidewalk smještanja diplomatsko-konzularnog and that space has been long used for predstavništva Velike Britanije, koje je business purposes. The Republic Institute tu bilo smješteno sve to 1999. godine. Te for the Cultural-Historical and Natural godine objekat je devastiran u masovnim Heritage Protection of the Republic of građanskim demonstracijama protiv Srpska gave its expert opinion in 2012 in zemalja članica NATO-a i nakon toga nije order to repair, adapt, extend and add the obnavljan. Godine 2003. vila dobija novog building with protection measures and a vlasnika da bi 2013. godine, usvajanjem recommendation that one should invite novog regulacionog plana, na samoj tenders for its design. As early as 2013, a parceli bila dozvoljena gradnja stambeno- procedure was initiated in order to issue poslovnih objekata visoke spratnosti. institutional building propositions and Ne samo da je njihovo prisustvo u permits for adaptation, reconstruction, neposrednoj blizini vile trajno uništilo extension and addition, while extensive identitet mjesta, drastičnije nego kod vile works on the main street façade and Franje Klindića, nego je njihova pozicija the building’s courtyard began in 2018.

100 GODINA 34 BAUHAUSA Slika 9: Vila doktora Branka Petrovića, lijevo, pogled sa ugla Ive Lole Ribara i Gajeve; desno, pogled iz Ive Lole Ribara; (autori, 2019.) / Image 9: Villa of MD Branko Petrović, on the left, as seen from the corner of Ivo Lola Ribar and Gajeva streets, on the right, view from Ivo Lola Ribar street; (authors, 2019) odabrana na način da se vila postavi u The main façade is completely open apsolutno inferioran položaj, postavši on the ground-floor level which spoilt sada gotovo nevidljiva iz Ulice Jovana the house’s appearance entirely, while Dučića. Ne samo to, uređenje gradilišta, inadequate advertising boards were kao i svi radovi koji prate izvođenje novih additionally mounted on the rest of the objekata dodatno su oštetili objekat vile façade. In the courtyard, another catering i doveli u pitanje egzistenciju originalno establishment was added, whose outside sačuvanih elemenata na kući. seating area closed the house completely Sa druge strane Grčke ulice from the courtyard side, thus delivering degradacija graditeljskog nasljeđa desila a deathblow with the interventions that se još ranije. Kuća Žorža Paskole je jedan destroyed the original architecture. od najranijih slučajeva neprimjerene Unfortunately, due to their dogradnje u Banjoj Luci, koja je postala proximity and comprehensive degradation centralna tema gradnje potkraj 90. they are subjected to, Emerik Paskola’s villa godina. Sredinom 90. godina za potrebe and Žorž Paskola’s house do illustratively smještanja administrativnih prostorija show how the buildings of this type and jedne javne kompanije objekat je potential are treated in Banjaluka. Emerik nadograđen na način koji i dalje ostaje Paskola’s villa was used as a residence nerazumljiv u okvirima revitalizacije until 1992, when it was transformed into graditeljskog nasljeđa. Mansardni krov a UK consulate and served that purpose je elemenat koji je zaokružio cjelokupnu until 1999. In that year, the building was intervenciju i objektu dao drugo devastated during massive, public anti– neprepoznatljivo lice. Nepoznato je da NATO countries demonstrations and li su nadležne institucije blagovremeno has not been renovated afterwards. The dale saglasnost za ovakvu intervenciju. villa’s ownership was changed in 2003;

100 YEARS OF BAUHAUS 35 Slika 10: Vila Emerika Paskole, lijevo pogled iz ulice Jovana Dučića; desno pogled iz Grčke ulice; (autori, 2019.) / Image 10: Villa of Emerik Paskola, on the left, view from Jovan Dučić Street; on the right view from Grčka Street; (authors, 2019)

in 2013, when the new Regulation Plan Zaključak was adopted, the construction of new multistorey office-residential buildings Nakon širih promjena u Kraljevini was allowed on that very lot. Not only nastalih prevashodno kao posljedice their presence in the immediate vicinity Šestojanuarske diktature, moderna of the villa permanently destroyed arhitektura zauzela je reprezentativno identity of the place (more drastically mjesto novog pokreta, koji je imao than in the case of Franjo Klindić’s villa), kapacitet da reflektuje raskid sa but their position caused the villa to get istorijskim stegama i pokaže nove into absolutely inferior position, thus tendencije na državnom nivou ne samo becoming nearly invisible when looking sa stanovišta arhitekture nego društva from Jovana Dučića Street. Furthermore, uopšte. U manjim sredinama, kakva je site facilities as well as all the works bila Banja Luka 30. godina prošlog vijeka, that follow new buildings construction Moderna dobija najviše prostora u manjim additionally damaged the villa and realizacijama pojedinačnih investitora endangered the very existence of its iako su i pojedini javni objekti imali odlike originally preserved elements. Moderne. Bauhaus, kao vodeći uticajni On the other side of Grčka pravac tog doba, nalazi značajno mjesto Street, degradation of the architectural u arhitekturi jednoporodičnih stambenih heritage took place even earlier. Žorž objekata. Investitori su bili, gotovo po Paskola’s house is one the earliest cases pravilu, imućni lokalni trgovci, ljekari of inadequate extension in Banjaluka ili industrijalci, a lokacije na kojima su that became a central construction topic građene vile su bile u širem gradskom at the end of 1990s. The structure was centru. Primjenjivani rječnik arhitekture extended in the midst of the decade for odgovarao je ilustrativnim detaljima the purpose of creating administrative arhitekture Bauhausa – jake kubične space for one public company; the house

100 GODINA 36 BAUHAUSA Slika 11: Kuća Žorža Paskole, pogled sa ugla Grčke i Jovana Dučića; (autori, 2019.) / Image 11: House of Žorž Paskola, as seen from the corner of Grčka and Jovan Dučić streets; (authors, 2019) forme, bezornamentalne fasade, ugaoni was extended in a way that keeps being radijalni balkoni, trakasti prozori, ravni incomprehensible from the cultural krovovi, kao i funkcionalna unutrašnja heritage revitalization aspect. The organizacija sa jasnim podjelama između mansard roof is an element that finally opsluživanih i opslužujućih prostorija, completed the entire intervention and soba za poslugu, odvojenih ulaza itd. gave a different, unrecognizable face to the structure. It is not known whether the Izlaganje o degradaciji kulturno- authorized institutions gave its consent istorijskog nasljeđa, naročito graditeljske for this intervention in due time. baštine u Bosni i Hercegovini čini se da nema kraj. Bilo da je u pitanju prirodna katastrofa, neimaština ili nemar, namjerno uništavanje i uklanjanje, stanje u kojem se nalaze objekti od visokog značaja za naše društvo je katastrofalno. Conclusion Mada, možda je to ocjena i stanja u kojem se društvo nalazi. After the extensive changes in the Kingdom, brought about primarily Mnogo je drugih primjera u as a consequence of the 6th January kojima je jedan graditeljski fundus, u dictatorship, the modern architecture ovom slučaju Bauhausov, veoma vješto took a representative place of the new iskorišćen za reprezentativne svrhe i na movement which had the capacity to kraju za finansijski prihod. reflect a breakaway from the historical Tel Aviv, u kojem se nalazi najveći millstones and disciplines and to show fundus Bauhausovih objekata van new tendencies on the state level, not Njemačke, grad je koji je zahvaljujući only from the architectural aspect, but svijesti društva od tih objekata napravio that one of society as well. In smaller

100 YEARS OF BAUHAUS 37 male fabrike novca. Naravno da finansijski environment like Banjaluka was in the aspekat nije motiv koji treba da vodi ka 1930s, the Modern Movement becomes očuvanju nasljeđa, ali u našoj situaciji on most prominent in small-sized creations je veoma kvalitetan kontraargumenat of single investors, although single public prema istom finansijskom motivu koji structures had the Modern Movement vodi ka uništavanju tog istog nasljeđa. characteristics. The Bauhaus, as the Čini se da nisu potrebne dublje leading influential school of that period studije o stanju pojedinih objekata has an important place in the one-family da se zaključi da su oni nepovratno residential architecture. As a rule, the uništeni, ali ono što više zabrinjava investors were affluent local merchants, jeste letargija društva koje nema otpor medical doctors or industrialists, while prema djelovanjima, makar ona bila locations for the villas were in the wider formalno i odobrena u prostorno- city centre. The applied architecture planskoj dokumentaciji ili kroz odobrenja principles corresponded with the za adaptacije ili prenamjene. Podizanje illustrative details of the Bauhaus - strong svijesti društva o istoriji grada u kojem cubic forms, non-ornamental façades, živi, doprinosu porodica koje su radial corner balconies, horizontally stvarale grad i njegov identitet, važnosti emphasized windows, flat roofs and also, baštinjenja njihovih materijalnih functional inner organization with clear tvorevina ciljevi su koji se mogu divisions between the served and serving postaviti ne samo za Banju Luku nego rooms, rooms for servants, separate bilo koji drugi grad u Bosni i Hercegovini. entrances etc. Bauhaus, kao internacionalno priznat i Discussion about the cultural- tvorevni faktor savremene arhitekture historical heritage degradation, na kojoj počiva arhitektura danas, jedan particularly the architectural heritage in je od odličnih razloga da se upravo ovi Bosnia and Herzegovina, seems to never objekti zaštite i revitalizuju. end. Whether it was a natural disaster, poverty or else neglect, deliberate destruction and demolition - the condition of high-importance structures Literatura / Literature for our society is catastrophic. Although it could be the same condition of the Cvijić, Siniša. 2014. Moderna whole society. stambena arhitektura: Banjaluka, 1929- There are many examples, in 1941. Beograd: Zaduzbina Andrejevic. this case vast architectural reference Dobrović, Nikola. „Brašovan.“ IT to the Bauhaus, that is skilfully used for Novine, Beograd, 10.12.1976. representative purposes and finally for a financial gain. Tel Aviv, where one can find Ignjatović, Aleksandar. 2017. the largest number of Bauhaus structures „Dva modernizma u dve Jugoslavije: outside of Germany, is a city which made

100 GODINA 38 BAUHAUSA arhitektura i ideologija, 1929-1980.“ YU small money factories out of these historija. (pristup 05.09.2019./ access buildings thanks to society’s awareness. September 5th, 2019.) Of course, the financial aspect is not http://www.yuhistorija.com/ a motive that should lead to heritage serbian/kultura_religija_txt02.html preservation, but in our situation, it is a very quality counter-argument towards Kadijević, Aleksandar. 2018. the same financial motive that leads to „Dobrović and Brašovan: Two intertwined the very heritage’s destruction. creative biographies.“ Kultura 159: 222- 233. It seems that closer studies about the condition of particular structures are Komisija za zaštitu spomenika not necessary to conclude that those are „Odluka o proglašenju nacionalnog irreparably destroyed, but what makes us spomenika – vila Pascolo, broj: 07.3-02.3- 71/10-25.“ Sarajevo, 26.10.2010. even more worried is society’s lethargy which does not resist those damaging Malinović, Miroslav. 2014. A actions, even if they are formally Monograph: The Architecture in Banja Luka authorised in the physical planning during the Austro-Hungarian Rule in Bosnia documentation or through authorizations and Herzegovina between 1878 and 1918. for adaptations and changes of use. Banja Luka: Arhitektonsko-građevinski Raising society’s awareness about a city’s fakultet, Univerzitet u Banjoj Luci history, a city they live in, contributions Mikić, Đorđe. 2014. Banja Luka - of families that were making a city and Kultura građanskog društva. Banja Luka: its identity, the importance of inheriting Institut za istoriju Banja Luka. their material creations, are goals to Stosic, Verica M., Mackic, Zoran. be set not only for Banjaluka, but 2005. Banjaluka, Koje ima i koje nema for any other city or town in Bosnia u 1000 Slika: Fotografije i razglednice = and Herzegovina. The Bauhaus as an Banjaluka which exist and which does internationally acknowledged and creative not exist: Photographs and Postcards. factor in the contemporary architecture Banjaluka: Zoran S. Mackic. (on which today’s architecture rests) is one of the excellent reasons to have these Vidakovic, Sinisa R. structures protected and revitalized. 2006. Arhitektura javnih objekata u Banjaluci (1918-1941). Banja luka: Akademija umjetnosti RS Banja Luka. Vidakovic, Sinisa R. 2011. Arhitektura drzavnih javnih objekata u Bosni i Hercegovini od 1878. do 1992. godine. Banja Luka: Art Print.

100 YEARS OF BAUHAUS 39 Mogućnosti reinterpretacija ideja Bauhausa na primjeru idejne zamisli stambenog naselja Ciglane u Sarajevu / Reinterpretation possibilities of the Bauhaus ideas – example of conceptual design of the Ciglane estate in Sarajevo

Prethodno priopćenje Tehničke nauke/ Arhitektura i urbanizam / Preliminary Communication Technical Science/ Architecture and Urbanism

Elša Turkušić Jurić Vedad Islambegović Abstract Abstract

Ideje Bauhausa se vežu hronološki The ideas of the Bauhaus are za početke Moderne i avangardnih chronologically bound to the beginnings pokreta u svim domenima kulturnog of the Modern Movement and the avant- i društvenog stvaralaštva. Stoga je i garde ones in all domains of cultural and najčešća percepcija ovih progresivnih social creativity. Therefore, the most ideja neodvojiva od duha epohe common perception of these progressive industrijskog društva koje tada nastaje, ideas is inseparable from the spirit of the odnosno teorijskih rasprava i analiza era of then-emerging industrial society, unutar dometa arhitekture i urbanizma that is, theoretical discussions and internacionalnog funkcionalizma. analyses within the achievement of the Svaki naredni period u umjetnosti architecture and urban-planning of the i graditeljstvu je neminovno ili nastavak international Functionalism. (evolutivni) ili reakcija na prethodni Each successive period in art iskaz koja po svom karakteru može biti and architecture is inevitably either a nostalgična ili progresivna. Svako istinsko continuation (evolutionary) or a reaction stvaralaštvo, pa tako i arhitektonsko to a previous expression which can be nastoji otkriti i uspostaviti kontinuitet nostalgic or progressive by its character. vlastitog promišljanja o izgradnji bolje Every true creativity (and so does the i humanije budućnosti. Poštivanje architectural one) seeks to discover kontinuiteta, od kulturološkog do and establish the continuity of its own urbanog, u današnjem vremenu thought about building a better and more intenzivnih promjena praćenih humane future. Respect for continuity, izrazitom društvenom polarizacijom i from the cultural to the urban one, in homogenizacijom čini se izuzetno važnim. the present-day era of intense change, U radu se propituju accompanied by pronounced social mogućnosti otklona od hronološkog polarization and homogenization, seems kontekstualiziranja škole Bauhausa, extremely important. pokušavajući pri tome otkriti načine The paper examines possibilities reinterpretacije njenih načela i pristupa. of a deviation from the chronological Da li je njihove pojavne oblike moguće contextualisation of the Bauhaus analizirati i u kasnijim arhitektonskim School, while trying to discover ways tendencijama, koje se kritički odmiču of reinterpreting its principles and od vremena poslijeratnog modernizma, approaches. Can their emergent forms be odnosno da li je moguće istražiti analyzed in later architectural tendencies bauhausovske principe kompatibilne sa which are critically moving away from arhitektonskim idejama koje odgovaraju the post-war modernism, or is it possible duhu vremena kojeg prepoznajemo kao to explore the Bauhaus principles postmodernizam u arhitekturi? compatible with architectural ideas Istraživanje počiva na pretpostavci that correspond to the spirit of the o mogućnostima transmisije nekih time that we recognize as postmodernism osnovnih načela bauhausovske misli in architecture? izvan njenog suvremeniteta, koja će se The research is based on the provjeriti metodom kompatibilne analize assumption that some basic principles of stambene kulture u Sarajevu kasnih 70. the Bauhaus thought can be transmitted godina XX stoljeća na primjeru idejne beyond its own time, which will be verified zamisli stambenog naselja Ciglane by a method of compatible analysis of the u Sarajevu autora Namika Muftića i residential culture in Sarajevo in the late Radovana Delallea (1965. i 1974. godine). 1970s, based on the conceptual design of Osnovni koncept naselja Ciglane se the Ciglane housing complex in Sarajevo razlikuje od do tada realiziranih by Namik Muftić and Radovan Delalle sarajevskih naselja projektiranih na (1965 and 1974). The basic concept of the principu internacionalnog modernizma. Ciglane estate differs from the previously Naselje nije izvedeno na način na created Sarajevo estates designed on the koji je planirano, nego necjelovito i uz principle of international modernism. određene izmjene (1976-1989). Današnje The estate was not designed as stanje naselja evidentno ukazuje na planned but as incomplete and subject to još intenzivnije transformacije koje certain changes (1976-1989). The present vrše sami korisnici, ali i gradske vlasti, state of the estate clearly indicates an čime blijedi karakter naselja (od 1995). even more intense transformation by the Smjernice neophodne za njegov budući users themselves, but also by the city proces regeneracije mogu biti polučene authorities, thus fading the character of rezultatima ovog istraživanja. the estate (since 1995). The guidelines Ključne riječi: stambena kultura, necessary for its future regeneration naselje Ciglane, Bauhaus process can be derived from the results of this research. Keywords: housing culture, Ciglane estate, Bauhaus

