Urban architecture / Arhitektura grada Fedja VukiÊ Copyright ∫ 2001 Neidhardt arhitekti d.o.o. Ilica 26, HR-10000 Zagreb
CIP - Katalogizacija u publikaciji Nacionalna i sveuËiliπna knjiænica, Zagreb
UDK 72 Neidhardt, V.
VUKI∆, Fea Velimir Neidhardt : urban architecture = arhitektura grada / Fedja VukiÊ ;
Tekst usporedo na engl. i hrv. jeziku. - Bibliografija. - Kazalo.
ISBN 953-206-028-6 (Meandar).
1. Neidhardt, Velimir
400706053
Cover design / Oblikovanje naslovnice Boris LjubiËiÊ
Design and layout / Prijelom Velimir Neidhardt
Translation / Prijevod Vladimir Ivir
Production / Priprema Studio Æiljak, Zagreb
Print / Tisak Kratis, Zagreb Contents / Sadræaj
5 Urban architecture O urbanoj arhitekturi
9 Local and global influences Lokalni i globalni utjecaji
15 The architecture of Velimir Neidhardt Arhitektura Velimira Neidhardta
Appendices Referentni prilozi
125 Biographical note Saæeta biografija
126 Awards Nagrade
127 Catalogue of design projects Katalog projekata
132 List of publications Publicirani znanstveni i struËni radovi
133 Notes, views, interviews Publicirani prilozi, razgovori, miπljenja
134 Bibliography Bibliografija - literatura
137 Projects contributors Sudionici projekata
139 Illustration credits Izvori slikovnog materijala
Urban architecture / O urbanoj arhitekturi
If architecture, as its authoritative historians would have it, Ako je arhitektura, prema povjesniËarskim autoritetima, first appeared in non-urban environments, it has certainly nastala u neurbanim uvjetima, onda je svakako moguÊe reÊi i developed historically in cities in the first place and only then da se kroz povijest razvijala u gradu pa tek onda na drugim in other settings. It is, indeed, not too much to say that the art mjestima. DapaËe, nije preuzetan ni zakljuËak da gradnja zgra- of building acquires its full meaning and significance only in the da poprima puni smisao tek u urbanoj sredini, dakle tamo gdje urban setting, where architecture creates and represents the arhitektura stvara i predstavlja osnovni okoliπ. Aktualiziramo core of the environment. Reviving the old rationalist view of li danas staru racionalistiËku tezu o prirodnim izvorima kon- natural sources of the concept of architectural forms, we have cepta arhitekture i graditeljskih oblika, utvrdili smo mjesto identified their place of origin, but we have no more than sug- nastanka, ali tek naznaËili prostor razvoja. Drugim rijeËima, gested the real setting for their development. In other words, ako je priroda rodno mjesto arhitekture, grad je analogija if nature is the birthplace of architecture, then the city is an prirodne sredine. analogy of the natural environment. Ovakve opÊenite rijeËi trebale bi samo posluæiti uvodom za Such general statements are intended as an introduction to a analizu pojedinih opusa, trendova i pojava u arhitekturi XX. possible analysis of individual opuses, trends and phenomena in stoljeÊa, i to zbog Ëinjenice da je onome πto se obiËno naziva twentieth-century architecture, given the fact that what is usu- moderno ili modernizam (sve do postmodernizma) baπ grad ally meant by terms such as “modern” or “modernism” (includ- osnovni prostorni okvir pa i mjera. Dakako, moglo bi se na ing also “postmodernism”) finds its spatial frame and true mea- sliËan naËin vrlo dugo raspravljati o dijalozima i nesporazumi- sure in the city. One could, of course, continue this discussion ma na relaciji od arhitekture do prirode (i natrag), meutim along similar lines and at considerable length, examining argu- ovdje bi samo trebalo upozoriti na neke zajedniËke ili opÊenite ments and misunderstandings concerning the relationships and elemente arhitekture nakon 1945. godine, a u teænji da se paths leading from architecture to nature (and back). However, prikaæu posebnosti jednog opusa od kasnih πezdesetih godina we shall confine ourselves at this point to merely noting some do danas. Pitanje koje se logiËno postavlja svakomu tko æeli common or shared elements in post-1945 architecture by way uspostaviti odnos globalnog i lokalnog, ili kliπejiziranih zakoni- of a preparation for the analysis of an individual opus evolving tosti trenda s kreativnim autorskim udjelom, jest: kako u from the late sixties to the present day. The question that log- neËemu πto se medijima obiËno predstavlja kao ultimativna vri- ically faces everybody who seeks to establish a relationship jednost pronaÊi elemente izvornoga? Takvo πto moæe biti between the global and the local, or between the stereotype itekako zahtijevna zadaÊa, naroËito kad se govori o arhitekturi rules of a given trend and the creative contribution of an indi- moderne epohe, koja je, sliËno opÊem kulturnom kontekstu u vidual author, is how to identify elements of originality in build- kojem nastaje, upuÊena na pojednostavnjene procedure i ings that the media usually promote as the ultimate value. The unaprijed pripremljene recepte. Ali i to je dio urbane scene o question is indeed quite difficult, particularly with respect to kojoj, kako smo naznaËili, neÊemo izbjegavati raspravu. the architecture of the modern age. Reflecting the general con- DapaËe, kolikogod paradoksalno zvuËalo, pokuπat Êemo opisati text of culture in which it blossomed, Modernism experienced jedan arhitektonski opus i iz njega, u pretpostavljenoj uvjeto- a push towards simplified procedures and ready-made pre- vanosti gradom, pokuπati otkriti ne samo elemente onoga πto se cepts, towards a schematism resulting in various features of obiËno naziva homogenizacijom masovne kulture nego moæda i the urban scene, which, as already indicated, we shall not shirk naznake izvornog doprinosa arhitekture artikuliranju urbane from discussing. On the contrary, in what follows we shall try to kulture. A to zbog jednostavne Ëinjenice da arhitekti viπe nego describe an architectural opus which has been seasoned by the drugi stvaraoci pridonose usloænjavanju cjelokupne postave city. Seeking to discover not only elements of what is usually urbane “prirode”. Kaæe li se da su arhitekti scenaristi, neÊe biti called the homogenization of mass culture, we shall also look for dovoljno, ako se misli da stvaraju samo ploπna proËelja kao the original architectural contribution to the articulation of pozadine svakodnevnom æivotu. Zapravo oni predviaju æivot
5 urban culture, recognizing the simple fact that architects more kroz trodimenzionalne Ëinjenice ili prostore koji sastavljaju than other creative individuals contribute to the overall struc- sam grad. Zbog toga bi ih se moglo nazvati urbanim artikula- tural and visual complexity of urbanity. Saying that they are torima, reæiserima æivota u prostoru ili dirigentima koji projek- urban stage designers is not enough if this is to suggest they tiranjem Ëak i nevelike Ëestice gradskog prostora prilaæu u only build façades to support the backdrop function for daily kompleksnu strukturu grada. living. In fact, they anticipate life through various three-dimen- RazmiπljajuÊi o svemu tome, gotovo je neizbjeæivo prisjetiti se sional modules that make up the city. They may be called urban jedne od slavnih Jencksovih definicija ispisane prije dva deset- articulators, managers of living in a built environment, or con- ljeÊa, a kojom je znameniti teoretiËar pokuπao opisati ono πto je ductors who control the ambiental music to be frozen in the u meuvremenu postalo globalno poznato kao arhitektura complex forms of urban structures. “kasne moderne”. Sam pojam “moderne” ili “modernizma” tom Reflecting on these matters, one cannot but recall a famous je sloæenicom poprimio konaËno znaËenje, to jest smisao definition of Jencks’s, over twenty years ago, in which the dovrπenog procesa. Ne æeleÊi ovdje raspravljati o pitanjima great theorist tried to define what has meanwhile become glob- stilistiËke kronologije ili civilizacijskog optimizma, πto svakako ally known as “Late Modern” architecture. In such a colloca- moæe biti poticajno za neku drugu priliku, trebalo bi samo nag- tion, the term “modernity” or “modernism” acquires its final lasiti da Jencks svojom posloviËno kratkom ali uspjelom defini- meaning — that of a completed process. Without wishing to cijom inzistira na oznaËavanju “kasnog modernizma” kao embark upon a discussion of chronology of styles, or of the opti- arhitekture izrazito urbanog karaktera. Dakako, jednu zgradu mism within our civilisation — certainly challenging topics in nije moguÊe promatrati izvan konteksta, ali ne treba zaboravi- their own right — we only note that Jencks’s proverbially brief ti da se posljednjih tridesetak godina ionako najviπe projektira but effective definition labels “Late Modernism” as architec- za gradove i njihove suburbane prostore, koji su postali gotovo ture whose character is distinctly urban. Of course, no building jedina gnijezda suvremenoga æivota. Ipak, reËeni termin ima can be viewed outside its context, but over the last thirty years nekoliko slojeva znaËenja obuhvaÊenih jednostavnim situira- architectural design has been made mostly for cities and the njem pojedinaËnog objekta u urbanom kontekstu. To se prven- suburbia that have become almost the sole nests of contempo- stveno odnosi na socijalnu odreenost nastanka takve arhitek- rary living. Still, the term “Late Modernism” itself has several ture kakvu obiËno naruËuju velike multinacionalne korporacije, layers of meaning underneath the simple meaning of a particu- prominentne banke ili pak gradske, a ponekad i dræavne insti- lar individual building in an urban context. In the first place, tucije. RijeË je o arhitekturi velikog, reprezentativnog formata this architecture is societally determined. Such buildings are i kompleksnih sadræaja koji obiËno obuhvaÊaju i poslovnu i usually commissioned by large multinational corporations, javnu namjenu, pa je time i reprezentativni uzorak arhitekture major banks, municipal or state agencies, and are designed on “kasnog modernizma”, kojeg predstavlja Jencks, odreen a large scale, representative in form, and complex in intended sloæenim odnosima liberalnog kapitalizma. Posebni odraz takav uses, usually combining business, commercial and public func- sustav nalazi u suvremenim idejama o gradu kao prostoru de- tions. Thus, the representative sample of Late Modern archi- mokratski slobodne razmjene robe i novca, pa tako i arhitek- tecture defined by Jencks is determined by the complex rela- tonsko-urbanistiËkih struktura. Kada, dakle, govorimo o “kas- tionships that prevail in the system of liberal capitalism. This nom modernizmu”, ne govorimo samo o arhitekturi nego i o system finds its specific reflection in the contemporary ideas of gradu u odreenim kulturnim i ekonomskim uvjetima. SudeÊi the city as space for a democratic exchange of information, prema onome πto je u tom duhu izgraeno tijekom posljednjih goods, money and everything that one can imagine, and espe- tridesetak godina, ne bi se moglo govoriti o nekakvom tipu cially of emerging architectural and urban structures. grada epohe kasnog kapitalizma, kao πto je to bio sluËaj u nekim Therefore, the term “Late Modernism” defines not just archi- povijesnim razdobljima. Prije bi se moglo uoËiti da gradovi, ili tecture, but also the city under particular cultural and econom- barem njihovi novi dijelovi, nastaju podizanjem takvih veliko-
