PROSTOR POSEBNI OTISAK/ SEPARAT 402-413 Znanstveni Prilozi Jelena Saviæ

20 [2012] 2[44] A SCHOLARLYJOURNALOFARCHITECTUREANDURBAN PLANNING ZNANSTVENI ÈASOPISZAARHITEKTURUIURBANIZAM 7-12 [2012] 219-486 20 [2012]2[44] UDK | CODEN PORREV ISSN 1330-0652 OF ARCHITECTURE FACULTY OF ZAGREB, UNIVERSITY FAKULTET ARHITEKTONSKI U ZAGREBU, SVEUÈILIŠTE UDC 71/72 PROSTOR POSEBNI OTISAK/ SEPARAT 402-413 Znanstveni prilozi Jelena Saviæ

Scientific Papers UDC 721(497.6Banja Luka)”19” Pregledni znanstveni èlanak Modernisation ofaSmallTown Luka andCroatianAuthors: Architectural SceneofBanja

OFFPRINT UDK 721(497.6Banja Luka)”19” Subject Review maloga grada i hrvatskiautori:modernizacija Arhitektonska scenaBanjeLuke Fig. 1. ”Boska” department store, authors Neidhardt, Luliæ, Nosso. Photograph from 1979. Sl. 1. Robna kuæa „Boska”, autorski tim Neidhardt, Luliæ, Nosso. Fotografija iz 1979. godine. Scientific Papers | Znanstveni prilozi 20[2012] 2[44] PROSTOR 403

Jelena Saviæ

Institute for the Protection of Cultural, Historical Republièki zavod za zaštitu kulturno-istorijskog and Natural Heritage of the Republic of Srpska i prirodnog nasljeða Republike Srpske Vuk Karadžiæa 4/VI, 78000 Banja Luka, Bosnia and Herzegovina BiH-78 000 Banja Luka, Vuka Karadžiæa 4/VI

Subject Review Pregledni znanstveni èlanak UDC 721(497.6 Banja Luka)”19” UDK 721(497.6 Banja Luka)”19” Technical Sciences / Architecture and Urban Planning Tehnièke znanosti / Arhitektura i urbanizam 2.01.04. - History and Theory of Architecture 2.01.04. - Povijest i teorija arhitekture and Preservation of the Built Heritage i zaštita graditeljskog naslijeða Article Received / Accepted: 8. 5. 2012. / 10. 12. 2012. Èlanak primljen / prihvaæen: 8. 5. 2012. / 10. 12. 2012.

Architectural Scene of Banja Luka and Croatian Authors: Modernisation of a Small Town Arhitektonska scena Banje Luke i hrvatski autori: modernizacija maloga grada

Banja Luka Banja Luka Croatian architects hrvatski arhitekti modernisation modernizacija small town mali grad 20th century architecture arhitektura 20. stoljeæa

The paper provides an overview of the work by Croatian authors in Banja Luka Rad donosi pregled djelovanja hrvatskih autora na graditeljskoj sceni Banje in different social and economic systems of reference. The starting point of Luke u razlièitim društvenim i ekonomskim sustavima. Obuhvaæa razdoblje od discussion is the period of Austro-Hungarian occupation. The discussion ends austrougarske okupacije do perioda nakon potresa 1969. godine, obilježenog with realisations after the 1969 earthquake, that still represent important fac- projektima i realizacijama što se još i danas smatraju važnim èimbenicima u tors in the townscape. Although few in number, the works by Croatian authors slici grada. Iako malobrojna, analizirana djela hrvatskih autora predstavljala su have lent powerful impetus to the urban transformation of Banja Luka. znaèajan poticaj procesu modernizacije i urbane transformacije Banje Luke. 404 PROSTOR 2[44] 20[2012] 402-413 J. SAVIÆ Architectural Scene of Banja Luka and Croatian Authors… Scientific Papers | Znanstveni prilozi

INTRODUCTION the limitations of a small town, as well as Croatian artists who left their mark in the ur- UVOD ban space of Banja Luka.

THE PERIOD OF AUSTRO-HUNGARIAN OCCUPATION RAZDOBLJE AUSTROUGARSKE OKUPACIJE Before 1527, Banja Luka was a fortified town with a suburban district stretching along the Vrbas River2. During the Ottoman rule, urban structure developed in two locations - in what is now the periphery and around the fortress - and was concentrated around the river. The most important elements are the river and the bridge, the fortress, bazaar (èaršija) as the centre of the town, and residential neighbourhoods (mahale) with mosques. Some of the endowment charters (vakuf- name) contain information about the landmarks that were mainly located in the present-day outskirts, most of which were destroyed in wars and conquests. Several of them had survived and existed in the analysed period. The most important were the Ferhadija mosque and Clock Tower (Sahat kula), built in the late 16th century, located in what is today the centre of the town. The Fig. 2. Fragment of Banja Luka city map, with the In this work, Banja Luka is regarded as a Christian town, actually a neighbourhood in- buildings of Croatian authors marked: 1. The habited by Christian population, became an kiraethana; 2. The mayor Husedžinoviæ’s house; small town, both in statistical terms and in a 1 th 3. branch office of the Privileged Provincial Bank; broader sense . Its urban structure was ini- important element of the town in the 17 cen- 4. Villa Božiæ; 5a and 5b. the Cobenzl’s residential tially ”non-western”, developing on the out- tury. The fortress was reconstructed from buildings; 6. the Hygienic Institute; 7. the monument skirts of large empires, away from the major 1712 to 1714. The end of the Ottoman rule to Petar Koèiæ; 8. the ”Palace” hotel; 9. the Planiæ’s Waqf Palace; 10. the building on the Kastelov æošak; European development trends. saw the construction of Tsar’s Road (Carski drum), which has remained the town’s main 11. the ”Centre 2” area; 12. The new City Park; 13. the The way of life in a small town has the ten- ”Centre 1” area. thoroughfare ever since. The Oriental and dency of becoming modernised while also Sl. 2. Dio mape Banje Luke s oznaèenim objektima Christian parts of the town, separated by the hrvatskih autora: 1. kiraethana; 2. kuæa resisting transformation and modernisation. gradonaèelnika Husedžinoviæa; 3. podružnica However, a small town cannot be reduced to Crkvena rivulet, co-existed side by side. Privilegirane Zemaljske banke; 4. Vila Božiæ; a scaled-down replica of a metropolis. In par- Huge changes in the townscape were intro- 5.a i 5.b stambene zgrade E. Cobenzla; 6. Higijenski zavod; 7. spomenik Petru Koèiæu; 8. hotel „Palace”; ticularly favourable political and socio-cul- duced during the Austro-Hungarian period 9. Vakufska palaèa S. Planiæa; 10. zgrada na tural circumstances Banja Luka successfully which started in 1878. The building code - Kastelovu æošku; 11. blok „Centar 2”; 12. novi overcame its intrinsic limitations as a small - gradski park; 13. blok „Centar 1”. Bauordnung was adopted. Although the town. The role of the few but important archi- new approach to building stood in contrast to tectural works of Croatian authors in this pro- the ”non-western” urban structure of the Ot- cess is the subject of this study. Research toman town, it did not allow destruction or limitations were unavailability of the struc- significant alteration of the already existing tures (some of the buildings no longer exist) districts. This ensured survival of what is to- and the limited quantity of material in local day Banja Luka’s suburbs, as well as the ba- archives. zaar, while new construction took place in In the first decades of the period under scru- the adjacent zones. The new authorities used tiny, Croatian authors who lived in other plac- geodetic surveying to record the then physi- es realised several individual architectural cal structure and began to keep records of works in Banja Luka. After World War II archi- new construction. tectural and planning activities in the town were taken over by local architects working in 1 ”Small town” is a concept taken from German tradi- newly established design companies. By the tion, still in use in German-speaking countries. Based on mid-1950s, all of them were educated outside their population size, urban settlements are classified as Bosnia and Herzegovina, and many received follows: Landstadt (under 5,000), Kleinstadt (5,000 to un- education in Zagreb. Other Croatian authors der 20,000), Mittelstadt (between 20,000 and 100,000), and Grossstadt (over 100,000). In 1879, Banja Luka had a analysed were participants in competitions population of 9,560. The number of 100,000 residents was with which Banja Luka strived to overcome reached in 1975. In 1991, at the time of the latest census, it Scientific Papers | Znanstveni prilozi Architectural Scene of Banja Luka and Croatian Authors… J. SAVIÆ 402-413 20[2012] 2[44] PROSTOR 405