100 GODINA 42 BAUHAUSA Uvod Introduction

Idejni i pedagoški koncept škole The conceptual and pedagogical Bauhaus polazi od izazova svoga vremena draft of the Bauhaus School begins with u propitivanju odnosa između društva i the challenge of its time in questioning umjetnosti unutar sve veće industrijsko- the relationship between society and tehnološke dominacije nad životnom the arts within the growing industrial- svakodnevnicom. Završetak I. svjetskog technological dominance over everyday rata pobudio je nadu u novo i drugačije life. The end of World War I, aroused hope doba, koje predstavlja kraj burnih i in a new and different era, which marks dramatičnih vremena. Osnivanjem the end of tumultuous and dramatic škole Bauhaus Walter Gropius i njegovi times. With the founding of the Bauhaus sljedbenici i suradnici vjeruju da na School, Walter Gropius and his followers zahtjeve nastupajućeg novog boljeg and associates believe that the demands svijeta treba odgovoriti „uobličavanjem of an emerging better new world need to novih oblika života“ spojem nauke, be answered by “shaping new life forms” umjetnosti, arhitekture, odnosno with a blend of science, art, architecture, industrijske tehnologije i zanata. or industrial technology and crafts. Tako je i polazište za istraživanje Thus, the starting point for the u ovom radu razmatranje odnosa društva research in this paper is to consider i arhitekture, čovjeka i zajednice, u the relationship between society and kontekstu sagledavanja budućnosti, architecture, man and community, in a kroz primjer (kolektivne) stambene the context of looking at the future, arhitekture skraja 70. godina XX stoljeća and through the example of (collective) u Bosni i Hercegovini. Dotadašnji poslijeratni razvoj glavnog grada Sarajeva, residential architecture from the late obilježen značajnom graditeljskom 1970s in Bosnia and Herzegovina. The ekspanzijom u naletu opće modernizacije post-war development of the capital i industrijalizacije društva, odvijao se of Sarajevo, marked by significant prema modelu strogog funkcionalnog i architectural expansion in the wake racionalnog zoniranja grada. Kao rezultat of the general modernization and nastala su potpuno nova naselja na industrialization of the society, has taken principu tabula rasa. Početak realizacije place according to the model of strict idejnog koncepta naselja Ciglane, 1976. functional and rational zoning of the godine, nagovijestio je kvalitativni pomak city. As a result, brand new settlements u razvoju moderne stambene kulture i (re) were created on the principle of tabula organizacije gradske strukture Sarajeva, rasa. The beginning of the creation of the a koji podrazumijeva: povratak značaja conceptual draft of the Ciglane estate, pješačke ulice, oblikovanje i organizacija in 1976, heralded a qualitative shift in gradskog prostora vođeni idejom o the development of modern residential njegovom identitetu (urbarhitektura), culture and (re)organization of the

100 YEARS OF BAUHAUS 43 stvaranje i jačanje socijalne integracije urban structure of Sarajevo: the return stanovnika, te interpoliranje megastrukture of the importance of the pedestrian unutar postojećeg gradskog konteksta street, the design and organization of uvažavajući memoriju mjesta. Tokom the urban space, guided by the idea of ​​ realizacije naselja došlo je do određenih its identity (urban architecture), creation izmjena i nepoštivanja cjelovitosti and strengthening the social integration njegovog idejnog koncepta, čime of the population, and interpolating the je nastala evidentna razlika između megastructure within the existing urban sadašnjeg stanja naselja i njegove idejne context, while respecting the memory zamisli. Zbog toga će se rad fokusirati of the place. During the creation of na analizu arhitektonsko-urbanističko- the estate, there were certain changes socijalnih karakteristika idejne zamisli and disrespect for the integrity of its naselja Ciglane a koje istovremeno conceptual draft, which makes the polučuju reference na bauhausovsku evident difference between the present misao i praksu građenja. state of the estate and its initial concept. Primijenjena metoda u radu Therefore, the paper will focus on the polazi od analize prostorno-programskih, analysis of architectural-urban-social funkcionalnih i organizacijskih characteristics of the initial conceptual elemenata naselja Ciglane sa njima design of the Ciglane estate, which at kompatibilnim načelima škole Bauhaus. the same time have references to the Tako se istraživački dio rada fokusira Bauhaus thought and building practice. na reinterpretiranje sljedećih načela: The method used in the zdravo stanovanje, (tehnološka i oblikovna) paper starts from the analysis of the inovativnost, interdisciplinarnost spatial-programmatic, functional and (ili sinteza), socijalna osjetljivost i organizational elements of the Ciglane oblikovanje društvenih potreba. Time se nastoji valorizirati i potvrditi hipoteza o estate with the compatible principles of mogućnostima transmisije bauhausovskih the Bauhaus. So the research focuses on ideja i načela unutar različitih diskursa: reinterpreting the following principles: arhitektonskih (postmodernizam), healthy housing, (technological and društvenih (socijalističko uređenje) i design) innovation, interdisciplinarity kulturoloških (bosanskohercegovačko or synthesis, social sensitivity and društvo). the shaping of social needs. This seeks to validate and confirm the hypothesis Cilj istraživanja je propitati of the possibility of transmitting izravnost i vrstu karaktera opažane Bauhaus ideas and principles within transmisijske relacije, ali i njenu different discourses: the architectural kontinuiranu ili diskontinuiranu ones (postmodernism), the social ones prisutnost, kao već usvojenog obrasca (socialist system) and the cultural ones djelovanja i promišljanja unutar (Bosnia and Herzegovina society). vremenskog toka bosanskohercegovačke kulture i arhitekture.

100 GODINA 44 BAUHAUSA Polazište istraživanja The aim of the research is to question the directness and nature of the u sukladnosti izraza 20. observed transmission relation. But also, stoljeća its continuous or discontinuous presence, as an already adopted pattern of action Tema i predmet istraživanja rada and deliberation within the time course hronološki pripadaju periodu razvoja of B&H culture and architecture? kulture i društva koji se nastoje kritički odnositi prema praksama i idejama modernizma, odnosno rezultatima njegovog kulturološkog redukcionizma. Unutar raznolikih polja djelovanja, od književnosti do pop-kulture, polazišta Starting point of the su u odbacivanju modernističkih dogmi: research in consistence podložnost tehnokratiji, odbacivanje with the 20th century alternativnih interpretacija (popularne) expression kulture, nemogućnost ostvarivanja procesa kulturološke identifikacije. The topic and the subject of the To su neki od problema koje je u svom research belong chronologically to the radikalnom obliku prakticirao poslijeratni period of development of the culture and modernizam. To je naročito vidljivo society which seek to be critical of the u nizu primjera ujednačenih „naselja practices and ideas of modernism, that spavaonica“ sa izostankom društvenih is, the results of its cultural reductionism. sadržaja, koje je moguće pronaći širom Within various fields of activity, from Evrope bez obzira na topografsku literature to pop culture, the starting i kulturološku determiniranost point is to reject modernist dogmas: lokaliteta. Alternativna pozicija koju susceptibility to technocracy, rejection of postmodernistički diskursi zauzimaju alternative interpretations of (popular) često se temeljila na relativiziranom culture, inability to realize the process kombiniranju historije i emocija, of cultural identification. These are svedopuštenoj proizvoljnosti i some of the problems that the post-war formalizmu. Tako raznolike pojave modernism has practiced in its radical „deformiranja“ javnog prostora lišenog form. This is particularly evident in the simbolične i vitalne razine više su many examples of uniform ‘dormitories’ doprinijele stagnaciji nego nadogradnji with the absence of social facilities, urbane kulture (poput arhitekture which can be found throughout Europe, Charlesa Moorea ili Ricarda Bofilla). regardless of the topographical and Na taj način se u svojoj generalnoj cultural determination of the site. The pojavnosti postmodernizam odmakao od alternative position that postmodern same suštine modernističkih kvaliteta, te discourses occupy was often based on odrekao svoje kritičke i produktivne pozicije. a relativized combination of history

100 YEARS OF BAUHAUS 45 Kvaliteti modernističkih principa and emotion, allowed arbitrariness and koji kreću od novih (revolucionarnih) formalism. Such diverse occurrences metoda urbanog planiranja do društveno of “deforming” public space deprived osviještene arhitekture još uvijek trebaju of symbolic and vital levels have biti oživljeni, te shvaćeni i razmatrani contributed more to the stagnation than (Newman, 1980, 45- 58). Walter Gropius, to upgrading of urban culture (such as idejni tvorac škole Bauhausa, u svom the architecture of Charles Moore or javnom obraćanju studentima 1919. godine Ricardo Bofill). In this way, in its general govori o potrebi postojanja ujedinjujuće appearance, postmodernism moved away ideje kojom bi se pokrenuo poredak stvari from the very essence of the modernist u duhovnom i materijalnom smislu. Njen qualities and gave up its critical and izostanak u tom vremenu „transformacije productive positions. cjelokupnog svakodnevnog i unutrašnjeg The qualities of modernist principles, života čovjeka“ predstavljao bi veliku ranging from new (revolutionary) katastrofu svjetske historije. „Mi nećemo methods of urban planning to socially doživjeti da vidimo taj dan, ali smo, i ja conscious architecture, still need to be u ovo čvrsto vjerujem, njegove preteče revived, understood and considered. i prvi instrumenti jedne takve nove (Newman 1980, 45-58). Walter Gropius, univerzalne ideje“ (Gropius 1919, 144). the progenitor of the Bauhaus School, in Stoga, polazište istraživanja bazira his public address to the students in 1919, se na tumačenju sintagme modernizam spoke about the need for a unifying idea naspram postmodernizma kao proizvoljno to initiate order of things in a spiritual postavljenoj. “Moderna je arhitektura and material sense. Its absence at that golemi, veličanstveni, neporecivi fait time of “transforming the entire daily accompli, (…) dio onoga što se naziva and internal life of man” would be a postmodernizam nije ustvari prekid sa great disaster of world history. “We modernom, već estetsko i intelektualno will not live to see that day, but we are obogaćenje modernog pokreta, (and I firmly believe in it) its forerunners kompleksniji i interpretativniji nastavak and the first instruments of such a new (…)” (Huxtable 1981, 8). Iz današnje universal idea.” (Gropius 1919, 144) perspektive jasno je da su ove tendencije Therefore, the starting point 1 dio jedne historijske cjeline i ideje of the research is based on the unutar otvorenog razvojnog procesa interpretation of the syntagm modernism modernog društva. Time je moguće versus postmodernism as arbitrarily konstruirati analizu o postojanosti i set. “Modern architecture is a vast, prenosivosti određenih ideja u arhitekturi magnificent, undeniable fait accompli, (…) part of what is called postmodernism 1 Ishodišta ideje humanog habitusa i zajedničkog duhovnog dobra leže unutar is not, in fact, a break with the Modern prosvjetiteljstva -evropskog intelektualnog Movement, but an aesthetic and pokreta kojim se u 17. stoljeću uspostavljaju intellectual enrichment of it, a more temelji modernog društva.

100 GODINA 46 BAUHAUSA koje bivaju reinterpretirane kroz complex and interpretative continuation raznolike pokretače i utjecaje unutar (…)” (Huxtable 1981, 8.) From today’s društveno-historijskih mijena. perspective, it is clear that these tendencies are a part of one historical whole and idea1 within the open developmental process of modern society. In this way, it is possible to construct an analysis of the persistence Prostorna, oblikovna and transferability of certain ideas in i društvena obilježja architecture that are being reinterpreted idejne zamisli naselja through various drivers and influences Ciglane within socio-historical changes.

„Stvaranje formi iz prirode zadatka sredstvima našeg vremena. To je naš posao.“ Mies van der Rohe, 1923. Spatial, shaping and Društveni kontekst i social characteristics specifičnost suvremeniteta of the Ciglane estate concept Sarajevsko naselje Ciglane (bivšeg naziva „Đuro Đaković“) jedno je od „Creating shapes from the task nature posljednjih naselja izgrađenih u periodu by means from our time. That is our job.“ socijalističke Bosne i Hercegovine, koja je tada bila u sastavu Socijalističke Mies van der Rohe, 1923 Federativne Republike Jugoslavije. Društveno-politički i privredni kontekst Social context and a specific u kojem se naselje etapno gradi i razvija quality of contemporariness (1976-1989) s pravom se naziva zlatnim dobom modernog Sarajeva. Početak 80. Sarajevo’s Ciglane estate (formerly called “Đuro Đaković”) is one of the last godina karakterizira graditeljski polet estates built in the period of socialist koji se nadovezuje na prosperitetne 70. Bosnia and Herzegovina, which was then godine proteklog stoljeća, organizaciju a part of the Socialist Federal Republic Zimskih olimpijskih igara 1984. godine. of Yugoslavia. The socio-political and U ovom periodu se pretežno grade javni economic context in which the estate objekti, dok je intenzitet stanogradnje pao u odnosu na 60. i 70. godine. 1 Origins of the human habit idea Standardizacija i normatizacija su još and the common spiritual good lie within the Enlightenment - an European intellectual uvijek polazni parametri u projektiranju movement that has laid the foundation of modern stambenih naselja, kao i u svim society in the 17th century

100 YEARS OF BAUHAUS 47 decenijama poslijeratne stanogradnje was built and developed in stages (1976- u bivšoj Jugoslaviji. Međutim, stambeni 1989) is with good reason referred to as (svijetli konstruktivni) raster u naselju the golden age of modern Sarajevo. The Ciglane je povećan na 5,0 m (sa tadašnja beginning of the 1980s was characterized maksimalna 4,2 m). Ova izmjena by a building impetus continuing into the je potaknuta dobijanjem kvalitetnije prosperous 1970s and the organization unutarnje organizacije stambenih of the 1984 Winter Olympics. During jedinica na padinama. To je povećalo i this period, mostly public buildings were standard stanovanja za 20%, ali i cijenu built, while the intensity of residential ovako komfornijih i kvalitetnijih stanova construction declined, as compared to za oko 30%.2 the 1960s and 1970s. Standardization and normatization are still the starting Naselje Ciglane je prva parameters in the design of residential interpolirana stambena megastruktura sa estates, as well as in all the decades svim potrebnim javnim sadržajima unutar of post-war housing in the former centralne gradske jezgre. Izgradnjom je Yugoslavia. However, the constructive izvršena asanacija jugoistočne padine spacing (grid) that allows more light and Crnog vrha, ogoljele dugodišnjom air in the Ciglane estate was increased to eksploatacijom gline. Arhitektonsko- 5.0m (from the then maximum of 4.2m). urbanistički oblikovni ansambl kaskadnog This change was induced by obtaining a volumena prepoznatljiva je silueta naselja better internal organization of housing Ciglane. Formirane stambene jedinice units on the slopes. This increased the smicanjem po vertikali i horizontali standard of living by 20%, but also the stvaraju igru svjetla i sjene, punog i price of such more comfortable and praznog. Ovaj oblikovni koncept se nije quality apartments by about 30%.2 mijenjao kroz razvojne etape projekta, jer The Ciglane estate is the first je logično proizašao iz same topografije interpolated residential megastructure lokaliteta – smještenog između relativno with all the necessary public amenities, strme padine i platoa uz jednu od within the central city centre. The najfrekventnijih gradskih transferzala construction enabled the southeastern (Alipašina ulica). Dodatna atraktivnost su Crni Vrh slope to be rehabilitated, stripped izvanredne i insolacijski povoljne vizure of by the long-term exploitation of clay. prema historijskoj jezgri i obroncima The architectural and town-planning Trebevića, te dominantna pozicija unutar design ensemble of the cascading Koševske doline (sportsko-rekreativne volume is a recognizable silhouette of i zelene zone grada). the Ciglane estate. Formed housing units with vertical and horizontal shear create a play of light and shadow, fullness and emptiness. This design concept did not

2 Namik Muftić, razgovor sa autorima, 2 Namik Muftić, conversation with the novembar, 06.2019. authors, 6th November 2019.

100 GODINA 48 BAUHAUSA Razvoj idejne zamisli naselja change through the development stages of the project, as it logically stemmed Prvi prijedlog za naselje Ciglane from the very topography of the site nastaje internim arhitektonsko- – located between a relatively steep urbanističkim konkursom (raspisanim slope and a plateau along one of the unutar Urbanističkog zavoda Sarajeva) city’s busiest transversal roads (Alipašina 1965., koji se bazirao na prijedlogu Street). Additional attractions are the prvog Generalnog urbanističkog plana extraordinary and insolation-friendly grada Sarajeva iz 1964. Prva nagrada views towards the historic centre and nije dodijeljena, nego su odabrana tri the slopes of Trebević and the dominant najbolja rada sa prijedlogom da se oni position within the Koševo Valley (sports, objedine kako bi se dobilo najbolje recreational and green areas of the city). rješenje.3 Iste godine novi predloženi projekt je bio inovativan u svom pristupu, te stoga pozitivno ocijenjen Development of the estate’s u stručnoj i široj javnosti. (Štraus 1966, concept 8-11) Na padini je predviđena linearno razvijena kaskadna megastruktura, koja The first proposal for the biva prorijeđena zelenilom na južnim Ciglane estate was made by an internal i zapadnim obodima naselja – gusta architectural-town planning competition dinamična kompozicija koja postepeno (announced within the Urban- Planning prelazi ka okolnoj usitnjenoj izgradnji, Institute of Sarajevo) in 1965, which was kroz slobodnostojeće volumene-lamele based on the proposal of the first General obrađene u istom oblikovnom maniru. Urban Plan of the City of Sarajevo from U stambene jedinice se pristupa putem 1964. The first prize was not awarded, vertikalnih ulica, odnosno kosih liftova but the three best works were selected, koji su ravnomjerno raspoređeni duž with the proposal of combining them in izgrađene padine - linearne terasaste order to obtain the best solution3. In the kompozicije. Jednu stambenu jedinicu same year, the new proposed project was čine tri stana sa terasama ili lođama, a innovative in its approach and therefore pristup se odvija kroz hodnik iza njih, koji praised positively by the experts and the prati izohipse. Na platou, sa izraženim general public. (Štraus 1966, 8-11) On parkovskim karakterom, između padine the slope, a linearly developed cascade i gradske transferzale, planirana su tri megastructure was planned, which was izdužena stambena nebodera (visine thinned by greenery on the southern and 21 sprat) sa blago kaskadnim bočnim western edges of the estate - a dense and stranama. Postavljeni su na dovoljnoj dynamic composition gradually moving

3 Designers of awarded teams: Radovan 3 Autori nagrađenih timova: Radovan Delalle and Zorica Starčević, Namik Muftić and Delalle i Zorica Starčević, Namik Muftić i Sakib Sakib Hadžihalilović, Jug Milić and Mustafa Hadžihalilović, te Jug Milić i Mustafa Đumrukčić. Đumrukčić.