6 ic conditions. Judging by what has been built in the spirit of this formatnih graevina koje monumentalnim dimenzijama ili movement over the last thirty years or so, one cannot speak of kompleksnim programom tvore cijele gradske Ëetvrti. Dobri a particular city matrix typical of the era of late capitalism (as primjeri takvih gradotvornih ideja izvedenih iz sloæenih multi- was the case in some earlier historical periods). What one namjenskih projekata razasuti su posvuda, primjerice poput notes, rather, is that cities, or at least their new parts, grow by novoizgraenih dijelova starih i novih srediπta Chicaga, Pariza agglomeration of large-scale structures whose monumental ili bilo koje druge metropole globalne kulture, u kojima svaka dimensions and mixed uses cover whole blocks, even districts. pojedina graevina tvori specifiËno æariπte gradskog æivota, Excellent examples of such urban design ideas realized as definirano ponajviπe poslovnom namjenom. Dakako, traæi li se multi-purpose developement projects are to be found every- rodno mjesto takve vrste arhitekture, svakako treba poÊi u where — for instance, in the newly built parts of old and new Sjedinjene AmeriËke Dræave, gdje je nakon 1945. ekonomska city centres of Chicago, Paris, or any other metropolis of glob- sofistikacija dostigla najviπi stupanj pa se upravo u ameriËkim al culture, in which each individual structure represents a spe- gradovima najviπe eksperimentira s velikoformatnim cific focus of urban life, defined in the first place by its business poslovno-stambenim graevinama kojima lokalni komunalni purposes. Of course, to find the birthplace of this type of archi- zakoni potiËu osiguravanje prostora za funkcije javne namjene. tecture, one needs to go to the United States, where, since No to ne znaËi da bismo samo tamo ili samo negdje drugdje 1945, the highest degree of economic sophistication has been mogli detektirati odveÊ izraæene specifiËnosti arhitekture reached and therefore experimentation with large-scale office, “kasnog modernizma” jer takav tip ili vrsta arhitekture ima retail and prime residential projects has been encouraged. svoj uzrok i smisao upravo u impersonalnoj globalnoj kulturi Also, municipal regulations stimulate such projects as the best multinacionalnog kapitala koja stavlja u drugi plan lokalne way to secure adequate space for public purposes. However, specifiËnosti i uvaæava ih jedino ako komercijaliziraju sam this kind of architecture with specifically “Late Modern” char- pothvat. acteristics thrives almost everywhere, since its root cause and Posebnost je urbanih karakteristika toga tipa graevina da impetus reside in the impersonal global culture of multination- arhitekti nastoje uvuÊi u unutarnje prostore zgrada funkcije al capital, which pushes local specificities aside, respecting grada, uklanjajuÊi Ëvrste barijere izmeu unutarnjeg i vanj- them only to the extent that they contribute to the commercial skog prostora rastvaranjem proËelja te Ëestom primjenom success of the undertaking. transparentnih staklenih “zidova”. BuduÊi da nema fiksno The particular urban features of such megabuildings consist in odreenih granica izmeu grada i zgrade, unutarnji je prostor bringing the functions of the city into the inner areas of edi- “kasnog modernizma” ponajviπe odreen æeljom za slojevitim fices, the removal of static barriers between inner and outer horizontalnim i vertikalnim povezivanjem, Ëemu zorne prim- spaces, the provision of several public use levels, and the fre- jere navodi i Jencks, opisujuÊi kao “kasnomoderne” i tako raz- quent use of transparent curtain wall surfaces. Since no rigid liËite graevine kakve su Gunma muzej Arate Isozakija iz boundaries separate the city and the building, the inner space 1974., New Harmony Atheneum Richarda Meiera (1975-80.), of “Late Modern” buildings is shaped primarily by the desire Willis and Faber poslovnu zgradu Normana Fostera (1972-75.) for multiple horizontal and vertical linkages. Jencks lists as i Piano-Rogersov Pompidou centar dovrπen 1977. Vrlo sliËne typical examples of “Late Modern” architecture such diverse primjere, meutim, koristi i Kenneth Frampton, uvodeÊi u buildings as Arata Isozaki’s Gunma Museum (1974), Richard svoju kritiËku povijest moderne arhitekture pojam “produk- Meier’s New Harmony Atheneum (1975-80), Norman Foster’s tivizma”, kojim se, bez obzira na moguÊe formalne razlike Willis and Faber office building (1972-75), and Piano-Rogers’s estetiËke naravi meu pojedinim graevinama, naglaπava Pompidou Centre (completed in 1977). Quite similar examples jedna vaæna karakteristika suvremene arhitekture, a to je are given by Kenneth Frampton, who introduces the term veliko urbano mjerilo i urbane funkcije u zgradi. “Productivism” in his critical history of modern architecture,
7 stressing the large urban scale and urban functions in the building as its most important characteristic, which transcends possible formal aesthetic differences among individual build- ings. Local and global influences / Lokalni i globalni utjecaji
The question that one can now ask is whether reflexes of large- Pitanjem postoji li bilo kakva refleksija velikoformatne urbane scale urban architecture can be found in Croatia. Seeking to arhitekture u Hrvatskoj nismo samo zapoËeli raspravu o jednoj answer this question will enable us not only to describe the fate toËci moderniteta nego i otvorili moguÊnost za preispitivanje of modernity in this part of the world, but also to examine indi- pojedinaËnih opusa, meu kojima je opus Velimira Neidhardta vidual architectural opuses. The opus that stands out most jedan od najmarkantnijih. Dakako, treÊina stoljeÊa rada u clearly in this respect is that created by Velimir Neidhardt. Of arhitekturi u nekim okolnostima moæe proteÊi unutar jednog course, working in architecture for a third of a century can eas- istog druπtvenog sistema, no Neidhardt je imao priliku prakti- ily mean working within one single social system. However, cirati arhitekturu πirom prostora jednog sada veÊ nepostojeÊeg Neidhardt was in a position to practise architecture throughout druπtvenog sistema koji se itekako razlikovao od liberalnog the territory ruled by a now defunct social system very much kapitalizma. Pa ipak Neidhardtova je arhitektura tijekom pos- different from liberal capitalism. Nevertheless, Neidhardt’s ljednjih 30 godina bila najbliæa onome πto analogijom prema architecture over the last thirty years came closest to what popularno-znanstvenim izvorima moæe biti zvano “kasnim mod- could be called “Late Modernism” or “Productivism”, or — ernizmom” ili “produktivizmom”, a Ëemu bi se, zbog razliËitosti given the different cultural context — “monumental cityscape kulturnog konteksta, mogao dati i naziv arhitektura architecture”. This means that his most important designs are gradotvorne monumentalnosti. To znaËi da su njegova naj- large-scale buildings essentially determined by the urban con- znaËajnija ostvarenja zgrade velikih dimenzija i da su uvijek text. This must suffice as a definition at this point. We shall see bitno odreene kontekstom grada. Za poËetak viπe nego later that Neidhardt’s architectural effort, developed through dovoljno definicija. Vidjet Êemo da je Neidhardtov pristup participation in a number of architectural and urban design arhitekturi, razvijan sudjelovanjem u nizu arhitektonsko- competitions from the late sixties to the second half of the sev- urbanistiËkih natjeËaja od konca πezdesetih do druge polovice enties, resulted in several major building projects realized in sedamdesetih godina, doveo do stvaranja nekih kapitalnih the late seventies and through the eighties. During this time, objekata koncem sedamdesetih i tijekom osamdesetih godina, his concept of cityscape architecture evolved in several direc- kada je njegov koncept gradotvorne arhitekture razvijen u tions, depending on the purpose of each particular building. nekoliko inaËica, ovisno o namjeni graevine. Kada, dakle, Therefore, the term “architecture of monumental cityscape” kaæemo arhitektura gradotvorne monumentalnosti, pomiπ- refers to buildings that greatly differ among themselves in ljamo na projekte koji su, meusobno usporeeni, Ëesto vrlo form, but which have one common characteristic impressed razliËitoga oblika, ali im je zajedniËka (autorska) karakteristika upon them by their author: in contradistinction to simplified ta da, za razliku od pojednostavnjenih shema modernistiËke schemata of modernist architecture, they all possess urban arhitekture, uvode gradske atribute (vedute, poteze, sklopove attributes (panoramas, axes, focuses, orientations) as equal ele- i orijentacije) kao ravnopravne elemente projektantske pros- ments of the designer’s spatial equation. In other words, torne jednadæbe. Drugim rijeËima, modernistiËku definiciju Neidhardt supplements the modernistic definition of function funkcije nadograuju osebujnim semiologijskim, urbanologij- with distinctive semiological, urbanological and anthroposocial skim i antroposocijalnim sastojcima, tragajuÊi za komplemen- components, seeking to achieve a complementarity of scientific tarnostima znanstvene metode i umjetniËkog stvaralaπtva. method and artistic imagination. Prije no πto se upustimo u neko od moguÊih iπËitavanja Before embarking upon a possible interpretation of Neidhardtove arhitekture, a πto svakako implicira i moguÊu Neidhardt’s architecture, which inevitably implies a discussion raspravu o razliËitosti kulturnog a ne samo urbanog konteksta of both contexts, cultural and urban, in which buildings based u kojem nastaju graevine sliËnog koncepta, valja naglasiti, s on a similar concept are designed, it should be noted (in view of obzirom da 1969. izrauje svoje prve javne natjeËajne projekte, the fact that his first competition projects date from 1968/69) da su pedesete i πezdesete godine vrijeme koje treba istraæi- that the fifties and the sixties are the period that one needs to vati, æelimo li shvatiti kako se formirala njegova arhitektura,
9 study in order to trace the evolution of his architecture, bear- misleÊi pritom na duh vremena navedenih desetljeÊa, odnosno, ing in mind the spirit that prevailed during these two decades, u uæem smislu, na sve ono πto Ëini ukupnu sliku arhitektonskih or, more specifically, what they meant for architectural philos- zbivanja toga desetljeÊa u svijetu i u nas. Dok su se u svijetu ophy in the world at large and in Croatia. While the world of liberalnog i neπto manje liberalnog kapitalizma veÊ projektirale liberal and less liberal capitalism already witnessed the rise of i podizale graevine raskoπnih programa i struktura u duhu richly programmed and elegantly structured buildings in the “kasnog modernizma”, a nije nedostajalo ni projekata eksperi- spirit of Late Modernism, as well as occasional experimental mentalnog karaktera, u Hrvatskoj su to bila desetljeÊa pune ventures, Croatian architects were busy reasserting the legacy afirmacije prijeratnog nasljea moderne arhitekture u okolnos- of prewar modern architecture under the conditions of the new tima novog politiËkog sistema. Tada je gotovo cijela jedna gen- communist political system. Almost the whole generation of eracija arhitekata, roena tijekom prve petine dvadesetoga Croatian architects born before the 1920’s was given the stoljeÊa, ostvarila svoje prve velike realizacije u arhitekturi, chance to realize their first major projects. In Zagreb, for koje su u gradu Zagrebu kulminirale opseænom izgradnjom oko instance, this effort culminated in extensive construction along tadaπnje ulice Proleterskih brigada (danas Avenije Vukovar). Proleterskih Brigada Street (now Avenija Vukovar). Some of Neke od zgrada koje su tijekom πezdesetih podignute na tom the buildings built on prestigious sites in that street during the reprezentativnom potezu, poput RadniËkog i narodnog sixties, like the Moπa Pijade Workers’ Education Centre (now sveuËiliπta “Moπa Pijade” Radovana NikπiÊa i Ninoslava Open University) designed by Radovan NikπiÊ and Ninoslav KuËana (danas “Otvoreno sveuËiliπte”), do danas su uzorni KuËan, remain outstanding examples of the kind of architec- primjeri arhitekture koja formatom, sadræajem i urbanim ture which — with its scale, function and urban features — karakteristikama proπiruje konstruktivna i estetiËka iskustva extended the constructivist and aesthetic experiences of zagrebaËke moderne tridesetih. DapaËe, NikπiÊeva i KuËanova Zagreb’s modern architecture of the thirties. In fact, compared zgrada u usporedbi s ostalima na sveuËiliπnom potezu najviπe with other university buildings in the same district, NikπiÊ and se nametnula urbanim karakterom, πto je dobrim dijelom KuËan’s building had a greater urban attraction than the rest, odreeno i samom namjenom. Ne treba nikako zaboraviti ni which was probably due to its function as an adult education druge gradnje na tom prostoru, poput stambenih objekata institution. Mention ought to be made equally of some other Drage GaliÊa, Boæidara Raπice ili Nevena ©egviÊa, jer sve su te