Banja Luka then lingered in the shadow of Sarajevo, where all new things happened first. However, the Banja Luka of the period had its own peculiarities, arising not only from the natural and geographical characteristics, but also from the socio-cultural context, which did not impose change and modernisation of the magnitude and pace it did in the capital. The construction based on the new architectural principles during the Austro-Hungarian occupation made the image of Banja Luka more complex. Apart from the contrasts and segregation between the inherited and the new, there were also zones where new structures were integrated in a variety of ways. Since the town did not have trained experts who could respond to the new construction rules, the architects came from bigger cen- ters of the Monarchy. Among them were also Croatian authors: first Æiril Ivekoviæ, then Jo- sip Vancaš and Rudolf Lubynski. The first two architects occupied themselves with a rela- tionship with the architecture and urban structure from the Ottoman period, while Lubynski introduced the Secession style into the construction in Banja Luka. Æiril Metod Ivekoviæ (1864-1933) was in the service of the Territorial Government in Sara- jevo at the beginning of his career. In Banja Luka, he designed the kiraethana (Islamic reading room), in 1890. The building, one of the few in the town with the characteristics of the pseudo Moorish style, was located in the wards the past and the inherited was Josip Fig. 3. Comparison of the size of major Austro- oriental town centre, in the main street, next - Hungarian cities by population, including three cities to the Ferhadija mosque. From the scarce Vancaš (1859 1932). Throughout his long in Bosnia and Herzegovina: Sarajevo, Mostar and data preserved it is known that the ground and prolific career, he involved himself in Banja Luka. Contribution from the geographical and floor housed a café, where visitors had ac- topics such as evaluation and protection of statistical pocket atlas of the Austria-Hungary by architectural heritage, vernacular architec- professor Hickmann. cess to books, newspapers and magazines, Sl. 3. Usporedni prikaz broja i velièine znaèajnih and played dominoes and cards. Compared ture, and even the restoration of monuments. gradova Austro-Ugarske prema broju stanovnika, to the Ivekoviæ’s later capital projects such as He believed that, having made a lot of mis- ukljuèujuæi i tri grada u Bosni i Hercegovini: the City Hall in Sarajevo (1892-1895) and the takes, he had finally come up with a ”correct” Sarajevo, Mostar i Banju Luku. Prilog iz geografsko- approach to architectural design through cre- -statistièkog džepnog atlasa Austro-Ugarske prof. City Hall in Brèko (1893), built in the same Hickmanna. style, the reading room was much more mod- ative transposition of the themes and princi- est in terms of size and looks. In accordance ples of the local architecture of the past. with the prevailing spirit of Romanticism at In 1928 Vancaš published a paper titled ”Bos- the time, the architect designed the kiraetha- nian Vernacular Architecture” in a Zagreb na as a vision and idea of ”oriental” and ”ex- journal named Tehnièki list. The paper fo- otic”, as a response to the Ottoman architec- cused on the efforts to improve creative rein- ture in the town. This, however, was ex- terpretation of vernacular architecture and pressed by using elements of the Islamic looked at the process from a distance of Moorish architecture, and not by direct refer- nearly twenty years. Vancaš cited two build- ences to the local heritage. ings in Banja Luka as examples of architec- The ubiquitous architectural figure who thor- ture in which the elements and compositional principles of local architecture were trans- oughly dealt with complex relationships to- posed in such a way as to create ”the right exterior to suit the purpose of the building”3. had 143 000 inhabitants. The city administration has esti- mated that nowadays it has about 250 000 inhabitants, One of them is the house of Mayor Husedži- while only the 2013 census will reveal the exact data. noviæ, located near the Vrbas river, designed 2 The name of the town was first mentioned in written in 1909 and executed in 1911. It is an example sources in 1494, yet it was founded earlier. In 1527, it was conquered by the Ottomans. of how compositional principles and design 3 The way a building looks must be in line with its ”pur- elements taken from tradition (functional di- pose and disposition”. Vancaš, 1928: 355 vision, connection to nature, cubic form, rus- 406 PROSTOR 2[44] 20[2012] 402-413 J. SAVIÆ Architectural Scene of Banja Luka and Croatian Authors… Scientific Papers | Znanstveni prilozi

1909 and located in the Christian part of the town5. It was an example of a creative interpretation of the vernacular applied to public buildings. There was no model of this type of building in the inherited architecture. The rustic walls, heavy roof, oriel windows or wooden details used reflected the architect’s sensibility to the spirit of place. The building no longer exists because it had to be torn down after the 1969 earthquake. Rudolf Lubynski (1873-1935), a renowned Zagreb Secession architect, built Villa Božiæ in then Salvatorgasse in Banja Luka in the early 1910s6. The building was nicknamed the ”Red House” for its distinctively coloured fa- çade. It was one of the very few buildings representative of the Secession style in Banja Luka. The villa consisted of basement, ground floor and a mansard storey. Its main characteristics were symmetry in disposition (with the exception of western porch) and in façade composition. The prominent street façade had a central semi-elliptical portico, polygonal gablet with elongated openings and two Fig. 4. Fragment of the detailed geodetic map of tic wall, oriel window) were incorporated into Banja Luka at the beginning of the Austro-Hungarian polygonal bays at the sides. The villa was period (1880; scale: 1: 3125), illustrating the residential architecture. The resulting design, damaged in the 1969 earthquake and then ”non-western” urban structure. Dark shapes mean with simple and smooth façades devoid of exposed to further decay until it was finally wooden buildings, while unfilled shapes mean superfluous decorative elements, matched demolished in 2002. massive structures. the spirit of the times, which made the archi- Sl. 4. Dio detaljne geodetske karte Banje Luke tect conclude it was comparable with the poèetkom austrougarskog perioda (1880., mjerilo THE INTERWAR PERIOD 1: 3125) koji ilustrira „nezapadnu” urbanu then ”efforts of modern architects”. The strukturu. Zatamnjeni oblici oznaèavaju drvene house still exists, but has undergone consid- MEÐURATNO RAZDOBLJE graðevine, dok neobojeni oznaèavaju masivne zidane 4 objekte. erable changes . It should be seen as part of a wider residential complex. The division into An important milestone in the history of Ba nja male and female sections, necessary in order Luka was the 1929 administrative division of to meet the owners’ religious requirements the country into banates, when the town be- and their way of life, is of key importance for came the capital of the Vrbas Banate. At the the concept. The building was divided hori- time it had a population of about 20.000. The zontally by separating male and female en- first Ban, Svetislav Milosavljeviæ, undertook trances into the yard and house. It was also the significant transformation of the town, divided vertically. Guests had access only to subsidised by the government. Ambitious ar- the part of the ground floor available through chitectural design competitions were organ- the men’s entrance. The upper floor was used ised for the construction of public buildings. by women and the family. Fig. 5. The house of mayor Husedžinoviæ in Banja Luka Another building in Banja Luka by the same 4 The attractive ”Arab room” as well as the period fur- in 1911, designed by Josip Vancaš. niture from France have been lost, and the house was Sl. 5. Kuæa gradonaèelnika Husedžinoviæa u Banjoj Luci architect was the branch office of the Privi- adapted to business purposes. iz 1911. godine, projekt Josipa Vancaša leged Provincial Bank of BiH, designed in 5 In 1909 and 1910 Vancaš designed another three branch offices - in Bosanski Šamac, Derventa and Bihaæ. The one in Derventa still exists. Kurto, 1998: 381 6 Lubynski was already a mature author who at around the same time completed his architectural tour de force, the National and University Library in Zagreb. 7 ”The king was very surprised to learn that there was not a single free apartment in Banja Luka and that my family and I would have to live in a hotel for the time being”, recounted Ban his early days of service in his memoirs. Milosavljeviæ, 1996: 37. 8 He graduated in Zagreb in 1928, according to: http:// www.arhitekt.unizg.hr/af/hr/informacije/dok/diplomanti.aspx?id=1928 [5.2.2012.] No further data about this architect were available to the author. 9 Members of the Jury were Lj. Nikoliæ himself, architect of the Ban Administration Branko Jovanoviæ, head of the Hygienic Institute Gavro Vujièiæ, and engineers of the Hy- gienic Institute Oton Štajnhaus and Slaviša Vajner. One of Scientific Papers | Znanstveni prilozi Architectural Scene of Banja Luka and Croatian Authors… J. SAVIÆ 402-413 20[2012] 2[44] PROSTOR 407