100 YEARS OF BAUHAUS 49 Slika 1: Maketa rješenja iz 1965.; (ARH) / Image 1: Scale model of the design from 1965; (ARH)

udaljenosti, tako da se između njih nižu towards the surrounding fragmented javni sadržaji (rekreativni, komercijalni, structure, through freestanding volumes- poslovni i obrazovni). Aktiviranjem housing units treated in the same partera i izgradnjom podzemnih garaža shaping manner. The residential units are kreirano je „carstvo za pješake“. Ova ideja accessed via vertical streets, or sloping nije realizirana, jer za nju nisu postojala elevators, which are evenly distributed tadašnja tehničko-građevinska rješenja along the constructed slope - linear poput izvedbe kosih liftova, neophodne terraced compositions. One residential primjene poprečne ventilacije stanova unit consists of three apartments with prema tadašnjim JUS standardima, terraces or loggias, and the access is horizontalnog temeljenja na trusnim through the corridor behind them, which padinskim područjima itd. follows the isohypses. Three elongated residential skyscrapers (21 storeys high) Za potrebe projekta usmjerene with slightly cascading sides were planned stanogradnje u Sarajevu (kao jedne on the plateau with a distinct park od jugoslavenskih reformi radi lakšeg character, between the slope and the city 4 rješavanja stambenog pitanja) ponovno transversal road. They were to be located at a sufficient distance so that public 4 Ova proces je bio izuzetno važan za tadašnji amenities (recreational, commercial, razvoj Sarajeva, jer je odredio i ponudio principe za business and educational) extend in a row njegov razvoja kao čistog i zdravog grada.

100 GODINA 50 BAUHAUSA se 1974. godine raspisuje arhitektonsko- between them. By activating the ground urbanistički konkurs za naselje Ciglane level and constructing underground na jugoslavenskom nivou. Ovaj put garages a “pedestrian empire” was to prvonagrađeni rad je dobio autorski tim be created. This idea was not realized Namik Muftić i Radovan Delalle. Autori because, there were no technical and su unaprijedili svoju osnovnu prvobitnu construction solutions for it at that zamisao - kompoziciju kaskadnih time: inability to make sloping elevators, terasastih stambenih jedinica. Razigrana necessary application of transverse vještačka topografija modificiranim ventilation of the apartment according rješenjem donosi određene novitete: to the then-JUS standards (Yugoslav umjesto stambenih nebodera na platou standards), horizontal foundation on projektirane su niže stambene terasaste shaky slope areas, etc. lamele (paralelno ili okomito postavljene For the purpose of a focused spram saobraćajnice, sa 4 ili 7 spratova), housing project in Sarajevo (as one of the uvođenje ulica koje prate izohipse padine Yugoslav reforms aimed at facilitating umjesto kosih vertikalnih liftova - ulica, housing)4, an architectural and urban u centralnoj osovini padine planiran competition for the Ciglane estate at je jedan kosi lift sa stepeništem, veći the Yugoslav level was again invited broj podzemnih garaža, podzemna saobraćajna ulica ispod glavne šetnice na platou, bogatiji i raznovrsniji javni 4 This process was extraordinarily important for the then-development of Sarajevo, sadržaji pozicionirani na platou i parteru because it determined and offered principles for its development as a clean and healthy city

Slika 2: Presjek rješenja iz 1965.; (ARH) / Image 2: Section of the design from 1965; (ARH)

100 YEARS OF BAUHAUS 51 donjih stambenih lamela (osnovna škola, kino-dvorana, ljetnja pozornica, zdravstvena stanica, robna kuća, polivalentna sportska dvorana, različiti ugostiteljski i komercijalni sadržaji itd). Polazne osnove naselja su kontinuitet prostora, reaktiviranje partera, adaptabilnost izgrađenog prostora, rješavanje prometa kao sastavnog dijela cjelovitog prostornog koncepta, a ne kao sektorskog problema. Predviđena gustina naseljenosti je 373 st./ha sa 1.551 stanom (dvosobni, trosobni, dupleks) za 5.961 stanovnika (Muftić, Delalle 1989, 94-97).

Interpretacija načela Bauhausa kroz obilježja idejne zamisli naselja

Načela zdravog stanovanja, interdisciplinarnosti i inovativnosti

Suštinu svog pedagoškog poziva Walter Gropius temelji na obrazovanju in 1974. This time, Namik Muftić and studenata (budućih arhitekata, dizajnera Radovan Delalle received the first prize. i umjetnika) za borbu sa životnim The designers improved their basic problemima i izazovima u „dobu mašina“. original idea - a composition of cascading Njihovo tadašnje akademsko obrazovanje terraced housing units. The playful nije bilo u stanju da premosti sve veći artificial topography with the modified jaz između umjetnosti, zanata i novih solution brings some novelties: instead potreba društva. Nasuprot tome, Gropius of residential skyscrapers on the plateau, u Manifestu Bauhausa iz 1919. poziva na lower terraced housing units (parallelly njihovo jedinstvo kao jedini vid borbe or vertically placed against the road, with protiv takvog stanja. Objedinjavanje 4 or 7 floors) were designed, introducing

100 GODINA 52 BAUHAUSA Slika 3: Maketa rješenja iz 1975; (arhiva N. Muftića) / Image 3: Scale model of the design from 1975; (N. Muftić archives)

isohypse slopes instead of oblique vertical elevators - streets, a sloping elevator with a staircase was planned in the central axys of the slope and also, a large number of underground garages, an underground traffic street below the main promenade on the plateau, richer and more varied public facilities positioned on the plateau and the ground level of the lower housing units (elementary school, cinema hall, open air theatre, health station, department store, polyvalent gym, various catering and commercial facilities, etc.). The basic premises of the estate are continuity of space, reactivation of ground levels, adaptability of the built space, solving traffic as an integral part of the overall spatial concept and not as a sectoral problem. The estimated population density was 373 residents per hectare, with 1551 dwellings (two-bedroom, three-bedroom, duplex) for 5961 residents. (Muftic, Delalle 1989, 94-97)

Interpretation of the Bauhaus principles umjetnosti, dizajna i arhitekture considering features of je bila baza za studente Bauhausa, the estate concept postajući bitan temelj za njihova daljnja specijalistička opredjeljenja. “Vjerovali su da bi preoblikovanjem svog materijalnog Principles of healty okruženja kroz reformu umjetnosti, housing, interdisciplinarity and zanata, dizajna i arhitekture bilo, također, innovativeness moguće zamisliti novo društvo” (Von Osten, Watson 2019, 12). Zdravo društvo At the heart of his teaching call, i bez ekskluziviteta moralo je počivati na Walter Gropius relies on educating principima zdravog stanovanja i dobro students (future architects, designers

100 YEARS OF BAUHAUS 53 Slika 4: Maketa-pogled na centralni plato sa glavnim sadržajima; (arhiva N. Muftića) / Image 4: Scale model with a view of the central plateau with main facilities; (N. Muftić archives)

100 GODINA 54 BAUHAUSA 100 YEARS OF BAUHAUS 55 organiziranih i odgovorno planiranih and artists) to tackle life’s problems and stambenih blokova. „Uz adekvatnu challenges in the “age of machines”. ishranu i toplotu, za zdrav život su bitni: Their academic education at the time svjetlost, vazduh i slobodan prostor za was unable to bridge the growing gap kretanje“ (Gropius 1930, 263). between the arts, crafts and new needs Odnos izgrađenih i slobodnih of society. In contrast, Gropius in the 1919 površina u naselju Ciglane je 1:2,5, Bauhaus Manifesto calls for their unity as što govori o visokom standardu the only form of combat against such a i kvalitetu planiranog gradskog condition. The unification of art, design prostora. Dovoljno otvorenog prostora, and architecture was the base for the sunca i zelenila parametri su kojima Bauhaus students, becoming an essential su se arhitekti rukovodili usvajajući foundation for their further specialist vrijednosti ostvarenja iz prethodnih commitment. “They believed that by poslijeratnih decenija - stambena transforming their material environment naselja gradskih općina Novog Sarajeva through the reform of art, craft, design i Novog grada5 koja su projektirana kao and architecture, it would also be possible slobodnostojeći štapičasti volumeni to imagine a new society.” (Von Osten, unutar velikih ozelenjenih površina na Watson 2019, 12) A healthy society and bazi funkcionalnog zoniranja grada. without exclusivity had to rest on the principles of healthy housing and well- Povrh svega, naselje Ciglane organized and responsibly designed odražava u potpunosti odlike svog housing blocks. “Along with adequate suvremeniteta izražene kritikom nutrition and warmth, the things essential ovih naselja, jer su se pretvorila u to a healthy life are: light, air and free bezlične „spavaonice“ lišene raznovrsnosti space to move.” (Gropius 1930, 263) gradskog sadržaja. Autori-arhitekti naselja Ciglane bili su svjesni sve veće The ratio of built and vacant dominacije ovako kreiranog homogenog areas in Ciglane estate is 1:2,5 - which i izotropnog urbanog prostora, kao i indicates a high standard and quality njegovih posljedica za dalji razvoj grada, of the planned urban space. Enough zajednice i čovjeka. Nastoje prevazići of open space, sunshine and greenery probleme u dotadašnjoj praksi modernog are the parameters that have guided urbanizma inoviranjem koncepta i architects - they adopted the values ​​of ideje urbarhitekture - fuzije arhitekture, accomplishments from the previous urbanizma i pejzažnog oblikovanja. post-war decades - residential areas of Ovim principom sinteze, premošćavajući urban municipalities of Novo Sarajevo and Novi Grad5, that are designed as free-

5 Izgrađena u do sada neprevaziđenom 5 Built in an unsurpassed intensity of intenzitetu stanogradnje (60. i 70. godina) na housing construction to date (1960s and 1970s) principima modernističkih metoda urbanističkog on the modernist methods principles of urban- planiranja u kontekstu širenja grada ka zapadu, planning in the context of westward expansion – širokom Sarajevskom polju. towards the wide Sarajevo field.

100 GODINA 56 BAUHAUSA Slika 5: Presjek kroz glavno šetalište i podzemnom ulicom; (arhiva N. Muftića) / Image 5: Section of the main pedestrian promenade and underground street; (N. Muftić archives) jaz između ove tri discipline, ponudio standing high-rise volumes within large se model provjeravanja urbanističkih green spaces, based on the functional shema kroz arhitektonski koncept. city zoning. Arhitekti-autori rješavaju sve Above all, the Ciglane estate programsko-sadržajne elemente naselja: fully reflects the features of its od stanova do objekata javnog sadržaja contemporariness, expressed by criticism i urbanog mobilijara. of these estates, as they have turned Potrebom za organiziranjem into impersonal “dormitories” deprived životnih procesa daje se prednost of the diversity of urban content. The sadržajnijem integriranju različitih designers-architects of the Ciglane funkcija gradskog života – stanovanje, estate were aware of the increasing javni sadržaji, razonoda, te saobraćaj dominance of such a homogeneous koji time više nije zaseban sektorski and isotropic urban space, as well problem. Uspostavljanje i održavanje as its consequences for the further kontinuiranog toka pješaka, koji čini development of the city, community samu srž idejnog koncepta naselja, bazira and man. They seek to overcome the se na primjeni tehnološke inovativnosti: problems of the contemporary practice projektiranjem podzemne kolske ulice of modern urban-planning by innovating ispod glavnog šetališta, podzemnih a concept and idea of the “urbarchitecture”​​ garaža i kosih liftova. - a fusion of architecture, urban- planning and landscape design. This principle of synthesis, by bridging the gap between the three disciplines, offered

100 YEARS OF BAUHAUS 57 Slika 6: Presjek kroz naselja; (AU) / Image 6: Section of the estate; (AU)

Načela socijalne osjetljivosti a model for verifying urban-planning i oblikovanja novih društvenih potreba schemes through an architectural concept. The architects-designers solve Hannes Meyer u svom eseju all the programmatic and content- “Građenje” iz 1928. godine zagovara izraze related elements of the estate: from funkcionalističkog internacionalnog stava apartments to public buildings and prema arhitekturi na način da “zgrada nije urban equipment (settees, flower-stands, estetski, nego biološki proces” koja služi public lighting etc). potrebama duha i tijela (Meyer 1928, The need for organizing life 231-32). Naime, Meyer istraživanje stavlja processes favours a more meaningful u prvi plan, odbijajući formiranje stila integration of various functions of Bauhaus ili mode Bauhaus: istraživanje urban life - housing, public facilities, kao najširi mogući pregled ljudskog života entertainment and traffic (which is no s ciljem stvaranja harmonične forme longer a separate sectoral problem). njegove egzistencije (Sudjic 2014, 31-3). Establishing and maintaining a Već samo projektiranje continuous flow of pedestrians which naselja Ciglane na padini sužavalo je forms the core of the estate’s conceptual mogućnosti kvalitetnog razrađivanja draft is based on the application of tlocrta - stoga je dotadašnji stambeni technological innovation: by designing svijetli raster povećan da bi se dobila an underground carriageway below the povoljna insolacija i kvalitetna unutarnja main promenade, underground garages organizacija. Odluka o terasastoj izgradnji and sloping elevators.

100 GODINA 58 BAUHAUSA omogućila je kreiranje adaptabilne Principles of social sensitivity stambene organizacije kroz učešće korisnika and shaping new social needs (stanara). Ova ideja o sudjelovanju budućih korisnika u načinu korištenja In his essay “Construction” from gradskog stambenog prostora element je 1928, Hannes Meyer advocates već spomenutog koncepta urbarhitekture. expressions of a functionalist, international stance on the architecture, Osnovna stambena jedinica ima in such a way that “building is not an formu slova “L”, uključujući terase i lođe aesthetic, but a biological process” (dužine od 2,4 m, 3,6 m i 4,2 m). Prostorni that serves the needs of mind and element koji je pogodan za transformaciju body. (Meyer 1928, 231-32) Specifically, su velike terase (površine od 12 m2, Meyer puts research at the forefront, 18 m2 i 20 m2) - koje svojom veličinom rejecting the formation of a Bauhaus omogućavaju ugodan i raznovrstan style or a Bauhaus fashion: exploration as sadržaj stambenih funkcija, istovremeno the widest possible overview of human nudeći korisniku potencijalne prilagodbe life in order to create a harmonious form prostora. Uvažavajući činjenicu da se of its existence. (Sudjic 2014, 31-3) struktura i karakter porodice mijenjaju tokom vremena uz sve veću mobilnost It was the very design of the stanovništva, autori predlažu nekoliko Ciglane estate on the slope that varijanti prenamjene vanjskog prostora: narrowed the possibilities of quality zadržavanje istog sadržaja (balkon sa plan view development – therefore, žardinjerom), natkriveni prostor sa the existing residential construction pergolom, ostakljeni prostor (zimski vrt spacing was enlarged in order to obtain ili produžetak stambenog prostora). favorable insolation and quality internal Arhitektonski nacrti za sve ove varijante organization. The decision for a terraced su bili napravljeni i ponuđeni stanarima construction made it possible to create an na izbor, kako bi buduća realizacija bila adaptable housing organization through sukladna sa oblikovnim karakteristikama the participation of users (tenants). naselja. U prvim godinama nakon This idea of ​​future users’ involvement in izgradnje naselja ovaj metod komunikacije how urban housing space is used, is an arhitekta-korisnik je funkcionirao. element of the aforementioned concept Korištenjem parcijalne participacije of “urbarchitecture”. korisnika u samom oblikovanju naselja The basic housing unit has the autori usvajaju tadašnja nastojanja form of the letter “L”, including terraces arhitekte Ralpha Erskina da uključivanje and loggias (lengths of 2,4m, 3,6m and korisnika u proces dizajniranja stambenih 4,2m). The space element that is suitable zgrada treba da omogući stvaranje i for transformation consists of the large očuvanje zajednice (primjer zgrade Byker terraces (12m2, 18m2 and 20m2) - which, Wall, Newcastle, 1969-1982). by their size, allow for a comfortable and varied content of residential functions,

100 YEARS OF BAUHAUS 59 Slika 7: Maketa stambene jedinice (varijanta iz 1965.); (arhiva N. Muftića) / Image 7: Scale model of the housing units (design from 1965); (N. Muftić archives)

Dodatno tome, autori naselja while offering the user potential space Ciglane pokušavaju formirati fleksibilne adjustments. Recognizing the fact that stambene jedinice, stavljajući u prvi plan family structure and character change individualne potrebe stanara. Time over time with increasing population prave značajniji iskorak u razvoju stambene mobility, the designers propose several kulture u Sarajevu omogućavajući options for redeveloping the outdoor personaliziranje stambene megastrukture. space: retaining the same content Svatko bi mogao prepoznati svoju (balcony with a flower-stand), covered stambenu jedinicu. Na ovaj način nastojali space with pergolas, a glazed space su dati naselju karakter individualne (conservatory or an extension of the izgradnje unutar jedinstvene volumenske living space). Architectural designs for all i estetske cjeline. these variants were made and offered to tenants to choose from, so that the future

100 GODINA 60 BAUHAUSA Napuštanje uloga anonimusa u creation would be consistent with the procesu kreiranja stambenih jedinica u design characteristics of the estate. In the korist uloge stanara sa ličnim željama first years after the estate was built, this i zahtjevima bila je jedna od osnovnih architect-user communication method potreba tadašnjeg čovjeka. Pitanje worked. Using partial user participation identiteta kako na privatnom, tako i na in the estate design itself, the designers kolektivnom planu postaje značajno endorse the efforts of architect Ralph nakon iskustva življenja u jednoličnim Erskin of that period to engage users i ujednačenim naseljima, te njihovih in the residential design process to praznih besadržajnih prostora. Takvu enable the creation and preservation of nemogućnost uspostavljanja značenjskog the community (example of Byker Wall odnosa korisnika i njegovog životnog Building, Newcastle, 1969-1982). prostora je bilo potrebno zamijeniti novim ili redefiniranim prostornim Additionally, the designers of oblicima, kako bi se izbjegle otuđenost the Ciglane estate were attempting i nepostojanost zajednice. Mogućnost to form flexible housing units, putting ostvarivanja i razvijanja ličnog identiteta the individual needs of tenants at the se vezala za rješavanje stambene forefront. In doing so, they were making organizacije, dok je pitanje kolektivnog a major leap forward in the development identiteta vezano za rješavanje of housing culture in Sarajevo by making javnog prostora. it possible to personalize the housing Stoga, autori naselja Ciglane megastructure. Anyone could recognize započinju posmatrati strukturu grada their housing unit. In this way, they kroz nužnost međusobnog povezivanja sought to give to the estate the character

Slika 8: Pogled na stambene jedinice na platou; (arhiva N. Muftića) / Image 8: View of the housing units at the plateau; (N. Muftić archives)