buildings in the area, such as the residential buildings designed zgrade vrlo dobri primjeri monumentalnog modernizma by Drago GaliÊ, Boæidar Raπica and Neven ©egviÊ, all of which pedesetih i πezdesetih godina, vrlo tipiËnog za tadaπnju zagre- are fine examples of the fifties and sixties monumental mod- baËku sredinu, pa Ëak i za politiËku kulturu, o Ëemu najbolje ernism, typical of Zagreb’s urban, and even political, culture at svjedoËi reprezentativna graevina Skupπtine grada Zagreba that time, best witnessed by the representative City Hall Kazimira OstrogoviÊa iz 1958. Poput RadniËkog sveuËiliπta i building designed by Kazimir OstrogoviÊ in 1958. Like the OstrogoviÊeva je zgrada ukljuËila u svoju unutraπnjost aktivan already mentioned Workers’ Education Centre, the City Hall odnos prema gradu, pa se upravo ta dva projekta mogu pribro- had an interior with an active relationship to the city, so that jiti meu najznaËajnija ostvarenja hrvatske arhitekture monu- these two buildings belong among the most significant realiza- mentalne gradotvornosti u πezdesetim godinama. To su dakako tions of monumental, cityscape architecture in Croatia in the graevine besprijekorno modernistiËkog koncepta, zasnovane sixties. They are, naturally, based on an irreproachably mod- na racionalnim konstrukcijama i primjerenoj minimalistiËkoj ernist concept, rational construction and appropriate minimal- estetici. Uz aktivni odnos prema kontekstu grada oba projekta ist aesthetics. In addition to maintaining an active relation to prilaæu nove kvalitete u zagrebaËku arhitekturu πezdesetih the contextual matrix of the city, both projects also introduced godina. Zna li se da su neki od autora zgrada u ulici new qualitative features into Zagreb’s sixties architecture. If Proleterskih brigada bili i profesori na Arhitektonskom fakul- we remember that some of the architects who designed the tetu, tadaπnji se pokuπaji ostvarenja korespondencije zgrade i
10 buildings in Proleterskih Brigada Street also taught at the grada mogu promatrati kao vrlo vaæni za formiranje arhitek- Faculty of Architecture, then it becomes clear that their effort ture Velimira Neidhardta. KonaËno, i ne manje vaæno, treba at establishing relations of urban correspondence between the znati da arhitekt Neidhardt potjeËe iz obitelji koja je hrvatskoj buildings and the city could not but have an effect on the archi- arhitekturi dala znaËajna djela: njegov otac Franjo, autor je tecture of their student Velimir Neidhardt. Equally, and no zagrebaËkog Doma sportova i s Vladimirom Turinom suautor less importantly, Neidhardt comes from a family that produced sportskog stadiona u Maksimiru, a stric Juraj, autor some important works of Croatian architecture: his father Nadbiskupskog sjemeniπta na VoÊarskoj cesti u Zagrebu, svoj Franjo designed the Zagreb Sports Hall and co-designed (with je opus realizirao uglavnom diljem Bosne i Hercegovine, gdje Vladimir Turina) the Maksimir Stadium, while his uncle Juraj, je djelovao veÊ prije Drugoga svjetskog rata. author of the Metropolitan Seminary in VoÊarska Street in Drugi je pak utjecaj stizao s one strane dræavne granice, iz Zagreb, has made numerous projects in Bosnia-Herzegovina, visokorazvijenih zemalja u kojima se “projekt” ideologije mod- where he started to work before the Second World War. ernih pokreta dovrπavao dvojako. Na jedan naËin dokrajËili su Other influences came from abroad, from the highly developed ga arhitekti poput Philipa Johnsona, koji je svoj korporativni countries, where the ideological “project” of the modern move- monumentalizam Ëesto mijeπao s populistiËki intoniranim zah- ments was coming to an end in two ways: one, by architects like vatima, a sve na temeljima predratnog ultramodernizma, koje Philip Johnson, who frequently mixed his corporate monumen- je i sam pomogao postaviti poËetkom tridesetih godina. Ideje talism with populist-inspired interventions, building upon the predratnog modernizma na drugi su naËin preispitivali europ- foundations of the prewar ultramodernism which he had him- ski arhitekti poput grupa Archigram ili Superstudio, Cedrica self helped to inaugurate in the early thirties; the other, and Pricea, Piana i Rogersa ili Jamesa Stirlinga, koji su different, way that the prewar modernist ideas were being re- raznovrsnim sredstvima, a napose utjecajem mladenaËke examined was taken by the European architects such as the nekonvencionalne kulture, nastojali razblaæiti ortodoksiju mod- Archigram Group, Superstudio, Cedric Price, Piano and ernih pokreta. Drugim rijeËima, ono πto je kasnije postalo poz- Rogers, and James Stirling, who sought to dilute the orthodoxy nato pod nazivima “kasna moderna” ili “produktivizam”, a of the modern movements by various means, particularly by Ëemu bi se posredno mogli pribrojiti dalekoistoËna varijanta relying on youthful and non-conventional culture. In other monumentalnog metabolizma i razliËita eksperimentalna words, what was later to become known as “Late Modernism” preispitivanja biomorfnih sklopova i megastruktura, na or “Productivism”, to which we might add also the Far Eastern odreeni je naËin, informacijama ili za studijskih boravaka u version of monumental metabolism and various experimental inozemstvu, utjecalo na formiranje arhitekture Velimira explorations of biomorphic clusters and megastructures, Neidhardta. »imbenici lokalnog i globalnog u ovom sluËaju played a role in the formation of Velimir Neidhardt as an archi- mogu se shvatiti kao sasvim disparatni utjecaji, jer dok je ovdje tect. Such influences reached him through theoretical study rijeË o velikoformatnom modernizmu kao izrazu planske snage and foreign visits. The local and the global influences to which nametnute s vrha jednog politiËkog sistema, tamo je to bio he was exposed were quite disparate: at home, it was large-size eksperimentalni duh nastao na valu ogromnih investicija i modernism as an expression of planning power imposed from nekonvencionalnih arhitektonskih ideja. Ipak, prirodna pravila the top of the political system; abroad, it was the spirit of i bit naËela aglomeriranja odraæavaju sliËnost u nastojanju da experimentation riding on the wave of massive investment and se zgrada logikom æivota aktivno ukljuËi u urbanu strukturu, i non-conventional architectural ideas. Yet, the natural princi- to uglavnom uvlaËenjem funkcija grada u unutraπnjost zgrade ples of agglomeration resulted in both influences leading to a ili pak pretapanjem vanjskog i unutarnjeg prostora, ovisno o similarly motivated integration of the building with the logic of namjeni. Dakako, ne treba zaboraviti ni Ëinjenicu da su zgrade life within the urban structure. This was achieved for the most velikih dimenzija, bile one javne ili poslovne namjene, uvijek part by drawing the functions of the city into the building’s imale i vrlo vaænu funkciju reprezentacije vlasnika-investitora,
11 interior or by fusing the outer and the inner space, depending velike multinacionalne kompanije, uprave grada, pojedinca on the purpose for which the building was designed. Of course, donatora ili dræavne uprave. Ono πto se nekoÊ predstavljalo one should not lose sight of the fact that large-scale buildings, klasiËnom kompozicijom zgrade i tradicionalnim repertoarom regardless of whether they are intended for public or business ornamenata, sad je oznaËeno konstrukcijom, velikim staklenim uses, always have an important representative function for the povrπinama pa i ekstravagantnim izgledom zgrade, dakle svime owner/investor. This is equally true of large multinational cor- onime πto Jencks precizno naziva “apstraktnom reprezentaci- porations, city administrations, individual donors, or govern- jom”. Ipak, glavna zajedniËka karakteristika “produktivistiËke” ments. What once used to be represented by the building’s clas- ili “kasnomodernistiËke” arhitekture, Ëak i u razliËitim kultur- sical composition and traditional ornamental repertory is now nim, politiËkim i ekonomskim uvjetima, jest teænja za ekstro- represented by its outstanding construction, large glass sur- vertnim ukljuËivanjem zgrade u grad, pri Ëemu se novi dekora- faces, and ostentatious appearance — what Jencks accurately tivni “jezik” apstraktnog ornamenta, kojeg je uostalom prvi put labels “abstract representation”. The main common character- primijenio joπ jedan od otaca modernog pokreta, Ludwig Mies istic of all “Productivist” or “Late Modern” architecture, Van Der Rohe, moæe dræati tek sekundarnim obiljeæjem ili tek regardless of the different cultural, political and economic con- strukturalnim sredstvom za povezivanje eksterijera i enteri- ditions in which it is practised, is its desire for an extrovert jera. Stoga, bez obzira na tip karakterizacije druπtva, uglavnom integration of the building into the city. The new decorative je rijeË o sliËnoj teænji da se unutar fleksibilnih stijena jedne “language” of abstract ornamentation, first applied by one of graevine stvori grad u malom, pa je u tom smislu moguÊe the fathers of the modern movement, Ludwig Mies Van Der povuÊi znak jednakosti izmeu formalno tako razliËitih zgrada Rohe, can be considered only a secondary characteristic or a kao πto su, primjerice, RadniËko sveuËiliπte “Moπa Pijade” mere structural means to effect the linkage of the exterior and NikπiÊa i KuËana i Yamanashi Press centar Kenza Tangea. Bez the interior. Thus, no matter what the social system, the desire obzira tvore li tu njeænu fleksibilnu granicu izmeu zgrade i remains the same or very similar: to create the city on a small grada veliki stakleni “zidovi” ili doslovno pomiËne strukture, ili scale within the flexible walls of the building. It is in this sense su pak urbani sadræaji Ëvrsto zatvoreni unutar betonskih zido- that one may equate two formally quite different buildings such va, novi gradotvorni duh izraæen proπirenim funkcijama zgrade as, for instance, NikπiÊ and KuËan’s Moπa Pijade Workers’ moæe se dræati jednim od najznaËajnijih doprinosa arhitekture Education Centre and Kenzo Tange’s Yamanashi Press Centre. pedesetih, a posebno πezdesetih godina, bez obzira kako je zvali Regardless of whether the fine flexible boundary between the i u kakvim je uvjetima nastajala. building and the city is made of large curtain walls or of literal- U tom smislu isticanja urbanih ili Ëak urbanomorfnih kvaliteta ly movable partitions, or whether the urban contents are firm- trebalo bi pristupiti i arhitekturi Velimira Neidhardta, u kojoj ly closed within concrete walls, the new cityscape spirit which je na osobiti naËin, Ëak i doslovno, sintetizirano iskustvo finds its expression in the extended functions of the building razliËitih kultura i jedinstvena sklonost prema projektima can be considered one of the major contributions of the fifties, bogatog programa i naglaπene urbane dinamike. Kad kaæem and especially sixties, architecture, no matter under what name dinamike, mislim upravo na ono πto njegove projekte Ëini it goes and in what conditions it was practised. “gradom u malom mjerilu”, a πto se tijekom triju desetljeÊa It is this approach, stressing the urban, or even urbanomorphic, iskazivalo djelovanjem na dva paralelna plana. Retrospekcija qualities of his architecture, that one needs to take in relation dosad izvedenih graevina i izraenih projekata, naime, ukazu- to Velimir Neidhardt’s designs — the works that in a particu- je na dvije osnovne autorske preokupacije u Neidhardtovoj lar way, even literally, synthesize the experience of different arhitekturi, na zamaπne arhitektonsko-urbanistiËke zahvate i cultures and the unique propensity for projects with abundant pojedinaËne objekte u urbanoj matrici. programmes and distinct urban dynamics. In saying “dynam- ics”, I have in mind precisely those characteristics which make
12 his projects “cities on a small scale” and which have led him over the past three decades to pursue his objectives on two par- allel tracks. A retrospective survey of his buildings and unexe- cuted designs points to two main architectural preoccupations in his work: extensive urban design and development projects and individual architectural edifices within the urban matrix.