One of the first Ban’s moves was to urgently with apartments for the personnel. It was the address the issue of providing housing for his first winning project of Dumengjiæ architects, administrative officers7. Edgard Cobenzl8 de- who had great success in architectural com- signed a complex of six residential buildings petitions, but few realised projects (one of situated at the Vrbas alley for the Banate’s only four actually realised winning projects administrative officers in 1930. Though not was the Hygienic Institute in Banja Luka, innovative in terms of architectural design, though with significant modifications)11. The they represent a valuable contribution to the main feature of the designed building was an local housing typology. Their construction accentuated rounded corner with an entrance system and spatial organization were similar on the ground floor, and a lecture hall on the to those of the Austro-Hungarian period, but upper floor. However, the winning design the façades were plain, except horizontal di- was modified and elaborated for construc- vision by simple cornices. At the same time tion by the architect of the Ban Administra- Fig. 6. Old Banja Luka postcard from 1911. In the 12 Cobenzl designed the seventh residential tion Nikola Fedorov : the two-storey section foreground to the right, next to Tsar’s Road, is Æiril building, with bigger apartments and neo- of the building was removed, but was subse- Ivekoviæ’s kiraethana. quently added in 1935-1938, yet with a dif- Sl. 6. Stara razglednica Banje Luke iz 1911. godine. Rennaisance decoration at the main façade, 13 U prvom planu, desno uz Carski drum, kiraethana in a separate location near the Gospodska ferent purpose ; the rounded corner seg- Æirila Ivekoviæa Street. All seven edifices were two-storey ment was extended, and the entrance was buildings, with the total of 52 apartments. moved to make space for the lecture hall on the ground floor; a roof terrace was con- To understand the role of Croatian architects structed instead of a lecture hall on the upper in the architectural scene of interwar Banja floor, and a lateral wing with service premises Luka, particularly interesting is the competi- was added on, which changed the perception tion for the building of the Hygienic Institute, of the building and especially blunted the ex- the central health facility of the Banate, which pressive effect of the rounded form envis- took place between 1931 and 1933. For the aged in the winning design. architectural design of the building, the re- Antun Augustinèiæ and Vanja Radauš are au- quirements were ”to be a true ornament for thors of the 1932 monument to Petar Koèiæ, the town” and that ”the façade should be located in the City Park, which has remained implemented in a style that is to the compet- one of the distinctive city landmarks. This was 9 itor’s liking. ” Modernist approach was ac- one of their first constructed monuments14. ceptable for this type of building as it did not The Croatian architect Dionis Sunko (1879- Fig. 7. Branch office of the Privileged Provincial share the stylistic features of buildings from Bank of BiH in Banja Luka, designed by Josip Vancaš in the periods of the Ottoman and Austro-Hun- 1935) designed the ”Palace” hotel in Banja 1909. Postcard from 1939. The building was garian rule, and was appropriate for express- Luka, across the City Park, completed in 1933, destroyed in the 1969 earthquake. which still exists. The hotel was built on the ing the desire for improving the poor situa- Sl. 7. Podružnica Privilegirane Zemaljske banke za waqf land, on the former site of the Šehova BiH u Banjoj Luci Josipa Vancaša, projektirana 1909. tion of health care in the banate. mosque. The design established an associa- godine. Razglednica iz 1939. godine. Zgrada je srušena u potresu 1969. The first prize in the competition for the Hy- tive reference to the mosque (the form of a gienic Institute was won by Selimir Dumengjiæ roof turret above the central part of the hotel (1903-1983) and Zoja Dumengjiæ (1904-2000), is reminiscent of a wooden minaret) as well a young married couple of architects from Za- as other legacies of the Ottoman period, us- greb10. The project envisaged a one-storey ing four-centred arches above the openings section for offices and a two-storey section in the ground floor, or an oriental-style glass mosaic decoration applied to the columns15. Fig. 8. Street façade of Villa Božiæ designed by Rudolf Lubynski. State in 1981. The building has been the deputy members was Nikola Fedorov. ARSBL-9-V-40, At the time it was built, the hotel provided demolished. document no. 7850/31. modern amenities and offered a high stan- Sl. 8. Ulièna fasada vile Božiæ Rudolfa Lubynskog. 10 They specialised in designing health facilities. Barišiæ dard of comfort. Stanje 1981. godine. Zgrada je srušena. Mareniæ, 2007: 161, 188 - 11 Barišiæ Mareniæ, Šerman, Uchytil, 2011: 81, 82 The biography of Stjepan Planiæ (1900 1980) 12 Vidakoviæ, 2006: 69. The parts of the technical docu- records that he participated in two architec- ments kept in the Archives of the RS, though, do not speci- tural competitions in Banja Luka in 1930, for fy the designer (ARSBL-9-V-40). the Hygienic Institute and the Town Hall, but 13 Instead as apartments, the extension served as coun- had no success. There is one Planiæ’s work in selling centre for mothers and children on the ground floor - and medical-technical department on the upper floor. The Banja Luka a three-storey residential build- extension was probably designed by the architects of the ing next to the City Park, built in 1938. It is Ban administration. Source: ARSBL-9-V-40, document no. known as Vakufska palata (Waqf Palace). Its 14857/37. representativeness and perception in the im- 14 The City Park was built in 1930 further to the initiative age of the town is evidenced by the nickname of Ban Milosavljeviæ, in the former location of an old Mu- slim cemetery. The author is unknown. ”Palace”, although it is an office-cum-resi- 15 The architect’s approach was similar to that of the dential building with apartments and com- pseudo Moorish style architects. The ”exotic” details were mercial units for rent, not envisaged to be actually taken from the architecture of faraway and had no luxurious. The building has a three-part vol- direct links with local forms; however, the idea was to fit the new building into the existing cultural and architectu- ume: a three-storied part along the park and ral context by giving it an oriental touch. two lower lateral two-storied parts which fol- 408 PROSTOR 2[44] 20[2012] 402-413 J. SAVIÆ Architectural Scene of Banja Luka and Croatian Authors… Scientific Papers | Znanstveni prilozi