100 YEARS OF BAUHAUS 61 Slika 9: Glavno šetalište sa trgom; (autori, 2019.) / Image 9: The main pedestrian promenade with square; (authors, 2019)

objekata. To potvrđuju kroz uvođenje of individual construction within a ili vraćanje ulice sa svom njenom unique volume and aesthetic unit. živopisnošću, raznolikošću i životom Abandoning the role of anonymity gradskog sadržaja. Projektom su in the process of creating housing units predviđeni: glavno pješačko šetalište in favour of the role of tenants with i ulica „galerija“ - iznad garaža (nivo personal preferences and requirements, partera), srednja ulica kao „kvartovski was one of the basic needs of man of that sokak“ (1. nivo), mirna ulica kao „stambena era. The issue of identity, both privately oaza“ i ulica-vidikovac (2. nivo). Zasigurno and collectively, becomes relevant after je da time autori poznaju tadašnje the experience of living in monotonous aktualne alternativne tendencije u and uniform estates and their empty, teoriji i praksi poput istraživanja Jane lacking-content spaces. Such an inability Jacobs o specifičnim prirodama grada to establish a meaningful relationship i njihove regeneracije tokom 50. i 60. between the user and their living space godina XX. stoljeća (Džejkobs 2011, 161- had to be replaced by new or redefined 264), ali i poput radova autorskog dvojca spatial forms, in order to avoid alienation Petera i Alison Smithson, koji razvijaju and lack of community. The possibility koncept građenja grada kao kolektivne of realizing and developing personal strukture. Među ostalima, njihovo identity was related to solving the naselje Robin Hood Garden u Londonu (izgrađeno 1972. god.) bavi se temom housing organization, while the issue of ulice i modela građevina kao „fragmenata collective identity was related to solving koje imaju sposobnost za sadjejstvo sa the public space. drugim građevinama“. Dodatna reakcija Therefore, the designers of the na dotadašnji kulturni reduktivizam, Ciglane estate began to observe the ujednačenost novosarajevskih naselja, structure of the city through the necessity

100 GODINA 62 BAUHAUSA bez obzira na kontekst, ogleda se u of interconnecting buildings. They blagoj ali, ipak, prisutnoj tendenciji confirm this through the introduction or očuvanja memorije mjesta primjenom return of the street with its vividness, materijalizacije. Fasadna crvena cigla diversity and life of urban content: the je referenca na nekadašnju ciglanu, a main pedestrian promenade and the upotreba drveta (drvene ograde lođa i “gallery” street - above the garages terasa) naglašava sklad između izgrađene (ground level), the middle street - “quiet strukture i ozelenjene padine. residential street” (1st level), quiet street- residential oasis and vista (2nd level). It is Potrebno je spomenuti da je certain that in doing so the designers were nekoliko decenija ranije Juraj Neidhardt aware of current alternative tendencies nastojao razviti koncept stambene in theory and practice of that era, such zgrade sa odlikama individualne as Jane Jacobs’ research on the specific gradnje na stambenim lamelama u nature of the city and its regeneration Alipašinoj ulici i na radničkim kućama during the 1950s and 1960s (Jacobs 2011, centralne Bosne (Turkušić, 2011, 152.) 161-264), but also, like the work of the Također, reinterpretiranje kulture designer duo Peter and Alison Smithson življenja individualnih kuća realizirano who developed the concept of building je izgradnjom stambenog kompleksa a city as a collective structure. Among na Džidžikovcu u Sarajevu (1946, Reuf other things, their Robin Hood Garden Kadić i Muhamed Kadić). Element in London (built in 1972) addresses transponiranja su velike natkrivene the subject of the street and model polukružne terase „uronjene“ u zelenilo, buildings as “fragments that have the dovoljnih površina da nadomjeste gubitak capacity to interact with other buildings”. vrta i dvorišta, ali i pojačaju socijalnu The additional reaction to the cultural koheziju i omoguće zdravije stanovanje. reductionism hitherto, the uniformity of

100 YEARS OF BAUHAUS 63 Slika 10: Ulica „stambena oaza“; (autori, 2019.) / Image 10: The street “residential oasis“; (authors, 2019)

Slika 11: Ulica galerija i ulica „vidikovac“; (autori, 2019. i arhiva N. Muftića) / Image 11: The “gallery“ street and street with vistas (authors, 2019 and N. Muftić archives)

100 GODINA 64 BAUHAUSA Ova nastojanja, uz naselje Ciglane, the Novo Sarajevo estates, regardless potkrepljuju opstojnost određenih of the context, is reflected in the slight progresivnih ideja u bosanskohercegovačkoj but still present tendency to preserve arhitekturi radi stvaranja humanog i the memory of the place through the suvremenog prostora. use of materialization. The red brick façade is a reference to the former brickyard, and the use of wood (wooden loggias and terraces) emphasizes the harmony between the built structure and Sadašnje stanje naselja the green slope. It should be mentioned that Izgradnja naselja je trajala od several decades earlier, Juraj Neidhardt 1976. do 1989. godine unutar čega su sought to develop the concept of a se desile određene izmjene idejnog residential building with the features of koncepta. Nijedan planirani javni objekt individual construction on residential housing units in Alipašina Street and nije realiziran, nego su izgrađena dva on the workers’ homes of central administrativna i jedan vjerski, koji nisu bili Bosnia. (Turkušić 2011, 152.) Also, the planirani. Parteri nisu dovoljno aktivirani reinterpretation of the culture of living i nude ujednačen sadržaj, pješačkoj zoni in reference to individual houses was trenutno nedostaje urbani mobilijar. created with the construction of a Realizirana je samo jedna podzemna residential complex at Džidžikovac in garaža, u gornjem dijelu naselja, koja služi Sarajevo. (1946, Reuf Kadić and Muhamed i kao gradska prometnica. Podzemna Kadić). The transposing elements are kolska ulica, koja je trebala opskrbljivati large covered semicircular terraces glavnu šetnicu, nije realizirana, jer je za “immersed” in greenery, with sufficient tadašnje doba bila skupa i sa aspekta surfaces to compensate for the loss of sigurnosti neprihvatljiva. Dio oko pijace the garden and yard, but also to enhance Ciglane do sada još nije urbaniziran. social cohesion and enable healthier Stanovnici su, svako na svoj način, bez housing. These efforts, along with the poštivanja oblikovnog jezika, vršili Ciglane estate, underpin the existence of prenamjene na fasadama, uključujući certain progressive ideas in the Bosnian transformiranje terasa. Ovako realizirano architecture in order to create a humane naselje i dosadašnji način ponašanja and contemporary space. unutar njega doveli su do značajnog otklona od same idejne zamisli naselja.

100 YEARS OF BAUHAUS 65 Slika 12 i 12b: Pogled na stambenu jedinicu nekada i sada (1989-2019); (autori, 2019. i arhiva N. Muftića) / Image 12: View of the housing units then and now (1989-2019); (authors, N. Muftić archives)

Zaključak: mogući Current condition of elementi regeneriranja the estate naselja The construction of the estate Analizom idejnog koncepta lasted from 1976 to 1989, during which naselja Ciglane, kroz njegove prostorne, certain changes in the conceptual funkcionalne i programske elemente, draft took place. Not a single planned može se spoznati primjena fragmentarne public facility was completed, but two reinterpretacije bauhausovskih načela, i administrative and one religious building to na sljedeći način: were constructed, both unplanned. The ground levels are not sufficiently 1. Koncipiranje naselja zdravog stanovanja: omogućeno dovoljno activated and offer a uniform content in zelenila, sunca i zraka. the pedestrian zone, which is currently lacking in urban equipment. Only one 2. interdisciplinarno proučavanje underground garage was constructed in problema u svrhu kreiranja bolje i održive the upper part of the estate, and it also budućnosti grada: primjena koncepta serves as a city road. The underground urbarhitekture. carriageway, which was supposed to 3. prihvatanje tehnoloških supply the main promenade, was not inovacija u kontekstu dominacije realized because it was expensive

100 GODINA 66 BAUHAUSA pješačkog nad kolskim saobraćajem kao back then and from the safety aspect integriranim dijelovima naselja: primjena unacceptable. The section around kosih liftova, podzemnih ulica i garaža. the Ciglane Market has still not been 4. sociološka osjetljivost kroz urbanized yet. The inhabitants, each in prihvatanje budućeg stanara/korisnika their own way, without respecting the kao pojedinca/subjekta sa ličnim shaping principles, made changes to the iskustvima i potrebama: participativna façades, including the transformation of arhitektura uz fleksibilnost stambene the terraces. The estate created in this organizacije stvaranjem velikih terasa i way and the behaviour within it so far, lođa. have led to a significant deviation from the conceptual draft of ​the estate. 5. istraživanje novih društvenih potreba u kontekstu razvoja ličnog i kolektivnog identiteta kroz uspostavljanje značenjskog odnosa sa neposrednim urbanim prostorom: individualizacija kolektivnog naselja i povratak ulice sa Conclusion or possible njenom raznovrsnošću. elements of the estate’s Veze sa bauhausovskom misli nisu rehabilitation direktne. Na jedan način se prihvataju kao već dokazane vrijednosti The analysis of the conceptual pojedinačno reinterpretirane dotadašnjim draft for the Ciglane estate, through arhitektonskim i urbanističkim its spatial, functional and programme ostvarenjima Sarajeva (naselja Novog elements, revealed the application of Grada i Novog Sarajeva, arhitektura the fragmentary reinterpretation of the braće Kadić i Juraja Neidhardta). Time Bauhaus principles, as follows: se zaključuje da naselje Ciglane nastavlja kontinuitet progresivne linije razvoja 1. Conception of healthy housing: arhitektonske misli i stambene kulture sufficient greenery, sunlight and air na ovim prostorima, refleksivno ih provided. nadograđujući u duhu svog vremena 2. An interdisciplinary study i u skladu sa promišljanjima i of problems to create a better and radovima aktualnih kritičara poput sustainable future for the city: applying Jane Jacobs i arhitekata Ralpa Erskina, the concept of “urbarchitecture”. Petera i Alison Smithsons. I unutar ovih refleksivnih pristupa principima 3. Accepting technological modernizma moguće je pronaći innovations in the context of dominance sukus bauhausovskih načela. Ovako of pedestrian over vehicular traffic as kontekstualizirana problematika potvrdila integrated parts of the estate: use of je mogućnosti njihove transmisije izvan sloping elevators, underground streets svog suvremeniteta. Karakter transmisije and garages. nije formalan, niti površan.

100 YEARS OF BAUHAUS 67 Mala promjena percepcije i 4. Sociological sensitivity through valorizacije naselja Ciglane može otvoriti the acceptance of a future tenant/ široko polje potencijala unutar procesa occupant as an individual/subject njegove regeneracije, koja je nužna s with personal experience and needs: obzirom na „svojevoljne“ transformacije participatory architecture with the koje se odvijaju unutar naselja i oko flexibility of a housing organization by njega. Sagledavanje budućnosti ovog creating large terraces and loggias. naslijeđenog prostornog (i kulturološkog) 5. Exploring new social needs in ostvarenja mora započeti od spoznaje o the context of personal and collective njegovoj sadržajnoj reinterpretativnosti, identity development through kao i mogućnostima koje nudi gradu u establishing meaningful relationship njegovom budućem razvoju. with the immediate urban space: individualization of the collective estate and the return of the street with its Literatura / Literature diversity. Delalle, Radovan, Muftić, Namik., The connections to the Bauhaus 1989. „Stambeno naselje Đuro Đaković“. thought are not direct. In one way, Arhitektura i urbanizam 94-95 (24): 94-97. they are accepted as already proved values, ​​individually reinterpreted by Beograd the up-to-then architectural and Droste, Magdalena., 2006. The town-planning creations in Sarajevo Bauhaus 1919-1933, Reform and Avant- (city quarters of Novi Grad and Garde, Koln: Taschen Novo Sarajevo, the architecture of Egelius, Mats., 1980. „Housing and the Kadić brothers and Juraj Neidhardt). This concludes that the Human Needs.“ U/In Architecture for the Ciglane estate goes on with the People, urednik/editor Byron Mikellides, continuity of the progressive line of 135-148. New York: Holt, Rinehart and development of architectural thought Wintson and housing culture in the area, Gropius, Walter., 1919. „Obraćanje upgrading them reflexively and in the studentima Bauhausa povodom godišnje spirit of its time (knowing the works izložbe studentskih radova (odlomci).“ U/ of current critics such as Jane In Antologija teorija arhitekture XX veka, Jacobs and architects Ralp Erskin, urednik/editor Perović, Miloš, 144-145. Peter and Alison Smithsons). Beograd: Građevinska knjiga And within these reflexive approaches to the principles of modernism, it is Gropius, Walter., 1930. „Niske possible to find the essence of the zgrade, stambeni blokovi srednje visine Bauhaus principles. The contextualized bez liftova ili visoki stambeni blokovi?“ U/ issues thus affirmed the possibilities In Antologija teorija arhitekture XX veka, of their transmission beyond their own urednik/editor Perović, Miloš, 262-272. time. The character of transmission is Beograd: Građevinska knjiga neither formal nor superficial.

100 GODINA 68 BAUHAUSA Huxtable, Louise Ada, 1981. A small change in the perception „Zabrinjavajuće stanje moderne and valorization of the Ciglane estate arhitekture.“ ČIP 337-338(4-5): 8-12. Zagreb can open up a wide field of potential Džejkobs, Džejn., 2011. Smrt i within the process of its regeneration, život velikih američkih gradova, Novi Sad: which is necessary in view of the Mediterran Publishing “willful” transformations taking place within and around the estate. The Meyer, Hannes., 1928. „Građenje.“ consideration of the future of this U/In Antologija teorija arhitekture XX inherited spatial (and cultural) realization veka, urednik/editor Perović, Miloš, 231- 234. Beograd: Građevinska knjiga must begin from the recognition of its substantive reinterpretability, as well Newman, Oscar., 1980. „Whose as the opportunities it offers the city Failure is Modern Architecture?“ U/ in its future development. In Architecture for the People, urednik/ editor Byron Mikellides, 45-58. New York: Holt, Rinehart and Wintson Sudjic, Deyan., 2015. B is for Bauhaus, An A-Z of the Modern World, UK: Penguin Books Štraus, Ivan., 2013. Arhitektura Jugoslavije 1945-1990, Sarajevo: Sarajevo Green Design Štraus, Ivan., 1966. „Projekt stambenog naselja Ciglane u Sarajevu.“ ARH, 10-11 (III): 8-11. Društvo arhitekata Sarajeva, Sarajevo Turkušić, Elša., 2014. „Arhitektura i kulturološki identitet- prilog istraživanju kulturološkog konteksta.“ Disertacija/ PhD diss. Univerzitet u Sarajevu/ University of Sarajevo Turkušić, Elša., 2011. „Geometrija i razigranost prirode u susretu starog i novog.“ ORIS 68: Zagreb: Arhitekst. von Osten, Marion, Watson, Grant., 2019. bauhaus imaginista, A school in the world, London: Thames and Hudson Žmegač, Viktor., 2006. Od Baha do Bauhausa, povijest njemačke kulture, Zagreb: Matica Hrvatska

100 YEARS OF BAUHAUS 69 Značajne pojave moderne i savremene umjetnosti i arhitekture Bosne i Hercegovine i naslijeđe Bauhausa na primjeru Sarajeva: kratki pregled / Important phenomena of the modern and contemporary art and architecture of Bosnia and Herzegovina and the Bauhaus heritage – example of Sarajevo: A short survey

Prethodno priopćenje Tehničke nauke/ Arhitektura i urbanizam / Preliminary Communication Technical Science/ Architecture and Urbanism

Adnan Pašić

100 GODINA 70 BAUHAUSA Abstract Abstract

Bauhaus i arhitektura Bosne The Bauhaus and the architecture i Hercegovine, osim posredne veze of Bosnia and Herzegovina, except preko Selmana Selmanagića, arhitekte for the indirect connection via Selman porijeklom iz Srebrenice, koji je studirao i Selmanagić, an architect originally from diplomirao na Bauhausu i svoj stvaralački Srebrenica, who studied and graduated i životni vijek proveo u Berlinu, nemaju from the Bauhaus and spent his lifetime direktne poveznice. Ali, ako naslijeđe and achieved his creative oeuvre in Bauhausa tumačimo kao sastavni dio Berlin, are not directly connected. But, univerzalnih vrijednosti koje definiraju if we interpret the Bauhaus heritage as savremenu arhitekturu i dizajn uopće, an integral part of the universal values onda je utemeljeno tvrditi da je ovo which define contemporary architecture naslijeđe sastavni dio vrijednosti and design in general, then it is well savremene kulture, umjetnosti i founded to argue that this heritage is arhitekture Bosne i Hercegovine. a an integral part of the contemporary Dokazi za to su mnogobrojni i cilj ovog culture, art and architecture values of istraživanja jeste ustanovljavanje Bosnia and Herzegovina. Evidence for komplementarnosti naslijeđa Bauhausa this is abundant and the goal of this i posebno značajnih umjetničkih research is to establish complementarity i arhitektonskih pojava u Bosni i of the Bauhaus heritage and particularly Hercegovini i Sarajevu od 1930. do danas. important art and architecture Tokom 14 godina svog phenomena in Bosnia and Herzegovina djelovanja, od 1919. do 1933. godine, and Sarajevo from 1930s till today. Bauhaus promovira savremenu formu During fourteen years of activity Gesamtkunstwerka, koji svoju cjelovitu (from 1919 to 1933), the Bauhaus realizaciju vidi u zgradi kao integraciji promoted Gesamtkunstwerk contemporary arhitekture, dizajna i likovnih umjetnosti form, which saw its complete realization sa zanatskim umijećem, industrijskom in the building as an integration of produkcijom i tehnologijom građenja. architecture, design and visual arts Poseban novum u djelovanju škole with craft skills, industrial production bio je izuzetno širok fokus nastavnih and construction technology. A special i vannastavnih aktivnosti usmjerenih innovation in the school’s activity is an na istraživanje i sintezu progresivnih extraordinary wide focus of curricular naučnih, tehnoloških, socijalnih i and extracurricular activities directed at umjetničkih fenomena, što Bauhaus, uz the research and synthesis of progressive sovjetski Vhkutemas, čini avangardom scientific, technological, social and art obrazovanja arhitekture i dizajna prve phenomena which makes the Bauhaus polovine XX stoljeća. and Soviet Vhkutemas an education avant-garde of the architecture and