13 14 The architecture of Velimir Neidhardt / Arhitektura Velimira Neidhardta
15 Hotel Lapad, Dubrovnik, 1969
required the definition of a larger traæio πire definicije. Tako je context. Thus, Neidhardt can be Neidhardt kroz interes za grad said to approach each individual prilazio graevini, pa svaka anal- building through his interest in iza pojedinih objekata logiËno the city, and it is logical, there- treba krenuti od urbanog kontek- fore, that the analysis of individ- sta za koji je projektiran ili u ual projects should begin from kojem je podignut. »ak i kad je the urban context for which it has rijeË o projektima koji se nepo- been designed or in which it finds sredno ne oslanjaju na urbano itself. Even when a particular tkivo, poput ranih djela iz konca project does not directly relate to πezdesetih godina - hotel Lapad u urban tissue, like his first designs Dubrovniku iz 1969. (s Ivanom in the late sixties — such as the Kolbachom i Biserkom ©avora) i Lapad Hotel in Dubrovnik from turistiËko naselje “Begova ledi- 1969 (with Ivan Kolbach and na” u Makarskoj iz iste godine - Biserka ©avora) and the Begova moæe se uoËiti jasna teænja ka Ledina tourist settlement in kompleksnom usloænjavanju fun- Makarska from the same year — kcija i sadræaja u horizontalnim one cannot fail to notice a clear slojevima, πto je u sluËaju dubro- tendency to intricate grouping of vaËkog hotela bilo odreeno kon- functions and contents in horizon- figuracijom terena, a i u Makar- tal layers. In Dubrovnik this was skoj je primijenjena sliËna ideja induced by the configuration of terasaste organizacije prostora. the terrain, while in Makarska it Time se, po svemu sudeÊi, æeljelo was simply the application of the postiÊi uklapanje u ambijent, koji same idea of a terraced organiza- je krπevit i dramatiËno nepravi- tion of space. The idea was to fit lan pa stoga moæe vizualno apsor- the design into the rocky and dra- birati raπËlanjenu arhitektonsku matically irregular countryside, strukturu. Dakako, to je uklapa- capable of visually absorbing the nje naËelom suËeljavanja, strate- highly articulated architectural gijom koncentriranja urbanih
Even a cursory survey of »ak i letimiËan pregled Neid- Neidhardt’s competition entries hardtovih natjeËajnih projekata reveals the genesis of a body of moæe dati informaciju o genezi architectural ideas which could jednog korpusa arhitektonskih only have come from a deeper ideja koje su gotovo nezamislive contemplation of the urban con- bez dubljeg promiπljanja ur- text. We can thus discuss build- banog konteksta. S jedne strane, ings as individual entities on the dakle, moguÊe je razgovarati o one hand and larger urban devel- zgradama kao o posebnim cjelina- opment projects on the other ma, a s druge pak, o urbanim pro- hand. But both segments of his jektima veÊeg zahvata. Ipak, u work display many common fea- obje se dionice mogu pronaÊi tures, owing to the fact that most mnoge zajedniËke karakteristike of the buildings are the product veÊ i zbog same Ëinjenice da je of a careful study of the larger veÊi dio zgrada nastao iz urban- urban setting. Conversely, how- istiËkih studija pojedinih dijelova ever, there have been situations grada, ali koji put i obratno, kad in which a particular project task je pojedini projektni zadatak
16 Model views; site plan, beach level floor plan Makete; situacija, tlocrt razine plaæe
structure. Of course, the fitting funkcija u neurbani kontekst, pri ronment. The distinctly sculptur- ma o metabolistiËkom graenju, a in this case was achieved through Ëemu neortodoksna raπËlanjena al, even abstract, form of the izvan duha tada aktualnih ideja o confrontation, or the strategy of forma graevine svakako moæe buildings (judging by the draw- arhitektonskim megastruktura- concentration of urban functions pomoÊi funkcioniranju takva ings) was close to the contempo- ma, kakve su tih godina preplavi- in a non-urban context. In this objekta u prirodnom ambijentu. rary ideas of metabolic building le zapadno druπtvo obilja, a bile situation, an unorthodox articula- Naglaπeno skulpturalna pa Ëak i and somewhat at odds with the su nerijetke Ëak i u domaÊim kul- tion of the form of the building apstraktna forma graevina, su- then current trend towards turnim uvjetima, unutar kojih je can certainly ease the fitting of deÊi prema nacrtima, miπljena je architectural megastructures rado poticana simulacija visokog the structure into a natural envi- donekle blisko ondaπnjim ideja- that became ubiquitous in the standarda, posebno u arhitekturi
17 Sections; north and south elevations Presjeci; sjeverno i juæno proËelje
18 19 Hotel Begova Ledina, Makarska, 1969
rich West, but were to be found tada poletne grane gospodarstva the Lapad Hotel: the architects kom skulpturalno nadreuje viso- also in this country, simulating - turizma. Milan ©osteriË, Edvin ©mit kovrijednim ambijentalnim ka- high standards of prosperity, par- A da je formom bogata, bez obzi- and Æeljka MiËetiÊ took a differ- rakteristikama lokacije. Kakav je, ticularly in the booming tourist ra je li metabolistiËka ili megas- ent approach and designed a meutim, bio odnos tadaπnje sector. trukturna, hotelska arhitektura building whose complex and srednje generacije hrvatskih The strong presence of formally bila prisutna u Ëitavoj jednoj gen- demanding form sculpturally arhitekata prema tada aktualnim articulated hotel architecture, eraciji hrvatskih arhitekata, po- imposed itself upon the highly trendovima, svjedoËe kompleks irrespective of whether it was kazuje joπ jedan natjeËajni rad za valuable environmental charac- “Solaris” Borisa Magaπa iz 1968. i metabolic or megastructural, in istu dubrovaËku lokaciju hotela, teristics of the site. The attitude hotel “Barbara” Zdravka Bre- the entire generation of Croatian onaj Milana ©osteriËa, Edvina of the middle generation of govca, podignut u Zadru 1970. architects is well demonstrated ©mita i Æeljke MiËetiÊ, koji se Croatian architects at that time ©to se tiËe same forme, ili pre- by another competition entry for kompleksnim i zahtjevnim obli- towards the current trends is ciznije - opne graevina, Neid-
20 Model; site plan Maketa; situacija
21 Hotel rooms layout, third level floor plan; model Prikaz hotelske sobe; tlocrt treÊeg kata; maketa
best reflected in Boris Magaπ’s hardtove mladenaËke hotelske avant-garde Futurist architec- tome svjedoËi i Ëinjenica koja uvi- Solaris Hotels built in 1969 and projekte moæda je najuputnije ture of the early twentieth centu- jek moæe dati Ëvrste osnove pret- Zdravko Bregovac’s Barbara usporeivati s kasnijim kongres- ry and which became highly pop- postavci o nekom arhitektons- Hotel in Zadar built in 1970. nim hotelom “Adriatic II” Bran- ular and often exploited in leisure kom trendu, a ta je da na razini As far as the form of the building ka Ænidareca (Opatija, 1970/71) ili industry and tourism in the late ideje-projekta kao i u stvarnosti is concerned, or more precisely its hotelom “Marina luËica” Lovre sixties and early seventies. An postoje sliËni terasasti hoteli, s outward envelope, Neidhardt’s PerkoviÊa (Primoπten, 1969-72). architectural trend is most easily razumljivim vremenskim poma- early hotel designs can perhaps RijeË je o arhitektonskim modu- recognized when one finds partic- cima. I Neidhardtovi su projekti, most meaningfully be compared lacijama koje svoje daleko podri- ular solutions — in this case, ter- sliËno projektima drugih arhite- with Branko Ænidarec’s some- jetlo vuku joπ iz avangardne race-type hotels — both as pro- kata koji se tih godina bave hotel- what later Adriatic II convention futuristiËke arhitekture s poËetka jects/designs and as executed skom arhitekturom, uvelike hotel (Opatija, 1970/71) and Lovro XX. stoljeÊa, a kakve su koncem buildings (with an understand- odreeni razmiπljanjem o nepra- PerkoviÊ’s Marina LuËica Hotel πezdesetih i poËetkom sedam- able temporal shift). Thus vilnim graevnim strukturama i (Primoπten, 1969/72). These are desetih postale iznimno popu- Neidhardt’s projects, like those povezanom pretapajuÊem pros- architectural modulations whose larne i Ëeste u tadaπnjoj industriji by other architects engaged in toru komunikacija i zajedniËkih distant roots go back to the slobodnog vremena i turizma. O hotel design at that time, were sadræaja hotela, πto se kao ele-
22 largely determined by his think- ment arhitektonskog oblikovanja hotels, but in the context of larg- ing about irregular shapes and svakako moæe dovesti u neizrav- er urban agglomerations it func- the merging space of hotel com- nu vezu s tada aktualnim trendom tioned fairly well. munications and functional areas. metabolizma. As an element of architectural BuduÊi da pravi kut, strogi volu- design, such philosophy can cer- men i ortogonalno odijeljeni pros- tainly be indirectly related to the tor viπe nisu bili nedodirljivi uzori then current trend of metab- arhitektima, bilo je moguÊe ispiti- olism. vati razliËite “nepravilnosti”, πto Since the right angle, strict vol- se u sluËaju brojnih jadranskih ume and orthogonally divided hotela pokazalo dvojbenim rjeπe- space were no longer inviolable, njem, ali je vrlo dobro moglo funk- architects felt free to experiment cionirati u kontekstu veÊih urba- with different “irregularities”. nih aglomeracija. This proved a doubtful advantage in the case of many Adriatic
23 24 Structural scheme, model; southeast and southwest elevations Shema konstrukcije, maketa; jugoistoËno i jugozapadno proËelje
25 Bit Pazar Shopping Centre / TrgovaËki centar, Skopje, 1970
26 Site plan; model, circulation schemes Situacija; maketa, sheme kretanja
Thus, Neidhardt’s competition Tako natjeËajni projekt za trgo- entry for the Bit Pazar shopping vaËki centar Bit pazar (nastao u centre in Skopje in 1970 (together zajedniπtvu s Ivanom FraniÊem) with Ivan FraniÊ) summed the u Skopju iz 1970. godine sumira experiences of an international iskustva internacionalnog raski- break with the modern movements’ da s kodeksima pravilnosti mod- codes of regularity and introduced ernih pokreta, da bi u grad, u an unusual composition built on the kojem je obnova nakon potresa iz principle of additive modules fitted 1963. veÊ poËela davati rezultate, into the city in which reconstruction ugradio neobiËnu strukturu sas- following the 1963 earthquake had tavljenu prema naËelu adicije. already begun to produce results. Osnovna tema toga projekta goto- The central theme of this design vo se i ne doima arhitektonskom u does not reflect the modernist uobiËajenom smislu modernistiË- thinking about public space. The kog promiπljanja javnog prosto- focus is on the structuring of the ra, jer je u æariπtu interesa struk- interior space. It is no more just a turiranost prostora. Dakle nije matter of stressing construction as rijeË o naglaπavanju konstrukcije the carrier and signifier of function, kao dræaËa i oznaËitelja funkcije, of which Modernism was so fond, kako je to volio modernizam, ne- but rather a matter of highlighting go o isticanju nepravilnog oblika the irregular form of an open sys- otvorenog sustava da bi se i adi- tem in order to “say” something tivnom formom zgrade u javnosti about the content of the interior by neπto “reklo” o sadræaju unutraπ- means of the additive form of the njosti. building’s appearance.