War II were educated in Zagreb: Anatol Kirja- kov - Head of the Development of the Gen- eral Urban Plan of Banja Luka in the 1950s (graduated in 1946); architects of the Plan- ning Institute of Banja Luka18 Irena Tot, Kazi- mir Matijeviæ and Ivica Šegoviæ (all graduated in the early 1950s); very active local architects Josip Vidakoviæ (graduated in 1949), Ir- fan Maglajliæ (1958), Sead Zahiroviæ and Ne- bojša Baliæ (1966)19. Croatian authors played a vital role in the construction of two major city landmarks in the 1950s and 1960s. One is the skyscraper at Fig. 9. The building of the Hygienic Institute, plan of low the elevation of the neighbouring build- 20 the first floor. Designed by the architects Dumengjiæ the Kastelov æošak, in the very town centre . and altered significantly by Nikola Fedorov, the ings. The architect fulfilled the aspirations for It was envisaged as a prominent administra- architect in the Banate administration. rationality and economy, expected in the de- tion building of the Banja Luka Pulp Mill, and Sl. 9. Zgrada Higijenskog zavoda, tlocrt prvoga kata. signs of rental buildings. At the same time he is located at the entrance to the town’s most Zgradu su projektirali arhitekti Dumengjiæ, a provided modern solutions for apartments, znaèajno izmijenio Nikola Fedorov, arhitekt Banske representative shopping street, Veselin Ma- uprave. giving maximum surface area to living rooms, sleša Street (also known as Gospodska). In envisaging large windows and deep set bal- early 1955 a Yugoslav-wide competition was conies with views of the park, and balconies announced to obtain an architectural design. on the lateral and courtyard façades. The fa- Not considering the Austro-Hungarian heri- çade has a multi-layered texture achieved by tage to be particularly valuable, the announc- simple means: the rhythm of windows har- ing authority, the Town People’s Committee, monised with the rhythm of the load-bearing envisaged that one side of the Gospodska ground-floor pillars and top-floor pilasters, a street should be demolished. The construc- strong roof overhang and a protruding divid- tion of modern buildings on the site of the ing cornice. demolished historic structures would be im- In Banja Luka Stjepan Planiæ also designed plemented in the second phase. The first the Bešlagiæ apartment building in Ferhat- prize was not awarded, while architects Du- pašina street, but the Banja Luka archives šan Marèeta and Vlado Šulovski from Rijeka have no data about it16. won the second prize . Three of four honour- able mentions also went to architects from During the 1930s, the champions of modern Croatia21. However, the realisation proceeded architectural expression in Banja Luka, repre- according to a substantially altered design sented in both competitions and some realised public buildings, were Croatian archi- made by Josip Vidakoviæ, and did not begin tects. However, the largest and most repre- until 1965. Due to financial constraints, the sentative new buildings of then Banja Luka idea of the pulp mill administration building were not the modern ones but the ones de- was abandoned and the building was re-designed ”in the people’s spirit”. The most im- signed into an administrative office building portant of them are Banski dvor (Ban’s Pal- for multiple local businesses. Compared to ace) and Banska uprava (Ban Administration Building), situated at then Tsar Dušan’s 16 The list of projects by that architect (Hanièar, 2003: square. They were designed in 1930 by Jo- 103) reveals that the building was designed in 1940. Fig. 10. ”Palace” hotel designed by Dionis Sunko, vanka Bonèiæ Kateriniæ, Anðelija Pavloviæ and 17 The architects were employees of the Ministry of Con- current state. It was built in 1933 on the site Jovan Rankoviæ, architects from Belgrade17. struction. The ’people’s spirit’ was reflected in formal ele- of a mosque with a wooden minaret. ments applied on the façades, that could be associated with Serbian medieval heritage and elements of folk art Sl. 10. Hotel „Palace” Dionisa Sunka, postojeæe THE PERIOD AFTER THE SECOND WORLD (towers at angles, horizontal axes emphasized by arcades, stanje. Objekt je izgraðen 1933. godine na mjestu superimposed arcades of the openings, capitels based on džamije s drvenim minaretom. WAR Byzantine tradition motifs, ornaments inspired by vernacular heritage). The goal was to symbolically mark a sharp RAZDOBLJE NAKON DRUGOGA departure from the town’s Oriental and Austro-Hungarian SVJETSKOG RATA past. Similar design ideas were applied to several other representative buildings: Ethnographic Museum (project In the first years after World War II, there was idea by Špiro Bocariæ, around 1930), National Theatre (King Peter’s Road; architect Josif Goldner, 1934) and Sokolski a modest number of architects in Banja Luka. dom (Tsar Nikolaj’s Street; architect Branko Jovanoviæ, Until mid-1950s, local architects studied out- 1935). side Bosnia and Herzegovina. As Banja Luka 18 Established in 1961. lost its importance as an administrative cen- 19 http://virtual.arhitekt.hr/Lists/Af_dipl/AllItems.aspx tre, the focus of construction was on address- [5.2.2012.] ing the lack of housing, and on commercial 20 At the former Edvard Kardelj Square, now Krajina and industrial buildings. Square - the main public space of Banja Luka. 21 Teams Poljièak and Hitil; Jovèiæ, Koloniæ and Kuæan; A number of important actors in the town’s and Dragutin Kunc and Mirjana Ivanoviæ-Kunc, all three architecture and urban planning after World from Zagreb. Scientific Papers | Znanstveni prilozi Architectural Scene of Banja Luka and Croatian Authors… J. SAVIÆ 402-413 20[2012] 2[44] PROSTOR 409