100 YEARS OF BAUHAUS 71 Zbog ograničenog formata, design in the first half of the 20th century. odabrana su četiri primjera koja su Because the size is limited, four u proteklih 80 godina determinirala examples have been selected; they najznačajnije kulturne, umjetničke have determined the most important i arhitektonske tokove na ovom cultural, artistic and architectural trends prostoru: sintetički teatar Collegiuma in our region for the past 80 years; the Artisticuma, arhitektonski opus Reufa i Collegium Artisticum synthetic theatre, Muhameda Kadića, vizionarske projekte the architectural oeuvre of Reuf and Ivana Štrausa i Zlatka Ugljena i kultni Muhamed Kadić, visionary projects arhitektonski časopis ARH. Avangardni of Ivan Štraus and Zlatko Ugljen and prema karakteru, duhu i konceptima the cult ARH architectural magazine. koje promoviraju, smatram ih dijelom Being avant-guarde according to their univerzalnih vrijednosti i principa koje character, spirit and concepts which je ustanovio Bauhaus. Nadam se da they promote, I consider them a part će rezultati ovog istraživanja dodatno of the universal values and principles potaknuti i doprinijeti raspravi o established by the Bauhaus. I hope the univerzalnim i specifičnim vrijednostima results of this research will additionally bosanskohercegovačke i arhitekture give impetus and contribute to a debate Sarajeva, a povodom obilježavanja 100 about universal and specific values of godina od osnivanja Bauhausa. Bosnia and Herzegovina and Sarajevo Ključne riječi: Bauhaus, architecture on the occasion of the 100th savremena arhitektura, Bosna i anniversary of the Bauhaus’ foundation. Hercegovina, Sarajevo Key words: Bauhaus, contemporary architecture, Bosnia and Herzegovina, Sarajevo

100 GODINA 72 BAUHAUSA Bauhaus - avangarda Bauhaus – the moderne arhitekture i avant-garde of modern dizajna architecture and design

Društvena klima u Njemačkoj The social climate in Germany, u vrijeme osnivanja i tokom prvih during the foundation and the first godina djelovanja Bauhausa predstavlja years when the Bauhaus was active, period političke i društvene anarhije i represents a period of political and social ekonomskog rasula. Weimarskim ustavom anarchy and economic disarray. The iz januara 1919. započinje turbulentni turbulent historical period known as the historijski period Weimarske republike Weimar Republic began with the Weimar koji traje do 1932. godine dolaskom Constitution from January 1919 and it nacista na vlast, što je gotovo paralelno lasted until 1932 when the Nazis came sa početkom i prestankom djelovanja to power, which is almost parallel with Bauhausa koji sa radom prestaje 1933. the beginning (1919) and the end of the Bauhaus je sinonim za Državni Bauhaus activity (in 1933). Bauhaus (Staatliche Bauhaus) u Weimaru, The Bauhaus is a synonym for the osnovan 1919. godine objedinjavanjem State Bauhaus (Staatliche Bauhaus) in Visoke škole likovnih umjetnosti Weimar, founded in 1919 by unifying the (Hochschule für Bildende Künste) i Škole College for the Visual Arts (Hochschule primijenjenih umjetnosti (Kunstgewerbe für Bildende Künste) and the College Schule), koje 1906. godine osniva i njima for the Applied Arts (Kunstgewerbe rukovodi belgijski arhitekt Henry Van de Schule), both founded and managed by Velde. 1915. godine za svog nasljednika the Belgian architect Henry Van de Velde predlaže Waltera Gropiusa, koji kao radi in 1906. In 1915, he suggested Walter na programu objedinjavanja ove dvije Gropius for his successor; he worked škole, a potom i na angažmanu nekih od on the unification of these two schools najprominentnijih evropskih umjetnika and later on engaging some of the ovog doba (Curtis 1996, 199). most prominent artists of his time (Curtis Ambicija Bauhausa bila je 1996, 199). obrazovanje arhitekata i dizajnera The ambition of the Bauhaus metodama usklađenim sa dinamičnim was to educate architects and designers industrijskim društvom prve polovine by methods brought into line with the XX stoljeća. Obrazovni metod Bauhausa dynamic industrial society in the first zasniva na “integraciji umjetnosti i half of the 20th century. The educational zanatstva“, što od 1923. godine postaje method of the Bauhaus was based “novo jedinstvo umjetnosti i tehnologije“. on the’’ integration of arts and Walter Gropius u osnivačkoj proklamaciji crafts’’, which became a ‘’new unity of Bauhausa 1919. navodi: arts and technology’’ since 1923. Walter

100 YEARS OF BAUHAUS 73 “Cjelovita zgrada je krajnji cilj Gropius states in 1919 in the founding vizuelnih umjetnosti… proclamation of the Bauhaus : Kreirajmo novi esnaf zanatlija, bez ‘’The integral building is a final klasne taštine koja pokušava podići oholu goal of the visual arts.... barijeru između umjetnika i zanatlije. Let’s create a new guild of Zamislimo, ispitajmo i kreirajmo zajedno craftsmen, without class vanity which novu zgradu budućnosti koja će okupiti sve tries to build a haughty barrier between u jednoj integralnoj kreaciji: arhitektura, an artist and a craftsman. Let’s envisage, slikarstvo i kiparstvo rastu do neba rukama test and create together a new building miliona zanatlija, kristalni simbol nove of the future which will gather all in one vjere u budućnost“ (prev.a) (Curtis 1996, integral creation : architecture, painting 184). and sculpture that grow to the skies by Tokom 1925. godine, Bauhaus iz hands of millions of craftsmen, a crystal Weimara seli u industrijski grad Dessau, symbol of the new faith in the future ....’’ gdje Gropius projektuje i realizira novu (Curtis 1996, 184). zgradu Bauhausa, koja zahvaljujući novom During 1925, the Bauhaus moved arhitektonskom konceptu i vrijednostima from Weimar to the industrial city of postaje simbolom Bauhausa i njegovo Dessau, where Gropius designed and najznačajnije arhitektonsko djelo. Gropius created a new Bauhaus building which, Bauhaus napušta 1928. godine, kada na njegovo mjesto dolazi Hannes Meyer, thanks to a new architectural concept and koji izrazito socijalnim i puritanskim values becomes a symbol for the Bauhaus pristupom, promovira arhitekturu i dizajn and its most important architectural zasnovane na premisama funkcionalnosti work. Gropius left the Bauhaus in 1928 i racionalnosti. 1930. godine Hannes and was succeeded by Hannes Meyer Meyer napušta mjesto direktora who, by his pronouncedly social and Bauhausa, a za novog je izabran Ludwig puritan approach, promoted architecture Mies van der Rohe (Hatje 1970, 128-129). and design based on the premises of Pod političkim pritiskom nacista, Bauhaus functionality and rationality. In 1930, 1932. godine seli u Berlin, da bi naredne Meyer left his position as the Bauhaus 1933. godine prestao sa radom. Gropius, director and Ludwig Mies van der Rohe Mies van der Rohe, Breuer i Moholy-Nagy was chosen to replace him (Hatje 1970, 1930-ih napuštaju Njemačku i sele u SAD, 128-129). Under the Nazi pressure, the gdje osnivaju i rukovode školama dizajna Bauhaus moved to Berlin in 1932, only i arhitekture zasnovanim na principima to stop working in 1933. Gropius, Mies Bauhausa. 1938. godine Herbert Bayer, van der Rohe, Breuer and Moholy- Walter i Isa Gropius organiziraju izložbu Nagy all left Germany in the 1930s and Bauhausa u muzeju MoMA (Museum moved to the USA, where they founded of Modern Art, NYC), koja Bauhaus and managed architecture and design etablira jednim od najznačajnijih izvora schools, based on the Bauhaus principles. savremenog dizajna. In 1938, Herbert Bayer, Walter and Isa

100 GODINA 74 BAUHAUSA Collegium Artisticum Gropius organized an Bauhaus exhibition in the MOMA (Museum of Modern Art, - umjetnost kao pokretač NYC) which established the Bauhaus as društvenih promjena one of the most significant sources of the contemporary design. Bosna i Hercegovina je između dva svjetska rata od 1918. do 1929. godine sastavni dio Kraljevine Srba, Hrvata i Slovenaca, a od 1929. do 1941. godine, dio Kraljevine Jugoslavije. Ovaj period, Bosnu Collegium Artisticum i Hercegovinu je pridružio novonastaloj državi koja prvi put u historiji objedinjuje – art as a moving force prostore većinski naseljene pripadnicima of social changes južnoslovenskih naroda. Tokom ovog historijskog perioda Bosna i Hercegovina Between two World Wars, Bosnia je marginalizirana u političkom, kulturnom and Herzegovina was a part of the i ekonomskom smislu, što 1939. godine Kingdom of Serbs, Croats and Slovenes rezultira terirorijalnom podjelom from 1918-1929 and the Kingdom of Bosne i Hercegovine na četiri Banovine, Yugoslavia from 1929 to 1941. This period sa Sarajevom kao glavnim gradom attached B&H to the newly-formed state Drinske Banovine. Terirorijalna podjela that united territories settled by the Bosne i Hercegovine unutar Kraljevine South Slavic peoples for the first time Jugoslavije, svoje utemeljenje nikada nije in history. During this historical period, ni nastojala izvesti i graditi na historijskim, B&H was marginalized in the political, ekonomskim, društvenim ili kulturnim cultural and economical sense which pretpostavkama, što se nastavlja i tokom resulted in 1929 in B&H having been II svjetskog rata, kada Bosna i Hercegovina divided into 4 banates (banovinas), with postaje dio novonastale Nezavisne Sarajevo being the capital of the Drinska države Hrvatske (Malcolm 2011, 282-308). Banate. The territorial division of B&H U ovakvim okolnostima, mladi i obrazovani inside of Kingdom of Yugoslavia was ljudi koji su se upravo vratili sa studija never based on historical, economical, iz kulurnih centara Evrope, nastoje social or cultural principles which inicirati pokretanje kulturne scene grada. continued during WWII when it was a part of the Independent State of 1939. godine, prije punih 80 Croatia (Malcolm 2011, 282-308). It was godina, u okviru Sarajevske filharmonije in these circumstances that young and osnovan je Collegium Artisticum (lat., educated people who just returned from Umjetničko udruženje, prev.a.), kao studies in European cultural centres, sekcija umjetnika i prijatelja umjetnosti, intended to initiate activities on the na inicijativu kompozitora i dirigenta city’s cultural scene. Oskara Danona, akademskog slikara Voje

100 YEARS OF BAUHAUS 75 Dimitrijevića, arhitekte Jahiela Fincija In 1939 - exactly 80 years ago, i balerine Ane Rajs-Radošević. U radu the Collegium Artisticum (Lat. Artictic Collegiuma, osim osnivača, učestvovali Association) was founded as a part of su prominentni likovni umjetnici poput the Sarajevo Philharmonic, being an Ismeta Mujezinovića, Daniela Ozme, Mice association of artists and art lovers and Todorović i Rizaha Štetića, arhitekti Mate founded at the initiative of conductor Baylon i Emanuel Šamanek, pijanistikinja Oskar Danon, painter Vojo Dimitrijević, Matjusa Blum i injženjer Emerik Blum. Cilj architect Jahiel Finci and ballet-dancer udruženja je podizanje socijalne i političke Ana Rajs-Radošević. Besides its founders, svijesti građana društveno angažiranim other prominent artists took part in its pozorišnim predstavama, izložbama, activities - like Ismet Mujezinović, Daniel predavanjima i publicistikom. Ozmo, Mica Todorović and Rizah Štetić, architects Mate Baylon and Emanuel Šamanek, pianist Matjusa Blum and Sintetički teatar engineer Emerik Blum. The goal of this association was to raise social and Sintetički teatar je svoju prvu political awareness of citizens by socially– predstavu “Veče muzike, pokreta i narodne minded theatre shows, exhibitions, poezije“, po uzoru na praški avangardni lectures and journalism. teatar “Divadlo `38“ E.F. Buriana, održao u Sokolskom domu u Sarajevu 4. oktobra 1939. Predstava sintetičkog teatra je Synthetic Theatre eksperimentalna i avangardna dramska predstava zasnovana na integraciji The Synthetic Theatre staged teksta, glume, muzike, pjevanja i plesa its first show ‘’The Evening of Music, sa likovnim scenografskim i svjetlosnim Movement and Folk Poetry’’ in the kolorističkim efektima. Osim snažne Sokolski Dom in Sarajevo on 4th October socijalne i političke poruke, cilj sintetičkog 1939, on the model of the avant-garde teatra u produkciji i izvedbi članova theatre ‘’ Divadlo 38’’ by E.F. Burian from “Collegiuma“, imao je izuzetno zapažene Prague. That show was an experimental scenske i vizuelne efekte “kolorističkog and avant-garde drama performance, svjetlosnog moduliranja… i projiciranju based on the integration of text, slikovnog materijala na prozirnom acting, music, singing and dance with ekranu“ (Begić 1992, 59-60). visual scenographic and light colourist Prema adaptaciji knjige pripovjetki effects. Besides its powerful social “Zašto plače Ema?“ češkog pisca Norbert and political message, the goal of the Frýd-a (pod pseudonim Nora Fried Synthetic Theatre in the production and objavljenje 1940. u ediciji “Collegium performance of the Collegium’s members Artisticuma“), 12. februara 1941. godine had extraordinary noted stage and visual izvedena je istoimena predstava u effects of ‘’colourist and light modulation

100 GODINA 76 BAUHAUSA izvedbi sintetičkog teatra “Collegium ... and projecting painting material on a Artisticum“. Na izradi arhitektonskog transparent screen’’ (Begić 1992, 59-60). rješenja učestovali su arhitekti Mate According to an adaptation of Baylon i Emanuel Šamanek, dok su the book of stories ‘’Why Ema cries?’’ by slikovne prikaze izradili Vojo Dimitrijević Czech writer Norbert Frýd (alias Nora i Ismet Mujezinović. Predstava je Fried published in 1940 in a Collegium svojom naglašenom ideološkom i Artisticum edition), an eponymous show političkom angažiranošću bila povod was performed in 12th February 1940 policijskim vlastima da nakon premijerne by the Collegium Artisticum Synthetic predstave zabrane predstavu, nakon Theatre. Architects Mate Baylon and čega i udruženje prestaje sa djelovanjem Emanuel Šamanek participated in the (Danon 1992, 20-22). U Sarajevu od 1960. creation of the architectural design, godine, na inicijativu Jugoslava Korjenića, while the stage scenery was painted by aktivno djeluje MESS, festival Malih Vojo Dimitrijević and Ismet Mujezinović. i eksperimentalnih scena Sarajevo, The show together with its emphasized kojeg možemo smatrati nastavkom ideologically and politically-minded tradicije započete sintetičkim teatrom commitment was a reason for the “Collegium Artisticuma“. police authorities to cancel it after the première, after which the association ceased its activities (Danon 1992, 20- 22). Since 1960 and on the initiative of Jugoslav Korjenić, the MESS (Festival of Small and Experimental Scenes Sarajevo) has been active in Sarajevo, which could be considered as a continuation of the tradition that the Collegium Artisticum Synthetic Theatre has began. Original video or audio recording of the Synthetic Theatre has not been preserved, and the information about its integrating or experimental character that are relevant for this research, are testimonies of direct participants. Unlike the Bauhaus, where the building is a top

Slika 1: Program, Veče muzike, pokreta i narodne poezije, Sarajevo,1939.; (Sarajevska Zima 1992, 19-22) / Image 1: Programme, Evening of Music, Movement and Folk Poetry, Sarajevo, 1939.; (Sarajevska Zima 1992, 19-22)

100 YEARS OF BAUHAUS 77 Originalni vizuelni ili audio zapisi phenomenon inside of which a synthesis sintetičkog teatra Collegium Artisticuma of painting, sculpture and architecture nisu sačuvani, a informacije o njegovom are created and get their meaning, the integrativnom i eksperimentalnom Collegium Artisticum (on the model of karakteru relevantne za ovo istraživanje, the avant-garde theatres from Prague in jesu svjedočenja direktnih učesnika. the 1930s) promoted theatre in Sarajevo Za razliku od Bauhausa gdje je zgrada as a medium in which a synthesis of the vrhunski fenomen unutar kojeg se contemporary art, technology and social, realiziraju i smisao dobivaju sinteza humane messages are realized and get slikarstva, kiparstva i arhitekture, a full meaning. In both cases, the basic Collegium Artisticum po uzoru na idea is identical - to promote philosophy avangardne praške teatre 1930-ih, u and activity programme which, through Sarajevu promovira teatar kao medij the integration of contemporary art and u kojem se realizira i svoj puni smisao technology, have for a goal to create a dobiva sinteza savremene umjetnosti, more humane world. The media to attain tehnologije i humanih socijalnih poruka. that goal are different. U oba slučaja različitim medijima ostvaruje se identična osnovna zamisao i cilj, promoviranje filozofije i programa novog humanijeg svijeta integracijom savremene umjetnosti i tehnologije. Architecture of Reuf and Muhamed Kadić – architecture as a medium of cultural Arhitektura Reufa emancipation i Muhameda Kadića – A special importance for the arhitektura kao medij architecture in Sarajevo between two kulturne emancipacije World Wars is a return of architects, engineers and artists who completed Poseban značaj za razvoj their studies in the European cultural arhitekture Sarajeva između dva svjetska centres : Prague, Budapest and Vienna. rata je povratak arhitekata, inženjera Since Sarajevo did not have big town- i umjetnika koji su studije završili u planning and infrastructure projects kulturnim centrima Evrope: Pragu, Beču ili (except for the Crni Vrh Estate), a basic Budimpešti. Pošto Sarajevo u to vrijeme, model of urban transformation and izuzev naselja Crni Vrh, nema velikih architectural interventions in the city are urbanističkih i infrastrukturnih projekata, interpolations of new residental, office osnovni model urbane transformacije i and public buildings into the existing