27 Model; sections, upper level floor plan Maketa; presjeci, tlocrt gornje razine
28 29 Shopping Centre / TrgovaËki centar, MrkonjiÊ Grad, 1972
30 Site plan Model Situacija Maketa
Two years later, Neidhardt pro- Donekle sliËan projekt Neidhardt by Jencks, not a traditional orna- Jencks, a ne o tradicionalnom duced a similar design for a shop- je napravio dvije godine kasnije ment. Each module of the shop- ornamentu. Svaki modul trgo- ping centre at MrkonjiÊ Grad, za trgovaËki centar u MrkonjiÊ ping centre, with its overall form, vaËkog centra svojim cjelokup- where the context itself called Gradu gdje je i sam kontekst makes reference to the local lega- nim oblikom jest referentan na for a clustered ensemble made up upravo izazivao na formiranje cy of housing architecture, lokalno nasljee stambene arhi- of separately conceived elemen- ansambla strukturiranog od viπe repeating its forms only as dis- tekture, a oblike iz nasljea pona- tary modules rather than a single elementarno koncipiranih dijelo- tant memories. Two years earli- vlja samo kroz daleke reminis- monolithic form. This project, va, a ne na izradu monolitne for- er, in the Bit Pazar project, the cencije. Dvije godine ranije, u Bit like the Bit Pazar in Skopje, can me. I u tom projektu, kao i u skop- form was held together with the pazaru oblik je uvezan s nitima be seen as the realization of the skom Bit pazaru, moguÊe je vid- threads of tradition, in a way tradicije na naËin sliËan onome idea of modular growth. The indi- jeti realiziranu ideju o modu- similar to that employed by kako je u projektu Nacionalne vidual parts of buildings have larnom rastu graevine, pri Ëemu Andrija MutnjakoviÊ in his 1971 biblioteke u Priπtini 1971. godine important associative character- svaki dio ima i znaËajne asocija- National Library project in uËinio Andrija MutnjakoviÊ. To istics relating to the architectur- tivne karakteristike u odnosu na Priπtina. This means that the dis- Êe reÊi da je naglaπena nepravil- al tradition in an oriental urban orijentalnu graditeljsku tradiciju tinctly irregular cluster, associa- na struktura koja asocira na rast context. Of course, these are urbanog konteksta. Dakako, rijeË tive of growth and complementa- i nadopunjavanje prostornih ele- examples of “abstract” represen- je o “apstraktnoj reprezentaciji” tion of modular elements, simul- menata istodobno iskoriπtena za tation of architecture as defined arhitekture kako ju je definirao taneously evokes features of the stilizirano pozivanje na elemente
31 North and west elevations; model Sjeverno i zapadno proËelje; maketa
32 local cultural identity. lokalnog kulturnog identiteta. equally stimulating for achitec- istraæivanja usmjerena slojevi- But while MutnjakoviÊ covered No ako MutnjakoviÊ s pokrovom tural explorations intended to tom povezivanju arhitekture i the National Library with, liter- Biblioteku stavlja doslovno pod effect multilayered linkages stanja na terenu. Danas je mogu- ally, a cluster of playful domes, membranu volumenom razigranih between the architectural design Êe samo razmiπljati kako bi Neidhardt relies on spatial blend- kapa, Neidhardt je svojim pro- solutions and the existing local opisani projekti funkcionirali u ing and merger: at Bit Pazar, jektima zamislio pretapanja: u situation. We can only speculate stvarnosti da su zaista podignuti. the additive structure embraces Bit pazaru struktura opsluæuje today how these designs would No, i na razini ideje jasno se po- the central part, uniquely com- srediπnji dio, koji je kompozicijski have worked in reality had they kazuje da je osnovno pitanje posed and emphasized with a sys- objedinjen i istaknut sistemom actually been executed. But even Neidhardtove arhitekture bilo tem of undulating covering mem- valovitih pokrovnih opni, a u tr- on the level of an unrealized idea, kako Ëak i nekonvencionalno bo- branes; in the MrkonjiÊ Grad govaËkom centru MrkonjiÊ Grada it is clear that Neidhardt’s cen- gatom te asocijativnom formom shopping centre, each component svaki sastavni dio cjeline nije tral question was how to make graevine (a koja samo govori part is not only the carrier of par- samo nosilac funkcija nego i za- the unconventional and highly javnosti o kompleksnom unu- ticular functions but also a dis- sebni urbani znak. Pokazalo se associative architectural form, traπnjem prostoru) stvoriti dija- tinct urban sign. It was thus tako poËetkom sedamdesetih da which simply informs the public log izmeu æivog organizma grada proved in the early seventies that sredozemni, kontinentalni i ori- about the complexity of the inner i projekta, bez nametanja idealnih the Mediterranean, continental jentalni kontekst mogu biti jed- space, engage in a dialogue with shema modernistiËkih rjeπenja. and oriental contexts can be nako poticajni za arhitektonska the dynamics of the town, with-
33 City Centre / Gradski centar, Banja Luka, 1973-79
out imposing any ideal schemes Sve karakteristike naznaËene the existing network of spatial lagoen zateËenom stanju srediπ- or modernist solutions. All the prethodno opisanim projektima tensions. This was, thus, a pro- njih gradskih prostornih tokova. ingredients of these projects mogle su biti provjerene prvom ject in the best “Late Modernist” RijeË je, dakle, o projektu u naj- were put to a test in his first opseænom realizacijom koja je sli- or “Productivist” tradition, boljoj maniri “kasnog moderniz- major project that was actually jedila nakon prve nagrade na where it is difficult to decide ma” ili “produktivizma” zbog realized — namely, the competi- natjeËaju za “gradski centar I” s where architecture ends and Ëinjenice da je vrlo teπko odrediti tion-winning design for the City robnom kuÊom “Boska”, hotelom urban design begins, because the gdje prestaje arhitektura a poË- Centre I, Boska department Palace i Domom takozvane radni- spatial structure is horizontally inje urbanizam, jer struktura store, Palace Hotel, and the Ëke solidarnosti u Banja Luci. and vertically linked so that it prostora horizontalno i vertikal- Workers’ Solidarity Centre in Sam projekt, izraen 1973. zajed- can be superimposed on the no biva povezana tako da se moæe Banja Luka. The project, real- no s Ljerkom LuliÊ i Jasnom existing urban contexts and com- nametnuti postojeÊim gradskim ized in 1973 together with Ljerka Nosso, nosi sve bitne karakteris- munications as a scattered pro- sadræajima i komunikacijama kao LuliÊ and Jasna Nosso, has all tike elaborirane veÊ prethodnim gramme of an entire urban cen- rasuti program cijelog jednog the characteristics found in Neidhardtovim projektima. Ar- tre concentrated in a limited urbanog srediπta koncentriranog Neidhardt’s earlier projects. hitektice LuliÊ i Nosso poËetkom area. In order to integrate these na malom prostoru. A da bi sve Given the fact that both LuliÊ sedamdesetih godina veÊ su viπe- buildings into the roster of nu- graevine funkcionirale i kao and Nosso had already demon- struko dokazale svoju opredije- merous separate vistas, the archi- dijelovi posebnih vizura, arhitek- strated their predilection for ljenost za nekonvencionalne pro- tects took pains to greatly enrich ti su se pobrinuli itekako obogati- unconventional projects on an jekte urbanog tipa, pa se moæe the “language” of the already ti “jezik” ionako veÊ kompleksne urban scale, the Boska building zakljuËiti da “Boska” pripada articulated form, so that from forme pa svaka pozicija u gradu proved to be one of the most sig- meu najznaËajnije realizacije every point in the city one gets a nudi i drukËiju sliku, dinamiËnu nificant projects realized by hrvatske arhitekture u sedamde- different view, particularly dy- naroËito na mjestima dodira Croatian architects in the seven- setim godinama. Bez obzira na namic where the “abstract” form “apstraktne” forme novoga i “fig- ties. This project, apart from its nemoguÊnost jasnih razgraniËe- of the new edifices comes into urativnih” proËelja postojeÊih distinctive architectural traits, nja, treba napomenuti da pro- contact with the “figural” façades zgrada. Od cijelog urbanog pro- had an urban design aura, regu- jekt, osim arhitektonskih poseb- of the existing buildings. Only a grama izveden je tek dio, u kojem lating as it did the central part of nosti, znaËajno zahvaÊa u podru- part of the entire urban pro- posebno znaËajno mjesto ima the city by incorporating new Ëje urbanizma tako πto regulira gramme has been executed — zgrada robne kuÊe, zamiπljena functions into an existing urban cijeli jedan srediπnji gradski the department store occupying vrlo skulpturalno i nekonven- context. It is a pity that the pro- prostor te ugrauje nove sadræa- the central place. The building is cionalno u odnosu na estetiËke ject was not realized in its entire- je u postojeÊi program grada. merely sculpturally conceived preporuke modernistiËke arhi- ty, so that we can only analyze Naæalost, projekt nije realiziran and quite unconventional in rela- tekture, ali zato niπta manje the design of the sloped terraced u cjelini, πto samo navodi na pom- tion to the aesthetic precepts of atraktivno πto se tiËe konteksta, structures composed of irregular niju analizu kompleksne struk- modernist architecture. Its ap- koji se uglavnom sastoji od manje crystalline forms. The architect’s ture projektirane cjeline, sastav- pearance attractively redefines vrijedne recentne gradnje ili his- idea was to introduce a new com- ljene od kristaliËnih nepravilnih the context made up for the most toricistiËke arhitekture. No, iz- positional order into the city, oblika, koji su prema ideji autora part of not very valuable recent gled objekta tek je vanjski zastor with the controlled dynamics of trebali u gradu stvoriti jedan buildings and some historicist ideje koja se u Neidhardtovu architectural and urban features sasvim novi kompozicijski pore- structures. However, the exter- opusu javlja joπ u projektu hotela radiating from the main square dak arhitektonskih i urbanih vri- nal appearance of the building is na Lapadu ili u projektu Bit and descending in terraces jednosti usmjerene dinamike, od no more than a cloak for the idea pazar, da bi postala gotovo stalna towards the banks of the River æariπta na trgu terasastim spuπ- first found in Neidhardt’s Lapad znaËajka njegove arhitekture. To Vrbas. The project included the tanjem prema obali rijeke Vr- Hotel and Bit Pazar projects and je teænja takozvanom totalnom shopping centre, the hotel and basa. Cijeli projekt obuhvaÊa tr- later becoming the hallmark of prostoru, to jest potpunom pove- the civic hall in an integrated govaËki centar, hotel i kulturni his architecture. The idea can be zivanju unutraπnjosti graevine spacing of plazas to enhance dom, dakle prostor zajedniËkog described as one of total space, u πto veÊi cirkulacijski jedinst- urban outdoor living. It was æivljenja graana kao zasebnu that is, comprehensive linking of veni prostor, koji se moæe dodat- designed without any direct for- cjelinu, pa je i oblikovan bez iz- the building’s interior into a sin- no artikulirati prema æelji koris- mal reference to the local her- ravne formalne veze s lokalnim gle circulating space, as large as nika. Dakako, takav je prostor itage, but it was fully adapted to naslijeem, ali zato potpuno pri- possible, which can be subse- jedino potpuno iskoristiv u zgradi
34 Aerial view ZraËni snimak
quently articulated according to ovakve namjene, no njegovu the user-client’s wishes. Of course, pojavu u robnoj kuÊi “Boska” such space can be fully utilized moæemo dræati i najavom jedne only in buildings like department od stalnih tema u kasnijoj stores, but its appearance in the Neidhardtovoj arhitekturi, koja Boska project heralds one of the korespondira s trendovima u constant themes in Neidhardt’s ameriËkoj urbanoj arhitekturi later work, which corresponds velikog formata iz ranih πezde- well with trends in the American setih i sedamdesetih godina. large-scale urban architecture in the sixties and seventies.