the five floors proposed in the competition programme, the realised building has 13 floors. The original competition programme also envisaged residential floors, but the building was ultimately constructed for business purposes. The façade was clad in marble to emphasise the grandness of the building, which was also the highest edifice in Banja Luka back then when it was built. How- ever, it stands in discord with its historical surroundings, that have survived because the second phase of the project has never been implemented. Another major local undertaking in the 1950s was the construction of a monument to the people of Krajina who died in World War II, built on the Banj hill22. The task was entrust- ed to Antun Augustinèiæ. It was conceived as ings and arrangement of the central urban Fig. 11. Fragment of the general topographic map of work on a monumental scale (about 25 me- areas24. Banja Luka (1940s; scale not given), showing the main tres in length and about 13 metres in height), area of new construction in the epoch of the Vrbas The effects of the earthquake brought the is- Banate, that was positioned northwards from the made of white marble, visible from afar. After then town centre a series of delays, the monument was par- sues of urban memory and attitude towards Sl. 11. Dio generalne topografske karte Banje Luke tially completed and unveiled in 196123. the past into new focus. The competitions in (1940-ih, mjerilo nepoznato) koji prikazuje najvažniji the 1970s placed Banja Luka into the context predjel nove izgradnje u doba Vrbaske banovine, koja se nalazila sjeverno od tadašnjega gradskog centra THE 1969 EARTHQUAKE of the then developments in the Yugoslav ar- AND URBAN RECONSTRUCTION chitecture and urbanism, and the important role in the reconstruction of the town was POTRES 1969. GODINE I OBNOVA played by Croatian architects. The winning GRADA projects were only partially realised. The General Urban Plan for Banja Luka devel- Among the unrealised projects, there was oped in 1952 was never completed and for- one that stood out. It was the winning project mally adopted. The town’s spatial and archi- by Zagreb architects Edvin Šmit and Vladimir tectural development was guided by the local Šobat for one of the central town areas, a Housing Directorate and its town-planning block adjoining the Gospodska street and the team, founded in 1958. The general urban representative buildings of the Banski dvor programme for the town’s new urban plan and Banska uprava25. was adopted in 1968. Adoption of the plan it- The new City Park in Nova Varoš district was self was foreseen for 1970. However, after built according to the project of the winners of the 1969 earthquake, the urban programme a 1974 competition, landscape architect Vinko had to be altered. Competitions were an- Jurèiæ and architect and urban planner Bruno nounced for the construction of public build- Miliæ26. Vjenceslav Rihter designed the project of reconstruction of the local People’s Theatre 22 A hill located a few kilometres from Banja Luka, for- building, damaged in the earthquake. merly called Šehitluci. 23 The construction was an extremely demanding un- Velimir Neidhardt (1943-) and his team won dertaking for the poor local community and icluded buil- the competition for the design of a complex ding an access road to the location of the monument. The comprised of Dom radnièke solidarnosti plan was to overlay the monument with white Braè marble, Fig. 12. Waqf Palace designed by Stjepan Planiæ, with bas-reliefs that would tell the history of the people of (Community Centre), ”Palace” hotel and a de- current photo Krajina. Its interior was conceived as a memorial mauso- partment store (the so-called ”Centre 1”) in Sl. 12. Vakufska palaèa Stjepana Planiæa, postojeæe leum, frescoed with scenes from the National Liberation 1973. In the first round of the competition stanje Struggle. However, at the time of the unveiling of the monument it was not possible to paint the interior due to four equal prizes were awarded; in the sec- moisture. It was not until the 1980s that Ismet Mujezinoviæ ond round, the design by the Zagreb team completed the frescoes. The history of the monument has Neidhart, Luliæ, Nosso was chosen. also been fraught with problems due to substandard workmanship, and serious damage to the reliefs started to The awarded project was not realised in its occur as early as the mid-1960s. entirety. Only the ”Boska” department store 24 *** 1974: 100-104. on the central town plaza and the Community 25 A temporary prefabricated department store was 27 built at the site in the early 1970s, and demolished as late Centre were executed , while the building of as 2001. The site is still partially unregulated. the extension to the ”Palace” hotel was start- 26 From 1971 Jurèiæ was a professor at the Faculty of ed but has never been completed. The au- Agriculture in Zagreb, where he collaborated with Bruno thor’s idea was that the space should be Miliæ, professor at the Faculty of Architecture in Zagreb. Source: Miljkoviæ, Anièiæ, 2007: 237 treated integrally, as a new urban centre, and 27 Today this building houses several cultural institu- that the existing circulation flows should be tions at entity and local level. directed towards Vrbas and the fortress. The 410 PROSTOR 2[44] 20[2012] 402-413 J. SAVIÆ Architectural Scene of Banja Luka and Croatian Authors… Scientific Papers | Znanstveni prilozi

as a whole, thanks to the horizontal and verti- cal connections, but could also be divided into independent fragments. Neidhardt had been preoccupied with this theme even before this project31. After 1970s, the architectural scene of Banja Luka was mainly taken over by local authors32.

FINAL REMARKS ZAKLJUÈNA RAZMATRANJA Croatian architects played an important role in the urban transformation of Banja Luka. As, until recently, Banja Luka did not offer university education in architecture, Zagreb Fig. 13. Competition-winning entry for the building buildings and spaces were designed as ter- was one of the centres which supplied Banja on the location Kastelov æošak by architects Dušan Marèeta and Vlado Šulovski from Rijeka, races, descending in cascades towards the Luka with prominent actors in its architec- axonometric view, site plan. In addition to the river. The execution was ultimately limited tural scene. construction of a high-rise building on the corner, only to buildings and failed to include all of the entry envisaged the demolition of historic the areas originally designed and envisaged During the Austro-Hungarian occupation, the structures in Gospodska street during the second architects coming to the small town generally phase. The building on the Kastelov æošak corner as an upgrade to the existing structures. In was realised according to the revised project by J. designing the buildings, the architects made concerned themselves with two main themes: Vidakoviæ, while the second phase of the project has a departure from the right angle, using ab- one was to forge a connection with the exist- never been implemented. stract forms28 to break the connection with ing architecture and urban structure inherited Sl. 13. Pobjednièki projekt zgrade na Kastelovu from the Ottoman period, and the other - æošku arhitekata Dušana Marèete i Vlade Šulovskog the existing structures. The new buildings did iz Rijeke, aksonometrijski prikaz, situacija. Pored not aim to establish continuity in terms of di- to introduce novel styles and construction 33 visoke zgrade na uglu, rješenjem se za drugu fazu mensions and masses with the existing urban methods . predviða rušenje dijela povijesnih struktura u structure of the main street29, but imposed Gospodskoj ulici. Zgrada na Kastelovu æošku The first theme was addressed by Æiril Ive- realizirana je prema izmijenjenom projektu themselves in the reconstructed townscape koviæ, who built the reading room, kiraetha- J. Vidakoviæa, a druga faza rješenja nije provedena. as new active monumental elements of im- na, in Banja Luka, in the pseudo Moorish pressive volumes30. This complex can also be style. Another architect who, through re- interpreted as an expression of the local au- search, social engagement and his own proj- Fig. 14. Model of the competition-winning entry thorities’ aspirations for an intervention that ects and realisations, made a great contribu- for the complex ”Centre 1” in Banja Luka, Neidhardt, would go much beyond mere restoration of tion to the re-interpretation of the local and Luliæ, Nosso team, 1973 the former small town. the inherited in the architecture of his time Sl. 14. Maketa pobjednièkoga natjeèajnog rada za kompleks „Centar 1” u Banjoj Luci, tim Neidhardt, The department store’s interior was con- and region was Josip Vancaš. The importance Luliæ, Nosso, 1973. ceived as a flexible space that could function of his two realised projects in Banja Luka transcends the confines of the small town. Vancaš cited those projects as examples of a ”correct” attitude towards the past and heritage. One of them is the Husedžinoviæ house, where he applied traditional compositional principles and design elements. The other building, the Privileged Provincial Bank, rep- resented his solution to the application of these principles to a public building. Around 1913 Rudolf Lubynski realised Villa Božiæ in the Secession style, which was a no- velty in the architecture of Banja Luka.

28 Vukiæ, 2001: 34 29 In the 1970s, local architects and urban planners were considering pulling down buildings from the Austro- Hungarian period in Gospodska street damaged in the earthquake, whose renovation and restoration were co- stly. Apart from the amateur Friends of Antiquities Asso- ciation, the town did not have institutions responsible for the protection of monuments, nor was Gospodska street registered as a protected townscape ensemble. Following public pressure, however, it was decided that the buildings would be adapted and restored. 30 ”Boska” alone had five floors and a total surface area of 15,800 m2. Before 1969, the two largest commercial facilities in Banja Luka had had an area of about 750 m2 and 350 m2 (Zahiroviæ, 1967: 6). Scientific Papers | Znanstveni prilozi Architectural Scene of Banja Luka and Croatian Authors… J. SAVIÆ 402-413 20[2012] 2[44] PROSTOR 411