100 GODINA 78 BAUHAUSA arhitektonskih intervencija u gradu su Ottoman an Austro–Hungarian urban interpolacije novih stambenih, poslovnih tissue. This is the reason that, from i javnih zgrada u postojeće osmansko i the 1920s until 1939, the most austrougarsko urbano tkivo. Ovo je razlog important architectural creations are da od sredine 1920-ih, pa do početka single buildings. drugog svjetskog rata, najznačajnija Reuf Kadić began his studies of arhitektonska ostvarenja u Sarajevu čine architecture at the Technical College pojedinačne zgrade. in Prague in 1927, a year after his elder Reuf Kadić studij arhitekture na brother Muhamed. He returned to Visokoj tehničkoj školi u Pragu započeo Sarajevo after the studies’ completion je 1927., godinu dana nakon starijeg in 1935, while Muhamed did not return brata Muhameda. Reuf se u Sarajevo until 1939, due to police persecution vraća nakon završenih studija 1935. during the studies. Reuf got employed godine, a Muhamed zbog policijskog in the Endowment Board in Sarajevo progona tokom studija, tek 1939. godine. (one of the most important investors Po povratku u Sarajevo, Reuf Kadić se in the sacral and secular architecture zapošljava u Vakufskoj direkciji u Sarajevu, of that era in B&H) where he designed jednom od najznačajnijih investitora and created more than 50 buildings in sakralne i profane arhitekture tog doba 7 years time (Kadić 2010, 27-35). With u Bosne i Hercegovini, gdje u narednih their creations in Sarajevo, the Kadić sedam godina projektuje i realizira preko brothers integrated architectural, pedeset zgrada (Kadić 2010, 27-35). Braća technological and visual culture of their Kadić, od 1939. do 1942. i ponovo od 1945. time (from 1939 to 1942 and again from do 1949., svojim realizacijama u Sarajevu integrišu arhitektonsku, tehnološku 1945 to 1949), simultaneously laying i likovnu kulturu svog vremena, foundations for the development of istovremeno postavljajući temelje razvoju 2 parallel trends of the modern and dva paralelna toka moderne i savremene contemporary B&H architecture. bosanskohercegovačke arhitekture. The first parallel trend is based Prvi paralelni tok se zasniva na on heroic sources of the modern art, herojskim izvorima moderne umjetnosti, machine aesthetics and researches inside mašinskoj estetici i istraživanjima unutar the very discipline which the 1st phase same discipline, i njemu pripadaju creations of the Kadić brothers belong realizacije prve faze braće Kadić. Drugi to. The 2nd parallel trend of the modern paralelni tok moderne i savremene and contemporary B&H architecture is bosanskohercegovačke arhitekture based on researches and creative flair zasniva se na istraživanjima i kreativnom which is not opposed to the 1st one, but it nervu koji nije u suprotnosti sa prvim, već integrates the 1st one with a philosophy ovaj integriše sa filozofijom i posebnim and a special sensibility towards the senzibilitetom prema kontekstu kulturnih context of cultural and natural values, on

100 YEARS OF BAUHAUS 79 i prirodnih vrijednosti na osnovu čega the basis of which it creates a completely kreira potpuno novu savremenu new contemporary architecture. In arhitekturu. U djelima posebno nadarenih the works of particularly talented pojedinaca ova sinteza herojske dimenzije individuals, this synthesis of the heroic moderne i osobenog senzibiliteta za dimension of the Modern Movement and kulturni i prirodni kontekst za rezultat ima a personal sensibility for the cultural and izuzetno vrijedne arhitektonske zgrade i natural context resulted in extraordinary urbane ansamble, čije je formalno ishodište valuable architectural buildings and u savremenosti, a duhovno utemeljenje u urban ensembles, whose formal origin is kuturnoj tradiciji i prirodnom i urbanom in contemporariness, while its spiritual ambijentu kojem pripada. Reuf i establishment is in the cultural tradition Muhamed Kadić kućom porodice Kopčić and natural and urban ambience to iz 1939. godine, uz Juraja Neidhardta i which it belongs. Together with Juraj Dušana Grabrijana, postavljaju temelje Neidhardt and Dušan Grabrijan, Reuf ovog još uvijek vitalnog toka savremene and Muhamed Kadić laid the foundations bosanskohercegovačke arhitekture. (with their house of the Kopčić family from 1939) of this still vital trend of the Reuf i Muhamed Kadić od 1939. contemporary B&H architecture. i 1940. godine projektuju i realiziraju tri vrhunska ostvarenja moderne arhitekture Reuf and Muhamed Kadić designed u Sarajevu. Reuf Kadić 1939. započinje and created 3 top-grade realizations of projektovanje stambene zgrade Čokadži the modern architecture in Sarajevo from hadži Sulejmana, koju realizira skupa 1939 to 1940. Reuf Kadić began designing sa bratom Muhamedom 1940. godine. a residential building of Čokadži hadži Gotovo parelelno sa navedenom Sulejman in 1939, which came into zgradom, braća Kadić realiziraju dvije being with the assistance of his brother zgrade vakufa Hovadža Kemaludina, Muhamed in 1940. Nearly simultaneously mekteb i poslovno-stambenu zgradu sa with the aforementioned building, the neboderom (neboder je završen nakon II Kadić brothers created two buildings of the Hovadž Kemaludin’s Endowment svjetskog rata po izmijenjenom projektu - a religious Muslim elementary school anonimnog autora). Obe zgrade su (‘’mekteb’’) and an office and residential locirane na uglu dva susjedna urbana building with a skyscraper (the bloka i orijentisane na ulice Ferhadija i skyscraper was finished after WWII, Čemaluša. Tri različita programa logično according an altered design of an su interpretirana na različite načine, anonymous architect). Both buildings i izuzetno odvažno i uspješno uvode are located at the corner of 2 duh i arhitekturu moderne u vrijedna neighbouring urban blocks and are historijska urbana okruženja. (Janković oriented towards Ćemaluša and Ferhadija 2007, 51-57). Streets. Three different programmes are Posebno vrijednim se cijeni logically interpreted in different ways fenomen kulturne emancipacije koju imaju and exceptionally successfully and

100 GODINA 80 BAUHAUSA Slika 2: Reuf i Muhamed Kadić, Vakuf Čokadži hadži Sulejmana, 1939. i Mekteb vakufa Hovadža Kemaludina iz 1940.; (Kadić 2010, 50 -54) / Image 2: Reuf and Muhamed Kadić, Čokadži hadži Sulejman’s Endowment, 1939. and the Mekteb of Hovadž Kemaludin’s Endowment from 1940; (Kadić 2010, 50 -54)

Slika 3: Početak ulice Ferhadija u prvoj polovini 20. stoljeća, Reuf i Muhamed Kadić, Neboder i zgrada vakufa Hovadža Kemaludina, sa simulacijom originalnog projekta, 1939-1947.; (A. Đelilović arhiva; Kadić 2010) / Image 3: Beginning of Ferhadija Street in the 1st half of the 20th century, Reuf and Muhamed Kadić, Skyscraper and Hovadž Kemaludin’s Endowment Building, with a simulation of the original design, 1939-1947; (A. Đelilović archives; Kadić 2010)

100 YEARS OF BAUHAUS 81 arhitekti i arhitektura moderne u boldly introduced the spirit and bosanskohercegovačkim gradovima architecture of the Modern Movement između dva svjetska rata, gdje u Sarajevu into valuable historical and urban vrlo istaknuto mjesto pripada djelovanju environment (Janković 2007, 51-57). arhitekata Reufa i Muhameda Kadića. A phenomenon of the cultural Naročito vrijednim ističe se angažman emancipation that is considered to be Reufa Kadića kao projektanta u Vakufskoj especially valuable, is the phenomenon direkciji od 1935. do 1942. godine, kojem which architects and the Modern se od 1939. pridužuje brat Muhamed. Movement architecture have in B&H Progresivnim arhitektonskim konceptima cities between 2 World Wars – in i smjelim realizacijama, braća Kadić reference to which the Kadić brothers konzervativne institucionalne, kulturne take up a prominent place in Sarajevo. I i društvene norme ove tradicionalne specially emphasize Reuf’s engagement institucije, zasnovane na religijskom i as a designer at the Endowment Board kulturnom naslijeđu osmanskog perioda, from 1935 to 1942 to be a valuable one uvode u savremeno doba. Svojim (he was joined by his brother Muhamed djelovanjem potvrđuju emancipatorsku in 1939). They introduced conservative ulogu koju nadareni pojedinci i grupe institutional, cultural and social norms imaju u kontekstu različitih kulturnih of this endowment (founded on the sredina u periodu između dva svjetska religious and cultural heritage of the rata, u čemu na internacionalnom planu Ottoman period) into the contemporary posebnu ulogu ima Bauhaus. era with progressive, architectural concepts and bold creations. With their activities, they confirm the emancipatory role which talented individuals and groups have in the context of different Vizionarski projekti cultural milieus between 2 World Wars, in Ivana Štrausa i Zlatka which the Bauhaus has a special role on Ugljena the international level.

Bosanskohercegovački arhitekti Ivan Štraus i Zlatko Ugljen svojim talentom, osobnošću i arhitektonskim opusom prevazilaze okvire regije i od Visionary designs of 1960-ih odlučujuće usmjeravaju tokove Ivan Štraus and Zlatko savremene arhitekture Bosne i Ugljen Hercegovine. Stoga primjerenim smatram komparaciju Gropiusove zgrade With their talent, personality and Bauhausa u Dessau iz 1926. sa zgradom architectural oeuvre, B&H architects Muzeja avijacije u Beogradu Ivana Štrausa Ivan Štraus and Zlatko Ugljen surpass

100 GODINA 82 BAUHAUSA iz 1969.-1989. i projektom Izložbenog the frames of our country and have been paviljona ULUBiH Zlatka Ugljena iz 1970. decisively directing the contemporary Zgrada Bauhausa je kako u B&H architecture trends since 1960s. arhitektonskom, tako i u tehnološkom Therefore, I consider to be appropriate smislu istinski novum. Zgrada se sastoji iz to compare Gropius’ Bauhaus Building tri prostorno-funkcionalne cjeline tlocrtne in Dessau from 1926 with the Aviation «L» forme u dinamičnom prostornom Museum in Belgrade by Ivan Štraus aranžmanu, sa dominantnim trospratnim from 1969-1989 and the design of the ostakljenim volumenom laboratorija Association of Visual Artists of Bosnia i radionica kao prvom poznatom and Herzegovina (ULUBiH) Exhibition primjenom ovješene fasade, koji veoma Pavilion by Zlatko Ugljen from 1970. brzo postaje simbol cijele zgrade. The Bauhaus Building is a true Siegrfreid Giedion zgradu Bauhausa innovation in both the achitectural and smatra prethodnikom avangardne ideje technological sense. It consists of 3 “prostor-vremena“ i “simultanosti“, spatial and functional unities that have a dok Giulio Carlo Argan, Gropiusov planview in the L letter shape in a dynamic, funkcionalizam smatra odgovorom na spatial arrangement with a dominant haos i nered izazvan posljedicama upravo 3-storey glazed volume of labs and završenog rata, a posebno vrijednim workshops as the first known application ističe način kojim Gropius integriše of the curtain wall that became very fast fabriku i školu u jedinstvenu strukturu, a symbol of the whole building. Siegfried dajući arhitektonsku formu viziji “rada Giedion considers this building to be a kao obrazovanja“ (Marotta 2015, 93). forerunner of the avant-garde idea of the ‘’space-time’’ and ‘’simultaneousness’’,

Slika 4: Ivan Štraus, Muzej avijacije, Surčin, Beograd, 1969-1989.; (Štraus 2002, 93-94) / Image 4: Ivan Štraus, Aviation Museum, Surčin, Beograd, 1969-1989; (Štraus 2002, 93-94)

100 YEARS OF BAUHAUS 83 Muzej avijacije Ivana Štrausa while Giulio Carlo Argan considers takođe predstavlja novum u području Gropius’ functionalism to be an answer muzejskih zgrada, ali i u smislu prostornog to the chaos and disorder caused by the i tehničkog projektnog rješenja. Prstenasti consequences of the recently ended war; ostakljeni prostor, podignut i prepušten he especially emphasizes as valuable the preko snažnog armirano-betonskog way that Gropius integrates the factory nosivog jezgra, na logičan način služi and school in one uniform structure, thus osnovnoj namjeni, izlaganju eksponata giving an architectural form to the ‘’work aviona koji “lebde“ unutar prostranog as education’’ vision (Marotta 2015, 93). ostakljenog prstena, dinamizirajući uvijek The Aviation Museum by Ivan promjenjivu senzaciju gdje su eksponati u Štraus represents also an innovation muzeju u prostornoj relaciji sa avionima u in the field of museum buildings, but letu sa obližnjeg aerodroma. Vizionarska both in the spatial and technical project uvjerljivost projektnog rješenja ovom design. A ring-like glazed space, erected prostoru daje univerzalnu vrijednost and overhung on a strong reinforced- (Ibelings 2006, 205) (Štraus 2002, 91-95). concrete load-carrying axis logically

Slika 5: Zlatko Ugljen, Izložbeni paviljon ULUBiH-a, Sarajevo,1970.; (Bernik 2002, 69-70) / Image 5: Zlatko Ugljen, ULUBiH Exhibition Pavilion, Sarajevo,1970; (Bernik 2002, 69-70)

100 GODINA 84 BAUHAUSA Zlatko Ugljen 1970. godine serves its basic purpose – the exhibition prezentuje projekt Izložbenog paviljona of airplane exhibits which ‘’hover’’ inside ULUBiH, koji svojim koncepcijskim i the spacious glazed ring, dynamizing a arhitektonskim vrijednostima dobija permanent sensation, where the museum kultni status. Lociran u parku Koševo, exhibits are in a spatial relation with unutar zidom ograđenog prostora, the flying planes from a nearby airport. smješten je paviljon križne tlocrtne forme Visionary persuasiveness of the design ostakljenih prizmi različite širine, gives to this space a universal value koje se prilagođavaju rasporedu (Ibelings 2006, 205) (Štraus 2002, 91-95). postojećih stabala. Izražajna tektonska Zlatko Ugljen presented a design struktura komponovana od kromiranih of the Association of Visual Artists cijevi kružnog presjeka sa veznim of Bosnia and Herzegovina (ULUBiH) elementima kromiranih kugli kapitela, Exhibition Pavilion in 1970 - it received kreira ambijentalnu cjelinu osobenog a cult status, thanks to its concept and rafinmana. Posebnu vrijedanost ima architectural values. It is located in dinamička senzacija odraza pejzaža, Koševo Park, inside of a walled space: it has a cross planview of glazed prisms varying in width that conform to the disposition of the existing trees. The expressive tectonic structure, composed of circular chromium-plated pipes with binding elements of chromium- plated capital balls, creates a ambience site of a special refinement. There is a special value in dynamic sensation of the landscape, exhibits and people in movement being reflected on twisted surfaces of chromium-plated columns, beams and capitals, which integrates people, artworks, nature and architecture in a functional, spatial and visual sense. The Aviation Museum by Ivan Štraus and the Association of Visual Artists of Bosnia and Herzegovina eksponata i ljudi u pokretu na (ULUBiH) Exhibition Pavilion by Zlatko zakrivljenim plohama hromiranih Ugljen share the philosophy which, stubova, greda i kapitela, koja u together with the Gropius’ Bauhaus funkcionalnom, prostornom i vizuelnom Building, bases every new design task smislu integriše ljude, umjetnička djela, on the creation imperative of innovated prirodu i arhitekturu. architectural concepts, founded on

100 YEARS OF BAUHAUS 85 Muzej avijacije Ivana Štrausa design and technological innovations. All i Izložbeni paviljon ULUBiH-a Zlatka 3 works are outstanding examples of the Ugljena, sa zgradom Bauhausa Waltera universal tradition of the contemporary Gropiusa dijele filozofiju koja svaki novi architecture and a basic premise of the projektni zadatak zasniva na imperativu Bauhaus philosophy that is based on the kreiranja inoviranih arhitektonskih glorification of machine aesthetics and a koncepcija, zasnovanih na dizajnerskim myth about inseparability of social and i tehnološkim inovacijama. Sva tri djela technological progress which has lasted su izvanredni primjeri univerzalne since their invention to date. tradicije savremene arhitekture i temeljne premise filozofije Bauhausa, zasnovane na glorifikaciji mašinske estetike i mitu o nedjeljivosti društvenog i tehnološkog napretka, koji traje od tog ARH magazine – vremena do danas. Architecture as a cultural avant-garde

After WWII and when the Communist Party took over, B&H Časopis ARH – became one of the six federal republics arhitektura kao kulturna of the socialist Yugoslavia. The process avangarda of establishing the new socialist order was taking place parallelly with the U vrijeme nakon II svjetskog development of cultural, administrative rata, dolaskom na vlast Komunističke and educational institutions and of partije Jugoslavije, Bosna i Hercegovina industrial and economical revival as well. postaje jedna od šest federalnih The Technical Faculty was founded in jedinica socijalističke Jugoslavije. Proces Sarajevo in 1949 with the Departments uspostavljanja vlasti i socijalističkog of Architecture, Engineering, Electrical društvenog poretka paralelan je sa Engineering and Machinery which ekonomskim, industrijskim i razvojem became separate faculties in 1961. upravnih, obrazovnih i kulturnih Because of the lack of local architects institucija. U Sarajevu se 1949. and academics, architects from academic godine osniva Tehnički fakultet centres of Yugoslavia were sent by sa arhitektonskim, građevinskim, appointment to Sarajevo during the elektrotehničkim i mašinskim odsjecima, postwar reconstruction process. In koji 1961. godine postaju zasebni the late 1950s, the first generations fakulteti. Zbog nedostatka domaćih of graduated architects from the arhitekata i akademskih djelatnika, u Department of Architecture of the Sarajevo tokom perioda poslijeratne Technical Faculty together with their

100 GODINA 86 BAUHAUSA obnove dekretom bivaju upućeni arhitekti senior colleagues became a part of the iz akademskih centara Jugoslavije. Nakon dynamic architectural scene of this period sredine 1950-ih godina prve generacije in Sarajevo. diplomiranih arhitekata Arhitektonskog Intensive professional, researching odsjeka Tehničkog fakulteta, uz and academic activities of this period svoje starije kolege, postaju dijelom encouraged the Association of dinamične arhitektonske scene ovog Sarajevo Architects (DAS) – to start perioda u Sarajevu. the publication of ARH – magazine for Intenzivna profesionalna, istraživačka architecture, town-planning, applied art i akademska djelatnost ovog perioda, and industrial shaping in 1963. The first potiče Društvo arhitekata Sarajeva-DAS 11 issues published from 1963 to 1966 da 1963. godine započne publiciranje were conceived thematically, where each ARH-a, časopisa za arhitekturu, issue deals with various subjects, town- urbanizam, primijenjenu umjetnost i planning schemes, designs of public industrijsko oblikovanje. Prvih 11 brojeva buildings, hotels, residential buildings objavljenih od 1963. do 1966. godine, and competition entries. ARH’s format koncipirani su tematski, gdje svaki broj was 21x25cm with measured and obrađuje različite teme, urbanističke balanced textual and graphic planove, projekte javnih zgrada, contributions in black and white and hotele, stambene zgrade i konkursne a particularly impressive front cover radove. Format ARH-a je 21x25cm, sa done monochromatically with a graphic odmjerenim i izbalansiranim tekstualnim reproduction in accordance with an i crno-bijelim grafičkim prilozima, i issue’s subject. Due to its concise and posebno dojmljivim naslovnicama u well laid out content, refined visual and monohromnom kolorističkom tretmanu architectural culture, ARH has remained sa grafičkom reprodukcijom usklađenom to date a ‘’measure’’ of quality in these sa temom broja. ARH je svojim konciznim regions which has not been surpassed i preglednim sadržajem, rafiniranom ever since. The editor-in-chief of the first vizuelnom i arhitektonskom kulturom 3 issues was professor Jahiel Finci, one do danas ostao “mjera“ kvalitete koja na of the Collegium Artisticum founders, ovim prostorima od tada nije dostignuta. only to be taken over by Ivan Štraus Glavni i odgovorni urednik prva tri broja (from 4 to 11 issues), giving a parallel ARH-a bio je profesor Jahiel Finci, jedan with the Bauhaus experiences, by whose od osnivača Collegium Artisticuma, da bi movement to Dessau, its first successful od 4 do 11 broja ovu ulogu preuzeo Ivan attenders became masters. Štraus, pružajući paralelu sa iskustvima Bauhausa, u kojem prelaskom škole u Dessau, njeni prvi uspješni polaznici postaju majstori.