35 Sections; model Presjeci; maketa
36 37 East and north elevations, ground floor plan / IstoËno i sjeverno proËelje, tlocrt prizemlja
38 West and south elevations, site plan / Zapadno i juæno proËelje, situacija
39 40 Department store “Boska”, plaza, stairway to the underground commercial passage; views Robna kuÊa “Boska”, trg, stubiπni prilaz podzemnoj trgovaËkoj ulici; pogledi
41 American studies / AmeriËke studije, 1975-76 Atrium, study sketch Studijski prikaz atrija
American architecture has been Spomen ameriËke arhitekture mentioned not only to draw com- ovdje ima viπe od poredbenog parisons, but also to note that znaËenja jer netom nakon projek- soon after completing the Banja tiranja urbanog srediπta Banja Luka project Neidhardt spent Luke Neidhardt provodi dvije two years in the United States. godine s one strane Atlantika, He spent one year in the Chicago izmeu ostalog i usavrπavajuÊi office of Skidmore, Owings and vjeπtine u Ëikaπkoj filijali arhitek- Merrill architects-engineers. tonske tvrtke Skidmore, Owings Working in one of the leading i Merrill. “factories” of Late Modernism or U jednoj od vodeÊih tvornica Productivism, Neidhardt was in “kasnog modernizma” ili “pro- a position to learn many secrets duktivizma” Neidhardt je imao of urban architecture and to prilike upoznati se s mnogim taj- check how the ideas that he had nama urbane arhitekture i vidjeti earlier tried in a very different kako u joπ veÊem mjerilu i s osjet- cultural context worked on a nijim investicijama mogu fun- larger scale, backed by much kcionirati ideje kakve je sam pri- more substantial funds. That is je toga sreivao u jednom pot- why his American interlude puno drukËijem kulturnom kon- should be seen as a period of nec- tekstu. Zato ameriËki interludij u essary concentration, to explore njegovu djelovanju valja doæiv- the possibilities and needs of jeti kao fazu nuæne koncentracije realization of a range of architec- na moguÊnosti i potrebe izvedbe tural motifs and themes mani- cijelog repertoara motiva i tema festly present in his earlier pro- arhitektonskog oblikovanja, koji jects. The American visit enabled su ranijim projektima bili mani- them to transform gradually into festno iskazani, a u ameriËkom su something that — viewed from trenutku polagano poËeli preras- the presentday perspective — tati u neπto πto se gledano iz da- can be regarded as his perma- naπnje perspektive moæe Ëitati nent commitment in architec- kao trajno autorsko opredjeljenje ture. It is not even too much to u arhitekturi. DapaËe, nije pret- say that certain tendencies pre- jerano zakljuËiti da u svjetlu sent in his earlier projects ameriËke faze mogu biti jasnije become more clearly visible in tendencije izraæene u ranijim the light of his American phase. projektima. Naime, dok su kom- While the complex form and total pleksna forma i totalni prostor u space of his previous projects ranijim projektima mogli biti tecture of this kind can hardly be takva tipa kao samoniklu i liπenu could be understood and ana- shvaÊeni i analizirani jedino u treated as indigenous and free ikakvih vanjskih utjecaja. RijeË lyzed only in an indirect way, posrednoj vezi prema sliËnim pri- from any external influences. je o globalnom trendu reperkusi- through comparisons with simi- mjerima iz inozemstva, nakon What we are faced with is a glob- je kojega se nalaze i u lokalnim lar foreign examples, in the pro- ameriËke faze takvi su ili sliËni al trend whose repercussions are uvjetima koji su kulturno bitno jects following his American elementi imali utemeljenje u to be found also in local cultural drukËiji od one sredine koja je u experience such elements were neposrednom kontaktu s izvor- situations radically different modernoj industrijskoj epohi pot- rooted in a direct contact with nikom. Dakako, projektima nas- from those that gave birth to and puno prisvojila velikoformatnu the original. Of course, his pre- talim prije boravka u Americi fully embraced large-scale urban urbanu arhitekturu. Ne æeleÊi American projects can be related mogu se naÊi srodni istovremeni- architecture as an expression of ovdje vrednovati znaËenje utje- also to what was happening in ci i u domaÊim uvjetima, ali bilo bi the modern industrial era. caja u arhitekturi, πto svakako Croatian architecture, but archi- vrlo teπko situirati arhitekturu Without attempting to evaluate moæe biti poticajno za neku
42 The Boston Congress Street Bridge, study sketches Studija pjeπaËkog mosta u Bostonu
the importance of influences in buduÊu studiju, treba samo nag- design of central urban functions njuje i angaæmanom u Urbanis- architectural design, which may lasiti da ameriËka faza znaËi vrlo in large business concentrations. tiËkom institutu Hrvatske, no ono be the proper subject of another vaænu ako ne prekretnicu onda This work was complemented πto se Ëini iznimno bitnim jest study, I would only like to notice barem skretnicu u Neidhardtovoj with his duties in the Croatian Ëinjenica da gotovo svi projekti that the American phase marked arhitektonskoj karijeri jer nakon Urban Planning Institute, but nastali nakon povratka iz Ameri- an important turning point, or at povratka nastaje veliki broj pro- what is particularly significant is ke nose osebujan peËat arhitektu- least a shift, in Neidhardt’s archi- jekata i studija u kojima se oslo- that all his post-American pro- re koja je gotovo uvijek, i zbog tectural career. Upon his return baa, po svemu sudeÊi primarni i jects bear a personal stamp. In veliËine zahvata, domiπljena odre- home, he produced a series of trajni interes autora za arhitek- view of the scale of the projects, enom razinom urbanotvorne projects and studies which ex- turu srediπnjih gradskih funkcija they always have an element of a definicije. pressed his primary and perma- u velikim urbanim poslovnim well-thought out definition of nent interest in the architectural koncentracijama. To se nadopu- urbanity.