Of all the aforementioned buildings, the only flected the many difficulties faced by the one that still exists is Vancaš’s Husedžinoviæ small town in its post-war reconstruction ef- house. forts and problematised the attitude towards - During the Vrbas Banate period (1929-1941), its heritage the programme provided for marked by architectural expansion in Banja the demolition of a section of the landmark Luka as well as intense presence of architects main street to make space for new structures and artists from other regions, Croatian au- as symbols of progressive way of life to be thors were also active as champions of a strived for (administrative building for the modern architectural expression. The build- pulp mill, which would, however, due to ings from that period that still exist include housing shortage contain several floors of those by architects Cobenzl, Sunko and Pla- apartments to let, department store). niæ, the partially altered building of the Hy- In 1961, after many years of preparation by gienic Institute by architects Dumengjiæ, as the local community and prolonged work, well as the monument to Petar Koèiæ created sculptor Augustinèiæ realised a colossal mon- by sculptors Augustinèiæ and Radauš. ument on the Banj hill, dedicated to the fallen people of Krajina, which has remained one of The projects by Cobenzl and Planiæ are impor- Fig. 15. Model of an unrealised competition-winning tant contributions to the residential architec- the landmarks of Banja Luka. entry for the complex ”Centre 2”. The two most massive buildings are those of Banski dvor and ture of Banja Luka. Cobenzl designed a resi- Following the 1969 earthquake, architects Banska uprava. The buildings were meant to be used dential development for the Banate’s admin- and teams from across former Yugoslavia, in- for commercial and cultural purposes. Diagonal istrative officers. Planiæ built a modern and cluding those from Croatia, joined the town streets establish a link with the town’s main shopping and pedestrian street, Gospodska. The functional apartment building, and realised it reconstruction efforts through a series of entry was created in the early 1970s by Edvin Šmit a few years after competition works for Banja competitions. The key figures were members and Vladimir Šobat from Zagreb. Luka which were not successful. of the Najdhart, Luliæ, Nosso team, who won Sl. 15. Maketa nerealiziranoga pobjednièkog the first prize for the design of the complex natjeèajnog rada za blok „Centar 2”. Dva najmasivnija The modern architecture of the Hygienic In- kubusa predstavljaju zgrade Banskog dvora i uprave. stitute building corresponded with the aspi- ”Centre 1” in the early 1970s. It comprised a Prostori su bili namijenjeni za trgovinu i objekte rations of the local administration to improve number of edifices and spaces that have be- kulture. Dijagonalnim ulicama uspostavljene su veze come Banja Luka’s distinctive landmarks, al- s glavnom gradskom trgovaèkom i pješaèkom ulicom, the poor state of public health in the Vrbas Gospodskom. Rješenje je nastalo poèetkom 1970-ih, Banate. In his 1933 project for the ”Palace” though the original design was not imple- a autori su Edvin Šmit i Vladimir Šobat iz Zagreba. hotel, Dionis Sunko established a relation mented in full. The architects had no obliga- with the heritage, expressing it through the tion to relate to the historic structures in elements of form and details on the building. terms of form and design. The river and fortress, being the main features of the town, Fig. 16. Fragment of Banja Luka centre map (current In the vicinity of the Planiæ’s and Sunko’s state, scale not given). The two dominant volumes prompted the architects to direct the main represent the actually built structures from the building, in the City Park, there is a monu- pedestrian flows from the square and off to- ”Centre 1” winning proposal. ment to Petar Koèiæ, town landmark created wards them. The essential elements of the Sl. 16. Dio mape centra Banje Luke (postojeæe stanje, by Augustinèiæ and Radauš in 1932. mjerilo nepoznato). Dva dominantna gabarita concept of connection with the river were not predstavljaju objekte izgraðene na osnovi All these structures still exist today. realised, and neither was the planned exten- pobjednièkog rješenja „Centra 1”. sion to the hotel. The prevailing perception of After World War II, construction activities in the townscape after the 1969 earthquake is Banja Luka were organised around newly established local architectural design firms and that of temporary solutions and unfinished in cooperation with professionals from Sara- work, leaving residents to reminisce with jevo. In the 1950s and 1960s, many architects nostalgia about ”Banja Luka as it once was”. trained in Zagreb were active in the town. In Those who made decisions about Banja Luka the mid-1950s, Croatian architects participat- after 1969 were not really willing to settle for ed with a lot of success in the competition for a mere reconstruction strategy, but instead the new Banja Luka landmark, a representa- chose strategy of a new beginning which lent tive office building at Kastelov æošak, but the itself well to concepts such as ”architecture best rated design by a team from Rijeka was of monumental cityscape”34 of Neidhardt and not realised. The topic of the competition re- his team. This paper aims to present the information 31 Vukiæ, 2001: 26-34. The project in Banja Luka was about some less known and less studied one of his first realisations. Today, ”Boska” uses pre- cisely the potential of fragmentariness. Neidhardt recei- works of Croatian authors. Some of the works ved the ”Viktor Kovaèiæ” award for the ”Boska” project in discussed herein were among the first oppor- 1979. tunities for realisations of later well-known 32 The main exceptions are: realisation of the regional authors (Ivekoviæ, architects Dumengjiæ, sculp- medical center in late 1970s-early 1980s by an architectu- tors Radauš and Augustinèiæ, V. Neidhardt). ral team from Sarajevo, realisations of the Krajina square The presented works lent a powerful impetus and ”Ekvator” administrative building in the first half of to the modernisation of Banja Luka, even 2000s by teams from Belgrade. though they are not of cardinal importance for 33 Discussed in detail in the author’s doctoral disserta- the understanding of the entire oeuvre of their tion titled ”The Modern and the Vernacular in the Urban Transformation of Banja Luka” (in preparation). authors. 34 Term coined by F. Vukiæ. Vukiæ, 2001: 9 [Translated by: Vojislav Boljaniæ, prof.] 412 PROSTOR 2[44] 20[2012] 402-413 J. SAVIÆ Architectural Scene of Banja Luka and Croatian Authors… Scientific Papers | Znanstveni prilozi Bibliography Sources Literatura Izvori