100 YEARS OF BAUHAUS 87 Slika 6: ARH, Časopis za arhitekturu, urbanizam, primijenjenu umjetnost i industrijsko oblikovan- je, brojevi 1, 2/3, 4, 5, 6, 8; (ARH) / Image 6: ARH, Magazine for Architecture, Urban-Planning, Applied Art and Industrial Design, issues 1, 2/3, 4, 5, 6, 8; (ARH)

Nakon originalnih jedanaest After the original 11 issues, brojeva, nastaje pauza i ARH se od there was a certain break and ARH was broja 12 do 20 objavljuje u periodu od published from issue No12 to issue No20 1969. do 1973. sa glavnim urednicima in the period 1969-73 with editors-in- Sulejmanom Midžićem i Ivanom Štrausom, chief Sulejman Midžić and Ivan Štraus, zadržavajući koncept tematskih brojeva retaining the concept of thematic issues sa neznatno izmijenjenom vizualizacijom. with nearly unaltered visual identity. The Naredni 21. broj ARH-a koji izlazi 1989., next 21st issue was published in 1989 sa glavnim i odgovornim urednikom with editor-in-chief being Said Jamaković; Saidom Jamakovićem, zadržava originalni it retained the original concept and ARH koncept, a ARH postaje časopis za became the magazine for architecture,

100 GODINA 88 BAUHAUSA arhitekturu, urbanizam i oblikovanje. town-planning and shaping. Issues No22 ARH broj 22 i 23 objavljeni su 1991. i and No23 emerged in 1991 and 1992 with 1992. godine, sa Predragom Miloševićem Predrag Milošević as the editor-in-chief. kao glavnim i odgovornim urednikom The new editor’s concept with a plenty čiji urednički koncept uvodi mnoštvo of different topics and contributions and različitih tema i priloga sa novim a new polychromatic visual identity is polihromnim vizuelnim identitetom, similar to other culture magazines of that očigledno pod uticajem revija za kulturu period. These two issues coincided with tog perioda. Objavljivanje ova dva broja the beginning of the war in neighbouring paralelno je sa početkom ratnih sukoba u Croatia, while No23 was printed in susjednoj Hrvatskoj, a broj 23 iz štampe February 1992, 2 months before the izlazi u februaru 1992., dva mjeseca start of the 1425 days-long siege and prije početka 1425 dana duge opsade destruction of Sarajevo, the longest siege i destrukcije Sarajeva, najduže opsade of a city in contemporary history. jednog grada u savremenoj historiji. The last ARH issue No 24, the only Posljednji ARH broj 24, jedini na one to be in English, was published in engleskom jeziku, objavljen je juna 1993. June 1993, according to a concept of the godine prema konceptu uređivačkog editorial board headed by Said Jamaković, as a document of the barbaric killing of kolegija sa Saidom Jamakovićem na people, destroying of architecture and čelu, kao dokument o barbarskom the city of Sarajevo under siege. Despite ubijanju ljudi, razaranju arhitekture the everyday’s intensity of evil and i grada Sarajeva pod opsadom. destruction, selected topics and texts are Uprkos intenzitetu zla i destrukcije not subject to sentimentality, but through svakodnevnice, odabrani tekstovi i teme rational analyses, thoughtful essays and ne podliježu sentimentalnosti, već putem intelligent suggestions for the city’s racionalnih analiza, promišljenih eseja i renewal, speak in a special way about the inteligentnih prijedloga obnove grada, na integrity of the people and universal and poseban način govore o integritetu ljudi remarkable values of​​ the architecture i univerzalnim i osobitim vrijednostima and city of Sarajevo and the human ability arhitekture i grada Sarajeva i ljudskoj to overcome meaninglessness through sposobnosti prevladavanja besmisla imagination, intelligence and belief in putem imaginacije, inteligencije i future and renewal of the city, based vjerovanja u budućnost i obnovu grada on the positive universal human values. zasnovanih na pozitivnim univerzalnim Symbolically, ARH like the Bauhaus were humanim vrijednostima. Simbolički, discontinued in their work by repressive ARH poput Bauhausa prekidaju rad and fascist worldviews in particularly djelovanjem represivnih i fašističkih destructive epochs of human history, at svjetonazora u posebno destruktivnim the same time demonstrating that the epohama ljudske historije, istovremeno materiality of culture, art and architecture svojim primjerom svjedočeći da transcends into a spiritual value that

100 YEARS OF BAUHAUS 89 materijalnost kulture, umjetnosti i resists the forces of destruction and arhitekture transcendira u duhovnu political oppression. vrijednost koja odolijeva silama A special quality of the original destrukcije i političke opresije. concept and visual identity of the first ARH posebnim kvalitetom 11 editions of ARH magazine are a originalnog koncepta i vizuelnog reflection of exceptionally stimulating identiteta prvih 11 izdanja, odraz je ambience and a prolific period of the izuzetno poticajnog ambijenta i plodnog architectural production at the end of perioda arhitektonske produkcije 1950- the 1950s and during 1960s in Sarajevo ih i 1960-ih godina u Sarajevu i Bosni and B&H. Unsuccessful experiences of i Hercegovini. U tom smislu možemo trying to relaunch ARH can be compared uporediti iskustva kasnijih izdanja ARH-a with the examples of trying to relaunch sa onima ponovnog pokretanja Bauhusa. the Bauhaus. We can consider the Gropius 1937. na Harvard University most successful to be GSD - Graduate GSD-Graduate School of Design ili Max School of Design at Harvard University Bill od 1953. do 1968. na Hochschule whose Department of Architecture was für Gestaltung Ulm svoje iskustvo transformed by Gropius in 1937 and Bauhausa koriste kao osnovu za potpuno Hochschule für Gestaltung Ulm which nove koncepcije i metode nastave koje was active between 1953 and 1968; it nastaju kao dio drugačijeg historijskog i was marked by the engagement and influence of a former Bauhaus student društvenog konteksta, ali koji simbolički - Swiss architect and designer Max Bill. i suštinski nikada ne dostižu kultni status In both examples, their initiators use njihovih uzora. the Bauhaus experiences as a basis for completely new conceptions and teaching methods, avoiding repeating original methods come about as a part of the special historical and social Epilog – Bauhaus i context, but they never attain neither Sarajevo symbolically nor essentially, the cult status of their models. Kultura i temeljne vrijednosti škole arhitekture i dizajna Bauhasa zasnovani na integraciji umjetnosti i tehnologije, zahvaljujući vremenskom odmaku i savremenim medijima komunikacije, Epilogue – Bauhaus dobili su univerzalnu potvrdu, potpuniju and Sarajevo i rasprostranjeniju od one tokom i neposredno nakon prestanka njenog The culture and basic values of djelovanja. Od kraja XIX stoljeća do danas, the Bauhaus School for Architecture prostor Bosne i Hercegovine je sastavni and Design that were founded on the

100 GODINA 90 BAUHAUSA dio univerzalnih, ali i posebno vrijednih integration of art and technology, thanks i osobenih bosanskohercegovčkih to a time distance and contemporary interpretacija moderne i savremene media of communication, have been kulture, umjetnosti i arhitekture (Ibelings universally acknowledged in more 2011, 77, 152, 172, 197, 205, 218). Osnovna complete and widespread way than načela Bauhausa svoju potvrdu dobivaju i the one during and immediately after it u značajnim umjetničkim i arhitektonskim ceased being active. Since the end tokovima Bosne i Hercegovine XX of the 19th century to date, B&H has stoljeća, među kojima arhitektonski been an integral part of the universal, opus Juraja Neidhardta, Ivana Štrausa i but especially valuable and peculiar Zlatka Ugljena zauzima posebno mjesto, B&H interpretation of the modern što potvrđuju i njihova djela koja čine and contemporary culture, art and istaknuti dio izložbe “Toward Concrete architecture (Ibelings 2011, 77, 152, Utopia: Architecture in Yugoslavia 1948- 172, 197, 205, 218). The basic principles 1980”, održane u muzeju MoMA New of the Bauhaus were established in York, u jesen 2018. i zimu 2019. important artistic and architectural Posljednje 24 godine, trends in B&H in the 20th century, where the bosanskohercegovačka i arhitektura architectural oeuvres of Juraj Neidhardt, grada Sarajeva reflektuje neoliberalni Ivan Štraus and Zlatko Ugljen take up a društveni, ekonomski i kulturni kontekst special place, which was recognized by opšte degradacije dostignuća prethodnih their works having been prominently epoha i dereguliranja javnog prostora. included in the “Toward Concrete Utopia: Prevazilaženje dominantnog trenda Architecture in Yugoslavia 1948-1980” produkcije arhitekture i urbanizma kao Exhibition that took place at the MOMA uslužne djelatnosti društva i kulture in New York in the autumn of 2018 and konzumerizma, zahtijeva značajnu the winter of 2019. promjenu fokusa i prioriteta. Trideset During the last 24 years, the godina nakon rušenja Berlinskog zida architecture of B&H and Sarajevo has been sasvim je jasno da liberalni kapitalizam reflecting a neoliberal social, cultural nije pronašao pozitivno rješenje and economical context of general najvećih izazova koji se nalaze pred degradation of the previous epochs’ ljudskom vrstom. Alternativa se nalazi achievements and deregulation of the u istraživanjima usmjerenim viziji public space. Surpassing the dominant budućnosti pravednijeg i humanijeg trend in architectural and town-planning društva i arhitektonskoj produkciji production as a service activity of zasnovanoj na izvrsnosti i integraciji society and the culture of consumerism, kulture, nauke i tehnologije, kao demands a significant change in focus savremenoj interpretaciji univerzalnog and priority. Thirty years after the Fall of naslijeđa Bauhausa. U kontekstu the Berlin Wall, it is completely clear that kulturnog ambijenta Bosne i Hercegovine liberal capitalism has not found a positive

100 YEARS OF BAUHAUS 91 i Sarajeva očigledno je da su posljednjih solution to the biggest chalenges that 100 godina globalni kulturni i umjetnički are ahead of the mankind. An alternative tokovi bili poticaj za posebno vrijedne is to be found in the research directed at i osobene pojave i opuse talentovanih a future vision of a more just and more pojedinaca u arhitekturi i dizajnu. Ova humane society and an architectural postignuća osnova su budućeg razvoja production based on the excellence gradova i arhitekture ovih prostora. and integration of culture, science and technology, as a contemporary interpretation of the universal Bauhaus heritage. In the context of the cultural ambience of Sarajevo and B&H, it is Literatura / Literature obvious that the global cultural and artistic trends in the last 100 years have Begić, Azra, Likovni umjetnici been an impetus for particularly valuable u “Collegium Artisticumu“. Collegium and peculiar emergence and oeuvres of Artisticum 1939… Sarajevo: Sarajevska talented people in the architecture and Zima, 1992 design fields. These achievements are a basis for the future development of cities Bernik, Stane., 2002. Arhitekt and architecture in our environment. Zlatko Ugljen. Tuzla: Međunarodna galerija portreta. Danon, Oskar., 1992. “Collegium Artisticum“ 1939. Collegium Artisticum 1939… Sarajevo: Sarajevska Zima, 1992 Finci, Jahiel. urednik, ARH broj 1, 2/3. Sarajevo: Društvo arhitekata Sarajeva – DAS, 1962 Draga Frampton, Kenneth., 1980. Modern Architecture, A Critical History. London: Thames and Hudson Ltd. Hatje, Gerd., 1970. Enciklopedija moderne arhitekture. Beograd: Građevinska knjiga Ibelings, Hans., 2011. European Architecture since 1890. Amsterdam: Sun architecture and author. Janković, Živorad., 2007. Muhamed Kadić: Život i djelo. Sarajevo: Akademija nauka i umjetnosti BiH, Bošnjački institut

100 GODINA 92 BAUHAUSA Fondacija Adil Zulfikarpašić. Kadić, Emir., 2010, Arhitekt Reuf Kadić. Sarajevo: Emir Kadić. Malcolm, Noel., 2011. Bosna: kratka povijest. Sarajevo: Buybook. Marotta, Antonello., 2015. „Bauhaus and Vkhutemas, Architecture. “ u „Movements and Trends from the 19th Century to the Present“ urednik Luca Molinari, Milano: Skira Editore Štraus, Ivan., 2002. Ivan Štraus arhitekt. Sarajevo: Akademija nauka i umjetnosti BiH

100 YEARS OF BAUHAUS 93 Kad majstori utihnu... When the masters fall silent... Bilo da se govori o tačci u prostoru, arhitektonskom projektu vile Whether one speaks about a point Emerika Paskole u Banjoj Luci, akcentu in the space, the architectural design u govoru izvedenom u predstavi „Veče of Emerik Paskola’s villa in Banjaluka, muzike pokreta i narodne poezije“, boji an accent in a speech delivered in the u slici od Ismeta Mujezinovića, insinuaciji ‘’Evening of the Music of Movement and apstraktne geste u predstavi sintetičkog Folk Poetry’’ show, colour in a painting teatra Collegiuma Artisticuma „Zašto by Ismet Mujezinović, insinuation of plače Ema?“, konceptu stambenog naselja an abstract gesture in the show of the „Ciglane“ ili bilo kojem drugom činjenju Collegium Artisticum synthetic theatre, u prostoru postojeće datosti, stvaranje named ‘’Why Does Ema Cry?’’, about the je promjena i vedno tvori kontrast u concept of the Ciglane Housing Complex, odnosu na datost. or any other action in the space of the Pitanje vrednovanja stvaranja kao existing givenness, creation is a change kontinuiranog procesa možda bi trebalo and it always makes a contrast in reference biti prvo pitanje na koje bi se morao to the givenness/given conditions. naći odgovor kako bi govor o degradaciji The question of the valuation of stvorenog, u nas - ma tko mi bili - mogao creation as a continuing process should dobiti oblik. Weimarski Državni Bauhaus be perhaps the first question which one i njegov stotinu godina star štih možda has to find an answer to, so that a speech mogu poslužiti samo kao zvučna kulisa za about the degradation of the created – in buku koja u Bosni i Hercegovini - ni sam ne our milieu and whoever we are - could take znam od kada tačno - dominira oblastima shape. The Weimar State Bauhaus and its odgoja, zanata, umjetnosti i graditeljstva. tinge which is hundred years old, maybe Gdje i kako to suvremenici koji can serve as sound settings for the noise se, primjerice, danas šetkaju čikmama that - I do not know myself since when institucionalnih nadležnosti da spoznaju exactly – has been dominating the fields elemente vrednovanja intermedijalnosti of education, crafts, art and architecture autenticiteta stvaralaštva u nas – ma tko in Bosnia and Herzegovina. mi bili? U skladu sa čim stvarati novo, a Where and how should the ne degradirati stvoreno? Što je to što contemporaries who, for example, do „bogatstvo različitosti kultura“ ovih walk in the deadlocks of institutional prostora danas uistinu cijeni, sa čime jurisdictions, realize the evaluating se točno i kdo to, na koji način i zbog elements of intermediality of the čega identificira i jagmi? Da li se radi o authenticity of workmanship in our milieu stvarnom bogatstvu, stvarnoj različitosti - whoever we are? One should create i na koncu o stvarnoj/im kulturi/ama ili je the new and not degrade the created in to sve čista fikcija? accordance with what? What is the thing