43 New Zagreb City Centre / Centar Novog Zagreba, 1971 Model views Makete
In order to underscore the idea, Da bismo to bolje shvatili, treba architectural megastructures. a rezultat je koncept urbanog we must go back to the year 1971, se vratiti nekoliko godina una- The tenor was almost futuristic, rjeπenja novog gradskog srediπta which may be regarded as the trag, toËnije u 1971. godinu, u koju in the spirit of the then current ispunjenog mreænatim potezima root of Neidhardt’s post-Amer- se moæe situirati daleki poËetak international thinking about the komunikacija i arhitektonskim ican phase. That year, a competi- Neidhardtove postameriËke faze. future of large urban agglomera- megastrukturama. Projekt je tion was announced for the regu- Te je godine, naime, raspisan tions. One major difference gotovo futuristiËki intoniran, u latory development of Zagreb’s prvi u nizu natjeËaja za regulaciju between this conceptual design duhu tada aktualnih svjetskih new central zone south of the nove srediπnje zone grada Zagre- and those made before (Lapad, promiπljanja o buduÊnosti velikih main railway station, across the ba juæno od Glavnog æeljezniËkog Makarska, Skopje) and later gradskih aglomeracija. Ipak valja River Sava in New Zagreb. kolodvora, na potezu prema pros- (Banja Luka) was that this istaknuti jednu vaænu razliku Neidhardt’s entry, together with torima rijeke Save i u Novom design showed no trace of formal ovoga idejnog projekta u odnosu Lujo Schwerer and Branimir Zagrebu. U tom je natjeËaju za irregularity or avoidance of right prema projektima nastalim prije VelniÊ, envisaged a new city cen- srediπte juænog Zagreba Neid- angles that had characterized his (Lapad, Makarska, Skopje) i tre characterized by a reticular hardt sudjelovao s Lujom Schwe- projects for relatively smaller poslije (Banja Luka): nema ni communication network and rerom i Branimirom VelniÊem, interventios. While such individ- traga formalnoj nepravilnosti i
44 45 Model Maketa
ual projects sought to incorpo- izbjegavanju pravih kuteva u will be less the function of pro- jednog od zavrπnih poglavlja koje rate particular urban functions arhitekturi kakvu je bilo moguÊe duction needs and more an pokuπava naznaËiti naËela urbane and properties in the interior of zamijetiti u drugim projektima expression of individual or group buduÊnosti. Tako se, izmeu osta- the buildings, adjusting the form relativno manjih zahvata. Iako su choices within the prevailing log, iznosi predvianje o tome accordingly, larger urban design pojedinaËni projekti itekako teæili lifestyles or world views. kako Êe koncentracija populacije projects followed the planning za inkorporiranjem odreenih Moreover, he claims that large u gradovima buduÊnosti biti logic, with straight lines and reg- urbanih funkcija i svojstava u cities will tend to transform their manje funkcija proizvodnih ular megastructures not unlike unutraπnjosti, kad je predmet rigid hierarchical structures into zakonitosti a viπe izraz individu- those found in Kenzo Tange’s projekta prerastao na razinu networks of information units, alnog ili grupnog izbora unutar urban development designs. This velikog urbanistiËkog koncepta, which will themselves be only prevladavajuÊeg æivotnog stila ili was just an early indication of linije su se, zbog logiËne plan- parts of the global system to svjetonazora. DapaËe, Neidhardt Neidhardt’s subsequent architec- erske distancije poravnale, a enhance human creativity in tvrdi da Êe veliki gradovi teæiti tural practice, which has ever graevine pretvorile u pravilne future societies. Such a state- transformaciji rigidne hijerarhi- since focused on the location des- megastrukture sliËne velikim ment could be dismissed as utopi- jske strukture u mreæu informa- ignated in the 1971 competition urbanim planovima Kenzo Tan- an if it were not backed by the cijskih jedinica koje bi Ëinile tek for the centre of South Zagreb. gea. Bila je to viπestruka naznaka author’s more than ten-year long dio globalnog sustava humanog This competition entry was the kasnijih opredjeljenja u Neid- experience in urban and architec- stvaralaπtva u druπtvu buduÊ- first in a series of competition hardtovoj arhitekturi, koja je tural design largely guided by nosti. Takve rijeËi mogle bi se designs and studies for this par- uvelike, praktiËno sve do danaπ- the dynamics of urban functions. okarakterizirati tek utopijom da ticular part of Zagreb and the njeg dana, odreena lokacijom s The fact that this text was writ- iza njih u trenutku kad su na- source of most of his architecture natjeËaja iz 1971. godine ili neda- ten in the now defunct political pisane nije stajalo gotovo deset- in the post-American phase. It lekim drugim zagrebaËkim lo- system might prompt one to ljeÊe urbanistiËkog i arhitek- can therefore be said that his kacijama. Bio je to prvi u nizu reflect on the social roots of such tonskog projektiranja uvelike architecture from the mid-seven- natjeËajnih planova i studija za futurological contemplation of odreeno dinamikom urbanih ties onwards has been clearly jedan dio Zagreba, a iz tih je the city, but we shall confine our- funkcija. »injenica da je tekst na- determined by his investigation studija nastao najveÊi dio Neid- selves at this point to merely not- pisan u vrijeme jednog danas of visions of Zagreb’s new urban hardtove arhitekture u post- ing that an urban designer’s or nepostojeÊeg politiËkog sistema lines, primarily its urban axis and ameriËkoj fazi, zbog Ëega se i mo- architect’s writing cannot but be mogla bi potaknuti razmiπljanja o the River Sava. The 1971 compe- æe reÊi da je njegova arhitektura related to his/her practical work. druπtvenim korijenima takvih tition, as it became clear after- od sredine sedamdesetih pa do Therefore, Neidhardt’s article futuroloπkih razmiπljanja o gra- wards, provided the initial danas izrazito odreena istraæi- “The City — Cradle of the Fu- du, no ovdje Êemo se ograniËiti na impulse for architectural think- vanjima vizija novih zagrebaËkih ture” can be taken as a summary konstataciju da pisana rijeË ing that continued throughout urbanistiËkih poteza, ponajviπe of his theoretical approach to svakako ima neke veze s prak- the seventies and eighties and gradske osovine i rijeke Save. contemporary urban planning tiËnim djelovanjem urbanista i until the present day. In order to NatjeËaj iz 1971., pokazalo se problems. This approach sees the arhitekta, pa je tako i Ëlanak understand the line of thinking kasnije, bio je poËetni impuls city as an arena for an intensive “Grad, kolijevka buduÊnosti” that Neidhardt has pursued promiπljanjima koja su inten- exchange of individualities, and moguÊe dræati nekom vrsti saæet- throughout this time, it is useful zivno nastavljena tijekom druge not a place where all needs are ka teorijskog pristupa urban- to read his paper entitled “The polovice sedamdesetih i osamde- levelled; the city offers an oppor- istiËkim problemima suvremenog City — Cradle of the Future” setih godina, pa sve do danas. Da tunity for the assertion of indi- grada. Drugim rijeËima, grad kao published in the journal Ekistics bi se bolje shvatila tendencija viduals, and not just groups. This prostor intenzivne razmjene indi- in 1983. This text is a summary of izraæena u tom razdoblju, Ëini se is a proclamation easily stated as vidualnosti a ne mjesto nivelira- his urbanological thinking, and vrijednim uËiniti joπ jedan skok u a maxim and applied as a creative nja potreba, grad kao moguÊnost its basic idea is to be found in one vremenu i obratiti se Neid- principle. Also, it is stimulating afirmacije pojedinca a ne samo of the last sections, where the hardtovom Ëlanku “Grad - koli- for practical work in architectur- grupe - to je svojevrsna prokla- author attempts to outline the jevka buduÊnosti”, objavljenom u al design. It proved stimulating macija lako primjenjiva kao mak- principles of the urban future. He Ëasopisu Ekistics 1983. godine. indeed for Neidhardt, who has sima ili kreativno naËelo, a poti- predicts, among other things, Taj je tekst svojevrstan saæetak taken part in several dozen com- cajna i za konkretnu praksu that the concentration of popula- urbanoloπkih razmiπljanja, a petitions since his return from arhitektonskog oblikovanja. tions in the cities of the future temeljna se ideja moæe izvesti iz the United States and designed a Nakon povratka iz Amerike
46 number of architectural projects Neidhardt je autorski sudjelovao mostly evolving from broader na viπe desetaka natjeËaja i arhi- urban development studies. The tektonskih projekata koji su practical realization of the city as uglavnom razvijeni iz πirih urba- a “cradle of the future” has nistiËkih studija pa je prakticira- become his main architectural nje grada kao “kolijevke buduÊ- preoccupation. nosti” postalo osnovna preoku- pacija arhitekta.
47 French Republic Square / Trg Francuske Republike, Zagreb, 1977
The question that is “eternal” in Dakako, pitanje koje se domalo architecture concerns the always moæe nazvati “vjeËnim” u kor- challenging relation between pusu moderne arhitekture — individual needs that find their uvijek izazovni odnos pojedinaË- expression in the building and nih potreba iskazanih graevi- the collective needs and motives nom postavljen nasuprot zajed- of urban life. Two considerations niËkim motivima gradskog æivota enter into play here and not — jest odreeno dvama osnovn- infrequently act against each im Ëimbenicima koji se nerijetko other. The local tradition of potiru. Lokalna tradicija grad- urban living and the global level skog æivota i globalna razina of technological development are tehniËkog razvoja jesu one okos- the two poles between which the nice izmeu kojih je razapet architect/urban designer is arhitekt-urbanist, sve od prvih stretched — from the first large- velikih urbanih planova moderne scale urban plans of the modern epohe pa do danaπnjeg trenutka times to the present day, when u kojem ekoloπka trezvenost po- ecological sobriety is slowly tak- malo zamjenjuje tehnoloπki opti- ing the place of technological mizam. Grad Zagreb sa svim svo- optimism. With all its good and jim dobrim i loπim primjerima bad consequences of urban policy sreivanja urbanog stanja jest and practice, the city of Zagreb is izvrstan pokazatelj kolike su an excellent example of what a moguÊnosti jedne tradicijom community guided by tradition odreene sredine u odmjerava- can do when faced with new civi- nju s novim civilizacijskim uvjeti- lizational circumstances and ma i sredstvima. Brojni urban- means. Numerous urban plan- istiËki natjeËaji organizirani ti- ning and design competitions jekom proteklih dvadesetak god- over the past twenty years have ina kao da joπ nisu dali konaËni failed to give a final answer to odgovor na bitna pitanja o bu- some vital questions concerning duÊnosti æivota u pojedinim the future patterns of life in par- dijelovima Zagreba. No moæda je ticular parts of the city. The problem i u makro pristupu gra- problem may be one of the mac- da-metropole, koji se nikako ne ro-level — that of a city metropo- moæe odluËiti za definitivnu stra- lis unable to decide on a definite tegiju odnosa prema svojoj bu- strategy for its future. One duÊnosti. Takav je i sluËaj s Tr- instance of such indecision is the gom francuske republike, near- case of Trg Francuske Republi- tikuliranim prostorom koji zat- tary exercise grounds. In 1977, natjeËaju za jedno moguÊe vie- ke, an unarticulated space form- vara perimetar starog donjeg Neidhardt and Ivan FraniÊ won nje buduÊnosti toga prostora, ing the perimeter of the older dijela grada i oznaËava poËetak the second prize at a competition koji je prema njihovu projektu downtown area and marking the zapadne periferije. Iako je od for the urban development of this trebalo razdijeliti na tri osnovna beginning of the western periph- konca XIX. stoljeÊa, kad je takva part of the city. Their solution dijela, Ëime bi se donekle savladao eral district. Though many situacija zacrtana, dosta uvjeta provided for a triple-plaza divi- postojeÊi ogromni neureeni Trg. changes have occurred since the promijenjeno, prostor Trga ostao sion to bring this huge empty Ideja je nadasve jednostavna i, end of the nineteenth century je potpuno isti, izgledom i funkci- space under a measure of control. Ëini se, lako primjenjiva na pros- when the site got its first land jom na pola puta izmeu livade i The idea is exceedingly simple toru od kojeg se prvenstveno use, the space has remained visu- egzercirplaca. Godine 1977. Neid- and, it seems, easily applied in a oËekuje da obavi meusobno ally and functionally the same — hardt je s Ivanom FraniÊem zas- space intended primarily as a link povezivanje funkcionalno pot- a hybrid of a meadow and a mili- luæio drugu nagradu na javnom between functionally very differ- puno razliËitih gradskih sadræaja.