1. Barišiæ Mareniæ, Z. (2007.), Zoja Dumengjiæ - 13. Kurto, N. (1998), Arhitektura Bosne i Hercego- Archive Sources osobitost djela u kontekstu hrvatske moderne vine: razvoj bosanskog stila, Meðunarodni cen- Arhivski izvori arhitekture, doctoral dissertation, Faculty of Ar- tar za mir, Sarajevo chitecture, University of Zagreb 14. Lipa, A. (2006), The Austro-Hungarian Period in 1. ARS - Archives of the Republic of Srpska, 1 St. 2. Barišiæ Mareniæ, Z.; Šerman, K.; Uchytil A. Bosnia and Herzegovina: Cultural Politics in Bo- Sava Avenue, Banja Luka (fund of the Royal Ba- (2011.), Paviljonski sklop djeèjeg ljeèilišta tu- snia and Herzegovina and the Creation of the nate Administration of the Vrbas Banate, ARS- berkuloze Strmac - Šumetlica u Slavoniji, ”Pro- Western Type of Art, ”Kakanien Revisited”, http: BL-9-V-40; fund of the Banja Luka City Council, stor”, 19, 74-91, Zagreb //www.kakanien.ac.at/beitr/fallstudie/Alipa1. ARSBL 22, 5.8.2, fund of the People’s Commit- pdf [15.4.2009.] 3. Blau, E.; Monika P., eds. (1999.), Shaping the tee of the Banja Luka Municipality, documenta- Mikiæ, Ð. Great City: Modern Architecture in Central Euro- 15. (2004), Banja Luka, kultura graðan- tion of the Secretariat for Municipal Affairs, pe 1890-1937, Prestel, Munich, London, New skog društva, Institut za istoriju, Banja Luka 1955, unsigned) Miljkoviæ, I.; Anièiæ, B. York 16. (2007.), Prof. dr. sc. 2. RZZS RS - Institute for Protection of Cultural, ”Agronomski glasnik” 4. Cvijiæ, S. (2009.), Poèeci modernizma u stambe- Vinko Jurèiæ, dipl. ing., Historical and Natural Heritage of the Republic 3/2007, 237, Zagreb. noj arhitekturi u Banjaluci, ”Prostor - S”, 2009. of Srpska, 4 Vuka Karadžiæa Street, Banja Luka Milosavljeviæ, C. (februar-mart): 46-52, Banja Luka 17. (1996), Susreti sa kraljem, (Evaluations of cultural and historical heritage 5. D. R. 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(2003), Popis projekata / List of Ravliæ, A. - projects, u: Stjepan Planiæ 1900. - 1980.: iz arhi- 20. (1979), Banjaluka razdoblja i sto- library) ljeæa, IRO ”Veselin Masleša”, Sarajevo va arhitekta = from the architect’s records (Ko- 4. NUB RS - National and University Library of the 21. Stošiæ, V.; Maèkiæ, Z. (2004), Banjaluka koje žariæ, I.), Hrvatska akademija znanosti i umjet- Republic of Srpska,1 Ðure Danièiæa Street, Banja ima i koje nema u 1000 slika, Z. Maèkiæ, Banja nosti, Gliptoteka, Institut za povijest umjetno- Luka (periodicals archive) sti: 88-142, Zagreb (catalogue of the exhibition Luka (electronic source, photographs and post- held in the Glyptotheque of Croatian Academy cards) - 22. Vancaš, J. (1928.), Bosansko narodno graditelj- of Sciences and Arts, Zagreb, 12/2003. 01/ Illustration sources 2004), http://www.hart.hr/uploads/documen- stvo, ”Tehnièki list”, X (24), 353-356, Zagreb ts/451.pdf [1.2.2012.] 23. Viciæ, S. (2006.), Pozdrav iz Banjaluke, Greetin- Izvori ilustracija 8. http://www.arhitekt.unizg.hr/_af/_hr/informa- gs from Banja Luka, 1897-1941, Atelje - Viciæ, Fig. 1, 6 cije/dok/diplomanti.aspx?id=1928 [5.2.2012.] Beograd MRS, photographic library 9. http://virtual.arhitekt.hr/Lists/Af_dipl/AllItems. 24. Vidakoviæ, S. (2006.), Arhitektura javnih obje- Fig. 2, 7, aspx [5.2.2012.] kata u Banjaluci (1918-1941), Akademija umjet- 8, 11, 14 RZZS RS, archives and photographic li- nosti Republike Srpske, Banja Luka 10. Husedžinoviæ, S. (1989), Analiza i kritièka valo- brary; with locations of the buildings Vukiæ, F. rizacija istorijske dokumentacije o urbanom 25. (2001.), Velimir Neidhardt: Urban ar- and areas added by the author for the razvoju Banjaluke do poèetka XX vijeka, neob- chitecture/arhitektura grada, Neidhardt arhitek- Fig. 2 javljeni magistarski rad odbranjen na Arhitek- ti d.o.o, Meandar, Zagreb Fig. 3 Blau, Platzer, eds., 1999: 9 26. Štraus, I. (1998.), tonskom fakultetu Univerziteta u Beogradu Arhitektura Bosne i Hercego- Fig. 4 www.mapabih.com [10.7.2012.] with lo- vine, The Architecture of Bosnia and Herzegovi- 11. Husedžinoviæ, S. (1989), Prijedlog za zaštitu, cations of the buildings added by the na 1945-1995, Oko, Sarajevo vila Božiæ u Martiæevoj ulici broj 34, Banjaluka, author Zavod za zaštitu spomenika kulture i prirode, 27. Tomiæ, D. (2005.), Ivekoviæ, Æiril Metod, Hrvat- Fig. 5 *** 1915: 25; current photo by the Banja Luka ski biografski leksikon, http://hbl.lzmk.hr/cla- nak.aspx?id=115 [1.2.2012.] author 12. Ivanèeviæ, R. (2003), Stjepan Planiæ i avangarda Zahiroviæ. S. Fig. 9 hrvatske arhitekture tridesetih godina/Stjepan 28. (1967.), Za dostojniji tretman cen- ARS; current photo by the author Planiæ and the Croatian architecture avant-gar- tra grada, ”Glas”, XXV (24.12.1967.), 6, Banja Fig. 10, 12 Photo by the author Luka de of the thirties, u: Stjepan Planiæ 1900. - 1980.: Fig. 13 *** 1955: 9 29. *** (1915), Familienwohnhaus des Herrn Hami- iz arhiva arhitekta = from the architect’s records Fig. 15 Ravliæ (Kožariæ, I.), Hrvatska akademija znanosti i um- daga Husedjinoviæ in Banjaluka, ”Der Bautech- , 1979: 295 jetnosti, Gliptoteka, Institut za povijest umjet- niker”, XXXV. (25), 1-2, Wien Fig. 16 www.banjaluka.rs.ba/mapa [10.7.2012.] nosti: 5-15, Zagreb, http://www.hart.hr/uploa- 30. *** (1974), Banjaluka pet godina poslije zemljo- with names of the buildings added by ds/documents/443.pdf [1.2.2012.] tresa, NIP ”Glas”, Banja Luka the author Scientific Papers | Znanstveni prilozi Architectural Scene of Banja Luka and Croatian Authors… J. SAVIÆ 402-413 20[2012] 2[44] PROSTOR 413 Summary Sažetak