94 ZAKLJUČAK Prije sto godina polaznici pretkursa that really appreciates ‘’the wealth of „Državnog Bauhausa“ u Weimaru su cultural diversity’’ in these regions today, od Johannesa Ittena učili provocirati exactly with what and when, in what way utopiju, eksperimentirati sa oblikom, and because of what does it identify razumijevati funkcije, stvarati i vrednovati and strive for? Is it a matter of a real kontraste između - naprimjer - prirodnog wealth, real difference and finally, of real i vještačkog, stvarnog i nestvarnog, culture(s), or is it all pure fiction? oslobađajućeg i ograničavajućeg, A hundred years ago in Weimar, stvorenog i naslijeđenog... ‘’State Bauhaus’’ pre-course takers Kao polaznik takvog jednog learned from Johannes Itten to provoke pretkursa, studirajući na današnjem utopia, to experiment with the shape, Bauhaus Univerzitetu u Weimaru prije to understand functions, create nekih desetak godina, kroz glavu mi je and value contrasts between – for prošla misao o tome kako bi bilo dobro example – the natural and artificial, enciklopedijski bilježiti sve kontraste real and unreal, liberating and limiting, funkcija koji se mogu uočiti i iz kojih created and inherited... se mogu interpretirati odnosi stvari As a taker of one such pre-course, uopće. Vjerovao sam da bi takva jedna while studying at present-day Bauhaus enciklopedija mogla biti dobar alat. University in Weimar some ten years or Mene su učili da što više kontrasta so ago, I had a thought of how it would stvaralaštvo otvori, to nijanse stvorenog be good to note encyclopaedically postaju življe, nakon čega nijanse all contrasts of functions that can be same sebi stvaraju kvalitativne zakone perceived and from which one can ili pravila unutar kojih one prenose interpret relations between things estetske informacije. Svijet je to – in general. I believed that one such matematičan, a umjetnički - u kojem encyclopaedia could be a good tool. vlada stvarna sloboda ali u njenom I have been taught that the more najozbiljnijem, najnemilosrdnijem i contrasts creativity opens, the more vivid najiscrpljujućem obliku. nuances of the created become, after Savršen primjer harmonije which the nuances create for themselves kontrasta naslijeđenog i stvorenog unutar qualitative laws or rules inside of which kojeg je - uzgred rečeno - nastao odnos they transfer aesthetic information. majstora i šegrta je učenje poštivanja That world is a mathematical one stvaranja i kreativnog integriranja and the artistic one as well – in which različitosti kako bi kontrasti koje to real freedom governs, but in its most stvaranje generira bili oslobađajući, serious, most merciless and the most a ne ograničavajući. Stvaranjem bilo exhausting form. kakve vrste kakofonije u spomenutom A perfect example of the odnosu, koji je krajnje prosvjetiteljski, contrast harmony of the created and cufa se funkcija kontrasta naslijeđenog inherited, inside of which – by the way -

CONCLUSION 95 i stvorenog koji je daleko ukorjenjeniji u a relation between the master and the stvaralaštvu nego se to na prvi pogled čini. apprentice arose, is learning to respect Taj kontrast nije toliko vezan za tradiciju, creation and creative integration of koliko za alate koji je stvaraju. Odsustvo difference, in order for the contrasts tog kontinuiteta prenošenja funkcije (that are generated by this creation) to koda stvaralačke vještine danas nije be liberating rather than limiting. By nikakva revolucija moderne, još je manje creating any kind of cacophony in the evolucija. Vjerujem da se to dogodilo aforementioned relationship (which is stvaralaštvu u Bosni i Hercegovini. extremely enlightening), the contrast Kakofonija teorije disfunkcionalnosti je function of the inherited and the created natjerala majstore da utihnu. Metaforički is being preserved (the contrast that is izraženo, zupčanik prosvjetiteljstva u by far ingrained in the creativity, than it vremenu se nije okrenuo, nije zaglavljen, might look at first sight). That contrast nije slomljen, on je doslovno izvađen iz is not as much linked to the tradition, as trajanja. Njegova uloga i poruke koje nosi it is linked to the tools that create the su degradirane a o funkciji sata, vage ili tradition. The absence of that continuity kompasa koja bi - bauhausovski gledano - that transmits the code function of the trebalo da njima samima određuje formu creative skill is not today any kind of ili oblik mučno je i zastrašujuće misliti. the Modern Movement revolution, even less evolution. I believe that this is what Sustavnom kultivacijom funkcija happened to the creativity in Bosnia stvaralaštva - što je pedagoški posao and Herzegovina. The cacophony of majstora - stvara se stvaralaštvo kulture the disfunctionality theory pushed the koja, osim što funkcionira, vremenom masters to fall silent. Metaphorically postaje dokument o egzistenciji expressed, the enlightenment cogwheel sustava vrijednosti koje su omogućile in time did not turn, is not stuck, is funkcionalna dostignuća koja se not broken, it is literally taken out of - obično - u nesagledivoj perspektivi, duration. Its role and the messages it antropološki, historijski, kulturološki conveys have been degraded, while the i sociološki interpretiraju kao tekovine function of a clock, scales or a compass koje prenose estetske informacije stare which should – from the Bauhaus point hiljade godina. Kultura je univerzalni of view – determine the form or shape Gesamtkunswerk u najbauhausovskijem to themselves, is to nauseous and smislu a osnovni ugaonik tog frightening to even think about. Gesamtkunstwerka je odnos majstora i šegrta, odnos koji je oblikovan With a systematic cultivation vještinama kao estetskim informacijama of the creativity functions – which is dostignuća nastalih unutar kontrasta pedagogically speaking the master’s između vještine stvaralaštva i nečeg job – one makes cultural creativity čemu još nisam u stanju ni da dam ime. which, besides the fact that it functions, becomes in time a document about the existence of the system of values which

96 ZAKLJUČAK Na ovom mjestu dužan sam i enabled functional achievements, which malu napomenu, jedan od uvodničara are, in their turn, usually interpreted simpozija „Uticaji Bauhausa na savremenu as attainments carrying aesthetic arhitekturu i kulturu Bosne i Hercegovine“, information thousands of years old, arhitekta Vedad Islambegović je u and all of that in the immeasurable razgovoru nakon predavanja otvorio perspective, anthropologically, historically, pitanje našeg značajno degradirajućeg culturogically and sociologically. The razumijevanja složenice Gesamt-kunst- culture is a universal Gesamtkunswerk werk kao „cjelokupno-umjetničko-djelo“. in the most Bauhaus-like sense, Razumijevanje pojma kao: „sveukupno- while the basic corner stone of that dostignuće-vještina“, pri čemu bi težište Gesamtkunswerk is a relation between bilo stavljeno na same vještine kao tha master and the apprentice, the dostignuća, možda bi dodatno osvijetlilo relation which is shaped by skills as the bauhausovsku dimenziju ovog pojma. aesthetic information of achievements, Vrijeme u kojem živimo je vrijeme arisen inside of the contrasts between koje primjenom funkcija novih medija the creativity skill and something I am i tehnologija omogućava atomiziranje still not capable of giving name to. materije, fizikalizaciju kretnje i sintaksu I need to give a small remark binarnog izraza, sve kako bi se preciznije here - one of the keynote speakers of stvaralo novo, drugačije, kako bi the symposium the ‘’Bauhaus Influences nijanse bile življe, kako bi se bolje on the Contemporary Architecture and razumijevala funkcija stvaralaštva i kako the Culture of Bosnia and Herzegovina’’, bi se prepoznavale varijacije i odluke architect Vedad Islambegović opened koje stvaraoci u procesu svoga rada a question in the conversation after donose i promišljaju. Jedino tako moguće the lecture, a question about our je, uistinu, vrednovati stvaralaštvo, significantly degrading understanding stvaraoca ili stvarateljicu, njegov ili njen of the compound word Gesamt- rad i razumijevati promjenu koju njihov kunst-werk as ‘’complete-art-work’’. rad nosi kao poruku. Jedino tako je The understanding of the notion as moguće razumijevati esenciju odnosa ‘’comprehensive-achievement-skill’’, while unutar kontrasta i tragove koji se iz tih the emphasis would be laid on the very odnosa uklesavaju u Gesamtkunstwerk skills as achievements, may additionally koda vremena. shed light upon the Bauhaus dimension Funkcije zanata i dan-danas of this notion. međuplanetarno evoluiraju, vještine se The time we live in is the time transformiraju i odbacuju, alati i jezici which, by applying functions of the new stvaralaštva se mijenjaju čime se kultura media and technologies, enables the kao Gesamtkunstwerk sastavljen od atomization of materia, fiscalization of funkcija dostignuća vještina stvaralaštva the motion and syntaxis of the binary odljepljuje od papazjanije nacionalnih expression, all in order to create the

CONCLUSION 97 fikcija kojima nije moguće pronaći ni new, the different in a more precise glavu ni rep. Teži se novom. Stvorene manner, in order for the nuances to be inovacije su danas intervirulentne, uz more vivid, in order to understand better pomoć umjetne inteligencije generiraju their creativity function and to recognize same sebe, kao nijanse sa početka variations and decisions which are made ovoga teksta a rezultat su stvaralaštva and deliberated by creators in the process koja su nastajala u prostorima između of their work. It is the only possible way kontrasta interdisciplinarnosti naizgled to really evaluate creativity, creator or nespojivih razlika svake zamislive funkcije woman creator, his or her work and to stvaralaštva, njenih dostignuća i estetskih understand the change their work carries poruka, baš onako kao što su to majstori as a message. It is the only possible way Državnog Bauhausa iz Weimara prije 100 to understand the essence of relations godina podučavali svoje šegrte. inside of the contrasts and traces, that are Bez funkcije sustava being hewn into the Gesamtkunstwerk of vrednovanja kodova intertekstualnosti, the code of time from those relations. intermedialnosti i multidisciplinarnosti Functions of the craft keep autenticiteta svih zamislivih funkcija evolving interplanetarily even today, skills stvaralaštva ne samo da se degradiraju are being transformed or rejected, tools tragovi kulture/a i brišu poruke stare and languages of creativity are changing, hiljade godina nego stvaralaštvo by which culture as the Gesamtkunstwerk sadašnjosti postaje privremeno a made of functions of creativity skills kultura/e se pretvara/ju u achievements detach from the mishmash Gesamtkunstwerk za jednokratnu of national fictions, that are impossible to upotrebu. U jednom takvom sustavu decipher. One aspires at the new. Created vrijednosti moguće je očekivati doba nečega innovations are today intervirulent, they čemu još nisam u stanju ni da dam ime. generate themselves with the help of the artificial intelligence, like the nuances mentioned at the beginning of this text. Haris Sahačić They are results of the creativity that used to come into being in the spaces between 13.12.2019., Sarajevo the interdisciplinarity contrasts of the seemingly irreconcilable differences of every imaginable creativity function, its achievements and aesthetic messages, exactly in the way as the State Bauhaus masters 100 years ago in Weimar did teach their apprentices. Without the function of the evaluation system of intertextuality, intermediality and multidisciplinarity

98 ZAKLJUČAK codes of authenticity of all imaginable creativity functions, not only traces of culture(s) are being degraded and messages thousands of years old being erased, but it is creativity of the present that becomes temporary, and the culture(s) transforms itself/transform themselves into Gesamtkunstwerk for a one-time use. In such a system of values, it is possible to expect an era of something that I am not capable of even giving a name to.

Haris Sahačić Sarajevo 13th December 2019

CONCLUSION 99 Slika: Skulptura „Katedra - Prazna stolica” (Lehrstuhl - leerer Stuhl), umjetnik Hermann Bigelmayr, Bauhaus Univerzitet Weimar, 2005; (H. Sahačić, 2009.) / Image: The Sculpture “Chair - empty Chair” (Lehrstuhl - leerer Stuhl), artist Hermann Bigelmayr, Bauhaus University Weimar, 2005; (H. Sahačić, 2009)

100 GODINA 100 BAUHAUSA 100 YEARS OF BAUHAUS 101 Doc.dr. Vedad Islambegović Doc.dr Miroslav Malinović

Katedra za projektiranje / Architectural Katedra za istoriju i teoriju arhitekture i Design Department zaštitu graditeljskog nasljeđa / History and Theory of Architecture and Arhitektonski fakultet, Univerzitet Building Heritage Protection Department u Sarajevu / Faculty of Architecture University of Sarajevo Arhitektonsko-građevinsko-geodetski fakultet, Univerzitet u Banjoj Luci / [email protected] Faculty of Architecture, Civil Engineering and Geodesy at the University of Vedad Islambegović je doktorirao 2016. Banja Luka na Arhitektonskom fakultetu Univerziteta u Sarajevu na istraživanju [email protected] procesa prostorne samoorganizacije u arhitekturi. Njegov profesionalni opus Miroslav Malinovic diplomirao je obuhvata brojne nagrađene i javno arhitekturu na Univerzitetu u Banjoj Luci izložene projekte, kao i brojne društveno (2011), a master (2012) i doktorske (2015) angažirane inicijative u sklopu stručnih završio je na Tehničkom univerzitetu u organizacija. Trenutno radi kao docent Beču. Autor ili 1. koautor je više od 30 na Arhitektonskom fakultetu naučnih radova objavljenih u domaćim i inostranim publikacijama, kao i tri naučne Univerziteta u Sarajevu, te kao monografije. Uže polje rada je istorija prakticirajući partner u arhitektonskom arhitekture, naročito period od kraja studiju „Filter Arhitektura“. XIX vijeka. Kao međunarodni ekspert, uključen je u više naučnih i obrazovnih / Vedad Islambegović earned his projekata u okvirnim programima doctor’s degree in 2016. at the Faculty Horizont 2020 i Erasmus+. of Architecture of Sarajevo University in the field of researching process of spatial / Miroslav Malinovic graduated self-organization in architecture. His architecture at the University of Banja professional oeuvre includes numerous Luka (2011), received a Master’s degree awarded and publicly exhibited projects, (2012) and a Doctoral degree in technical as well as numerous socially-minded sciences (2015) at Vienna University initiatives within expert organizations. of Technology. He is the author or 1st co-author of more than 30 scientific He currently works as a Assistant papers published in domestic and Professor at the Faculty of Architecture international publication, and three of Sarajevo University and as a practising scientific monographs. His scientific work partner in the ‘’Filter Arhitektura’’ deals with the history of architecture, Architectural Studio. specifically the period of late XIX century onwards. As an international expert, he is involved in several research scientific or educational projects in international frameworks of Horizon 2020 and Erasmus+.

102 BIOGRAFIJE Prof.dr. Adnan Pašić Haris Sahačić

Katedra za projektiranje / Architectural Oblikovatelj medija / Media Designer Design Department Udruženje za kulturu i umjetnost art Arhitektonski fakultet, Univerzitet CRVENA, Sarajevo / Association for u Sarajevu / Faculty of Architecture cultura and art CRVENA, Sarajevo University of Sarajevo www.sahacicharis.com [email protected] 2011. diplomirao fine umjetnosti Adnan Pašić je doktor tehničkih nauka na Katedri za eksperimentalni i profesor Arhitektonskog fakulteta radio Fakulteta za medije Bauhaus UNSA, gdje rukovodi projektnim i Univerziteta u Weimaru. Od 2017 istraživačkim studiom. Predavao je u SAD, kao istraživač i producent realizira Švajcarskoj, Holandiji, Japanu, Turskoj i u suradnji sa Relais Culture Europe Hrvatskoj. Gostujući je istraživač na MIT, i Znanstveno-istraživačkim centrom SAD i gostujući profesor na ITU, Turska. Slovenske akademije nauka i umjetnosti Arhitektonske radove prezentirao je na svoj autorski projekat „Kvintesencija kao tri solo i petnaest grupnih izložbi u Evropi javni prostor“. i Aziji. Nagrađen je godišnjim nagradama AABiH 2006, 2009. i 2012. godine. / In 2011 he graduated Fine Arts at the Department of experimental radio of / Adnan Pašić has a PhD in Technical the Bauhaus University in Weimar. Since Sciences and is a professor at the UNSA 2017, as author, researcher and producer, Faculty of Architecture, where is the he is realizing his project “Quintessence Head of the Project and Research Studio. as a Public Space” in collaboration with He has taught in USA, Switzerland, the Relais Culture Europe and the Science Netherlands, Japan, Turkey and Croatia. and Research Center of the Slovenian He was a visiting researcher at MIT, USA Academy of Sciences and Arts. and a visiting professor at ITU, Turkey. He presented his architectural works at three solo exhibitions and fifteen group exhibitions in Europe and Asia and awarded with AABiH Annual Awards in 2006, 2009 and 2012.

BIOGRAPHIES 103 Doc.dr. Elša Turkušić Jurić Prof.dr. Siniša Vidaković

Katedra za projektiranje / Architectural Katedra za istoriju umjetnosti Design Department / Art History Department Arhitektonski fakultet, Univerzitet Akademija umjetnosti, Univerzitet u u Sarajevu / Faculty of Architecture Banjoj Luci / Academy of Arts at the University of Sarajevo Unviersity of Banjaluka [email protected] [email protected]

Elša Turkušić Jurić studirala je arhitekturu Siniša Vidaković diplomirao je istoriju u Sarajevu i Barceloni. Doktor je nauka iz umjetnosti na Filozofskom fakultetu oblasti arhitekture i urbanizma. Bavi se u Beogradu 1989, magistrirao 2005, a publiciranjem, kritikom i istraživanjem doktorirao 2008. Od 2003. je zaposlen modernih arhitektonskih praksi u na Akademiji umjetnosti Univerziteta kontekstu kulturnih i društvenih u Banjoj Luci. Šef je matične Katedre fenomena. Radi kao docent na (2012-2019). Angažovan je na Filozofskom Arhitektonskom fakultetu Univerziteta u fakultetu u Zenici i Arhitektonsko- Sarajevu. Član je ICOMOS-ovog naučnog građevinsko-geodetskom fakultetu u komiteta ICS20C i nezavisni ekspert za Banjoj Luci. Njegovo uže polje djelovanja nagradu Evropske unije za arhitekturu. je istorija umjetnosti i teorija forme i prostora. / Elša Turkušić Jurić studied architecture in Sarajevo and Barcelona. / Siniša Vidaković graduated History of She has a PhD in Architecture and Art at the Faculty of Philosophy in Urbanism. She busies herself with Belgrade (1989), received a Master’s publishing, criticism and the research degree (2005) and a Doctoral degree of modern architectural practices (2008). Since 2003, he works at the in the context of cultural and social Academy of Arts at the Unviersity of phenomena. She works as a Assistant Banja Luka. Since 2012, he is the Head of Professor at the Faculty of Architecture the Art History Department. Also, he is of Sarajevo University. She is a member teaching at the Faculty of Philosophy in of the ICOMOS ICS20C Scientific Zenica and the Faculty of Architecture, Committee and is an independent expert Civil Engineering and Geodesy at the for the EU Architecture Prize. University of Banja Luka. His main research fields are art history and theory of form and space.

104 BIOGRAFIJE