Arhitektonska scena Banje Luke i hrvatski autori: modernizacija maloga grada

Ovaj rad predstavlja analizu pojedinaènih realiza- odnosa prema prošlosti. U svome projektu kuæe struènjacima iz Sarajeva. Veze s hrvatskom arhi- cija hrvatskih arhitekata u Banjoj Luci tijekom ne- gradonaèelnika Husedžinoviæa primijenio je kompo- tektonskom scenom bile su dvojake po svojoj pri- koliko povijesnih razdoblja. Cilj je rada istražiti do- zicione principe i elemente tradicijske arhitekture. U rodi. S jedne strane tu su bile aktivnosti struènjaka prinos hrvatskih autora modernizaciji ovoga grada. svome projektu za podružnicu Privilegirane Ze- školovanih u Zagrebu 50-ih i 60-ih godina 20. sto- Rad obuhvaæa povijesno razdoblje od austrougar- maljske banke bavi se pronalaženjem rješenja za ljeæa, dok su s druge strane važnu ulogu imali arhi- ske okupacije - obilježeno radikalnim inovacijama njihovu primjenu na javnim zgradama, za što nije tektonski natjeèaji. Sredinom 50-ih godina 20. u graditeljstvu u usporedbi s periodom osmanske bilo primjera ni uzora u sklopu tipologije prethodnih stoljeæa hrvatski su arhitekti uspješno sudjelovali vladavine - sve do 70-ih godina 20. stoljeæa obi- razdoblja u jednome gradu koji odlikuje nezapadna na natjeèajima za novi prepoznatljivi simbol Banje lježenih projektima i realizacijama hrvatskih auto- urbana struktura. Luke - reprezentativnu poslovnu zgradu uz glavni ra. Zagreb je bio važno središte za lokalnu arhitek- Rudolf Lubynski bio je predstavnik arhitekata zao- gradski trg. Programom natjeèaja bilo je predviðe- tonsku scenu Banje Luke. Po svomu zemljopisnom kupljenih drugom temom: oko 1913. godine realizi- no rušenje jednog dijela glavne ulice kako bi se položaju dva su grada relativno blizu pa su tako rao je reprezentativnu vilu Božiæ u secesijskom sti- oslobodio prostor za nove graðevine kao simbole zagrebaèki arhitekti dobivali narudžbe za projekte lu, a to je bila novina u tadašnjoj arhitekturi Banje novoga, modernog naèina života. Iako taj cilj nije u Banjoj Luci. Istovremeno mladi su ljudi iz Banje Luke. bio ostvaren, natjeèaj je bio znaèajan u smislu da je Luke dolazili na studij arhitekture u Zagreb, buduæi Grad se intenzivno poèeo izgraðivati tijekom raz- ilustrirao teškoæe poslijeratne obnove maloga grada za to u svome gradu nisu imali prilike. Iako ma- doblja Vrbaske banovine (1929.-1941.). Izmeðu da i problematizirao odnos prema njegovu gradi- lobrojni, radovi hrvatskih arhitekata u Banja Luci brojnih arhitekata i umjetnika koji su u Banju Luku teljskom naslijeðu. Godine 1961. Antun Augustinèiæ predstavljaju važan doprinos modernizaciji i urba- došli iz drugih regija osobito su se isticali hrvatski realizirao je svoj kolosalni spomenik na Banj brdu s noj transformaciji grada. arhitekti. Znaèajne graðevine iz tog razdoblja, koje pogledom na grad, koji je ostao jedno od znaèajnih Za austrougarske okupacije (1878.-1918.) arhitekti još i danas postoje, djela su arhitekata Cobenzl, obilježja Banje Luke. koji su dolazili raditi u Banju Luku bavili su se arhi- Dumengjiæ, Sunko i Planiæ, dok su autori spome- Nakon potresa 1969. godine velik broj arhitekata i tekturom uglavnom u sklopu dva glavna aspekta nika Petru Koèiæu kipari Augustinèiæ i Radauš. Stje- projektantskih timova iz cijele bivše Jugoslavije, profesionalnog djelovanja: jedno se odnosi na uspo- pan Planiæ autor je izrazito moderne i funkcionalne ukljuèujuæi i Hrvatsku, sudjelovao je u ono doba u stavljanje referentnih veza s postojeæom arhitekton- višestambene zgrade,a realizirao ju je nekoliko go- projektima obnove kroz brojne arhitektonske i ur- skom scenom i urbanom strukturom naslije ðenom dina nakon svojih ostalih natjeèajnih radova za banistièke natjeèaje. Najvažniji protagonisti te sce- iz dugog razdoblja osmanske vladavine, dok se inte- Banju Luku, kojima nije postigao osobit uspjeh. O ne bili su Neidhardt, Luliæ, tim Nosso, koji je dobio res u sklopu drugog podruèja kretao oko uvoðenja reprezentativnosti spomenute zgrade u tadašnjoj prvu nagradu za svoj projekt kompleksa „Centar 1” novih graditeljskih stilova i metoda o kojima se prije slici grada svjedoèi i njezin nadimak „Vakufska ranih 70-ih godina 20. stoljeæa. Projekt je sadržavao u maloj sredini nije mnogo znalo. Od hrvatskih arhi- palaèa”, iako autorova namjera nije bila ponuditi velik broj zgrada. No, bitni elementi same koncep- tekata kojih su projekti realizirani u Banjoj Luci u luksuzna rješenja u svojem projektu. Projekt Hi- cije nisu realizirani. Razina izvedbe i percepcija slike tom razdoblju i koji su se bavili prvom od prethodno gijenskog zavoda arhitekata Dumengjiæ ostvaren je grada nakon potresa 1969. godine obilje žena je spomenutih tema istièu se Æiril Ivekoviæ i Josip tek nakon znaèajnih izmjena. U svoj projekt za ho- uglavnom privremenim i poloviènim rješenjima. Ar- Vancaš. Na poèetku svoje karijere, 1890. godine tel „Palace” iz 1933. Dionis Sunko ugradio je svoju hitektura Neidhardta i njegova tima utjelovila je Ivekoviæ je izgradio u Banjoj Luci tzv. kiraethanu viziju odnosa sa zateèenim graditeljskim naslije ðem strategiju novoga poèetka, odnosno koncepciju koja (muslimansku èitaonicu) u pseudomaurskom stilu. kroz uèinkovitu upotrebu odabranih arhitektonskih je nadilazila razinu obnove, ali ujedno i ogranièenja Vancaš je bio aktivan kao istraživaè, društveno elemenata i detalja. Hrvatski kipari Augustinèiæ i maloga grada. Meðutim, strategija novoga poèetka angažiran pojedinac i kao arhitekt s bogatim stva- Radauš autori su spomenika Petru Koèiæu (1932.) nikada nije provedena do kraja. ralaèkim opusom. Jedna od tema koje su ga zao- koji se nalazi u gradskom parku i danas je prepo- Predstavljeni radovi od velikog su znaèenja za lo- kupljale odnosi se na reinterpretaciju lokalnog i znatljiv simbol grada. kalni kontekst. Oni su bili poticaj preobrazbi malo- naslijeðenog u arhitekturi svoga doba i mjesta. Nakon Drugoga svjetskog rata, u novomu druga grada, osobito u razdoblju kada su se hrvatski Znaèenje njegovih dvaju izgraðenih objekata u Ba- štvenom i administrativnom ureðenju, graditeljske arhitekti svojim profesionalnim djelovanjem pred- njoj Luci nadilazi granice maloga grada. Ove njegove aktivnosti u Banjoj Luci odvijaju se u okrilju novo- stavili kao glavni protagonisti moderne arhitekture realizacije takoðer predstavljaju primjere ispravnog osnovanih projektantskih biroa i u suradnji sa u Banjoj Luci. JELENA SAVIÆ

Biography Biografija

JELENA SAVIÆ was born in 1978 in Banja Luka, BiH. JELENA SAVIÆ roðena je 1978. godine u Banjoj Luci, She graduated in 2003 from the Faculty of Architec- BiH. Diplomirala je 2003. godine na Arhitekton- ture, Belgrade University. She works in the Insti- skom fakultetu Univerziteta u Beogradu. Zaposle- tute for Protection of Cultural, Historical and Natu- na je u Republièkom zavodu za zaštitu kulturno- ral Heritage of the Republic of Srpska. She is also -istorijskog i prirodnog nasljeða Republike Srpske an external staff member at the local Faculty of Ar- u Banjoj Luci. Vanjska je suradnica na Arhitekton- chitecture and Civil Engineering. She is currently sko-graðevinskom fakultetu Univerziteta u Banjoj working on her doctoral dissertation at the Faculty Luci. Trenutno priprema doktorsku disertaciju na of Architecture, Belgrade University. Arhitektonskom fakultetu Univerziteta u Beogradu. 20 [2012] 2[44] A SCHOLARLYJOURNALOFARCHITECTUREANDURBAN PLANNING ZNANSTVENI ÈASOPISZAARHITEKTURUIURBANIZAM OF ARCHITECTURE FACULTY OF ZAGREB, UNIVERSITY FAKULTET ARHITEKTONSKI U ZAGREBU, SVEUÈILIŠTE 7-12 [2012] 219-486 20 [2012]2[44] UDK | CODEN PORREV ISSN 1330-0652 UDC 71/72 PROSTOR POSEBNI OTISAK/ SEPARAT 220-235 Znanstveni prilozi Rudolf Klein

Scientific Papers UDC 72.01:72.036 Original ScientificPaper Architecture Judaism, EinsteinandModern

OFFPRINT UDK 72.01:72.036 Izvorni znanstvenièlanak arhitektura Judaizam, Einsteinimoderna