48 Site plan; spatial flow scheme Situacija; shema prostornoga toka
49 ent urban contents. Neidhardt Donekle sliËan zahvat Neidhardt for Trg Francuske Republike koja je predloæena i za srediπte applied a somewhat similar je zajedno sa Zvonimirom Krzna- together form a new city centre, Alæira: ako se ponekad potpuno approach in his solution (with riÊem primijenio u urbanistiËkom similarly to the idea proposed for disparatni sadræaji, poput trgo- Zvonimir KrznariÊ) for the new planu za novi centar grada Alæira Algiers, offering more than mon- vaËke zone i æeljezniËke stanice ili city centre in Algiers (Hamma). “Hamma”. I u tom je projektu umental representation: if quite prometnog poteza i djeËjeg This design, too, consistently dosljedno provedena ideja frag- disparate contents like a shop- igraliπta, veÊ moraju povezati, pursues the idea of fragmenta- mentacije gradskih sadræaja, iako ping centre and a railway station, onda je najlogiËnije postojeÊi tion of urban functions, but the uklopljena u jedan cjeloviti po- or a communication thoroughfare prostor raspodijeliti da bi se overall space remains integral, vezujuÊi prostor, koji je, me- and a children’s playground, omoguÊilo logiËno proæimanje ra- being divided into smaller com- utim, tek diskretnim zahvatima must be connected, then the most zliËitoga, nudeÊi istodobno koris- ponents with their specific urban odijeljen na manje sastavne dije- logical solution seems to be a nicima moguÊnost izravne ko- contents by means of quite dis- love posebnih urbanih sadræaja. division of the available space munikacije s kraja na kraj pros- creet interventions. The first U prvoj je fazi zagrebaËkog pro- such that different functions find tora. Iako je geoklimatski i tradi- phase of the Zagreb Trg Fran- jekta, meutim, jasno uoËljiva their place and that the users can cijski kontekst potpuno razliËit, cuske Republike project, howev- karakteristiËna prostorna dijago- go directly from one end of the oba su projekta, i alæirski i zagre- er, envisages a clearly marked nala komunikacije izmeu Ilice i space to another. Although the baËki, zasnovani na sliËnim ideja- diagonal axis to secure communi- treπnjevaËkog sportskog srediπ- geoclimatic and traditional con- ma fragmentacije prostora i afir- cation between Ilica and the ta, dijagonala koja je kao potez ili texts were quite different, both macije paralelnih zbivanja. Treπnjevka sports complex. The os simetrije zamjetljiva i u dru- the Zagreb and the Algiers pro- diagonal axis — simply as a line, gim Neidhardtovim projektima, ject are based on a similar idea of path, or as a symmetry axis — is arhitektonskim ili urbanistiËkim. fragmentation of space into to be found in Neidhardt’s other Svi opisani elementi zajedno plazas and recognition of parallel projects, too, both architectural tvore novo srediπte grada koje bi activities. and urban design ones. All the moglo nuditi viπe od monumen- described elements of the design talne reprezentacije, sliËno ideji
50 Sections; public space usage scenarios Presjeci; prikazi koriπtenja javnoga prostora
51 Hamma Centre, Algiers, 1984
52 Perspective sketches and the city centre development plan Perspektivne skice i plan razvoja centralnog podruËja
53 Telecommunications Building / Zgrada telekomunikacija, ©ibenik, 1980
As a sort of intermezzo following Kao neka vrsta meuËina, nakon possible integral, scientific ap- znanstvenog pristupa projekti- these two highly demanding dva iznimno zahtjevna urban- proach to architectural design, ranju, pa je kao takva detaljno urban development projects, istiËka projekta, pojavljuje se putting into practice what opisana i u Neidhardtovoj diser- Neidhardt prepared a competi- 1980. Neidhardtovo sudjelovanje Neidhardt discussed theoretical- taciji “Antroposocijalni faktor u tion entry for the Telecommuni- na natjeËaju za idejno rjeπenje ly in his dissertation entitled teorijskom pristupu arhitekton- cations Building in ©ibenik in zgrade telekomunikacija u ©i- “The Anthroposocial Factor in skom i urbanistiËkom projekti- 1980. This project occupies an beniku. Taj je projekt znaËajan u the Theoretical Approach to Ar- ranju”. Tema disertacije propitu- important place in his opus, cjelokupnom arhitektovu opusu chitectural and Urban Design”. je tradicionalno postavljen odnos because it enabled him to try his jer je posluæio za oprobavanje The dissertation examined the projektanta i korisnika, dakle hand at the “sequential optimiza- projektantske metode “sekvent- traditional relationship between odnos od krucijalnog znaËaja u tion” method of architectural ne optimalizacije”, s kojom se, po- the architect and the user — a modernoj arhitekturi, kojom se design, which, simply put, recon- jednostavnjeno kazano, pomiruju relationship that plays a crucial pokuπava utemeljiti znanstveni ciles artistic and technical de- zahtjevi umjetniËke i tehniËke role in architecture. The author pristup za praktiËnu realizaciju mands in the process of designing prirode u procesu oblikovanja sought to elaborate a scientific dinamiËne interakcije izmeu a building. In this particular pro- zgrade. Radi πto bolje funkcional- approach to the practical prob- onoga koji oblikuje i onoga koji Êe ject, the “sequential optimiza- ne prostorne organizacije, prik- lem of dynamic interaction be- koristiti arhitektonski prostor, tion” method was used to achieve ladnije artikulacije komunikaci- tween the designer and the user da bi korisnik u πto veÊoj mjeri a better functional organization, jskog dijela zgrade i konaËno, ne i of architectural space, with the utjecao na konaËno obliËje svog more appropriate articulation of najmanje vaæno, estetiËkog us- aim of giving the user a greater prostora. To je primjer iskaza the communications part of the klaivanja vanjπtine objekta s ur- say in the shaping of his space. moguÊnosti metode koja bi building, and, last but not least, banim kontekstom grada, meto- The method applied here has znaËajnije rezultate zacijelo aesthetic matching of the build- da “sekventne optimalizacije” proved applicable to commercial mogla dati i u podruËju stambene ing’s exterior with the urban con- upotrijebljena je u konkretnom projects and revealed its even arhitekture. text of the city; at the same time, projektantskom zadatku, ali i kao greater potential for housing this method was tried here as a primjer moguÊeg cjelovitog architecture.
54 Perspective; study sketch, isometric view and basic concept Perspektiva; studijska skica, izometrija i osnovni koncept
55 National and University Library / Nacionalna i sveuËiliπna knjiænica, Zagreb, 1978-95
Urban axes; aerial view, floor plan Gradske osi; zraËni snimak, tlocrt
Between his two urban design Izmeu dva urbanistiËka projek- projects, which clearly showed ta koji su vrlo jasno izrazili teæ- his inclination to a dispersive nju ka disperzivnom poimanju view of the city, and just before grada i neposredno prije πiben- the ©ibenik project as a practical skog preispitivanja znanstvene test of a particular scientific metode u projektiranju, Neid- method of architectural design, hardt 1978. zajedno s Marijanom Neidhardt — together with HræiÊem, Zvonimirom Krznari- Marijan HræiÊ, Zvonimir KrznariÊ Êem i Davorom Manceom potpi- and Davor Mance — completed suje svoj vjerojatno najkomplek- his most complex project to date, sniji projekt - zgradu Nacionalne namely, the National and Uni- i sveuËiliπne biblioteke u Zagre- versity Library in Zagreb. This bu. Objekt je poseban i kljuËan, project is significant not only in ne samo po dimenzijama ili po terms of its size and importance znaËaju kojeg ima za nacionalnu for the national culture, but also kulturu, nego i zbog iznimno vaæ- because of its exceptionally sen- ne pozicije koju u gradu Zagrebu sitive location in the city. The taj objekt zauzima. RijeË je o location in question is the avenue prostoru na potezu od glavnog leading from the main railway æeljezniËkog kolodvora preko station, across the river Sava, to obala rijeke Save sve do novog the new parts of Zagreb. Projec- dijela grada koji je do danas za ted as the future centre of Zag- Neidhardta ostao trajni izvor reb, this part of the city remains urbanistiËkih i arhitektonskih for Neidhardt a constant urban izazova jer je i u sluæbenim grad- design and architectural chal- skim planovima zacrtan kao lenge. buduÊa srediπnja gradska zona. The National and University Zgrada Nacionalne i sveuËiliπne Library building can be analyzed bibilioteke moæe se promatrati na on several levels. From a purely nekoliko razina. »isto arhitekton- architectural standpoint, as an ski, dakle kao izolirana struktura, isolated structure, it is a classic ona je klasiËni primjer kas- example of Late Modernist aes- nomodernistiËke estetike veliko- thetics, a monumental public formatnih javnih zgrada kakve building of the kind that pre- sedamdesetih godina posebno vailed in Northern American dominiraju u arhitekturi Sjever- architecture in the seventies. ne Amerike. Meu istovrsnim Similar projects that come to projektima tih godina svakako se mind in this connection include izdvajaju knjiænica u Houstonu Eugene E. Aubry’s 1975 design Eugene E. Aubrya iz 1975., knjiæ- of the library in Houston, Texas, nica John Fitzgerald Kennedy u and I.M. Pei’s 1979 design for the Bostonu I. M. Peia iz 1979., a neke John Fitzgerald Kennedy Li- bi se paralele mogle povuÊi i brary in Boston, Massachusetts. prema arhitekturi kakvu sedam- Some parallels could be drawn desetih godina prakticira Cesar also with the kind of architecture Pelli. Betonska granitom obloæe- practised by Cesar Pelli in the na struktura koja “sapinje” tran- seventies. The concrete, granite- sparentni kvadar od aluminija i clad structure which “restrains” stakla prije svega tvori atrakti- the transparent aluminium-and- van urbani znak na samom poËet-
56 glass rectangular parallelepiped ku nove zagrebaËke srediπnje is before everything else an avenije, no posebno vaæan jest attractive urban sign at the karakter prostora koji je takvom starting point of Zagreb’s new strukturom zatvoren. RijeË je o central avenue. But what is par- totalnom prostoru, dakle horizon- ticularly important is the nature talno i vertikalno povezanoj cjeli- of the space enclosed by this ni koja moæe funkcionirati frag- structure. It is total space, that mentarno a i u svojoj ukupnosti. is, a horizontally and vertically Takav je prostor viπe nego ka- unified whole which can function rakteristiËan za arhitekturu kas- by segments or as a totality. Such nog modernizma, uveden joπ Fos- space is more than characteristic terovom zgradom Willis and of Late Modernist architecture: Faber i prisutan u gotovo svim it was first introduced in Foster’s suvremenim poslovnim i javnim Willis and Faber building and is zgradama s atrijskim prosto- to be found in almost all modern rima, ukljuËujuÊi i one koje se office and public buildings with poput Rogersova Lloyda obiËno lobby space, including those like svrstavaju u trendovsku ladicu
57 Final section, stack areas concept, section sketch; rare book reading room, level-1 floor plan Izvedeni presjek, koncept spremiπta grae, idejni presjek; Ëitaonica rijetke grae, tlocrt razine-1
Rogers’ Lloyd building, which are usually classified as High Tech architecture. The interior space of the new National and University Library is designed for a different kind of use than the old library, an Art Nouveau building designed by Rudolf Lubynski in 1913. The High-Tech arhitekture. most important new features Unutarnji je prostor nove nacio- include free access to most stacks nalne biblioteke dakle koncipiran and direct communication za drukËiju uporabu od prostora between different functional seg- postojeÊe secesijske zgrade Ru- ments of the building. These fea- dolfa Lubynskog iz 1913. godine. tures, together with some auxil- NajznaËajnije su novine nepos- iary facilities, are intended to redni pristup korisnika veÊem stimulate the transdisciplinary dijelu biblioteËne grae kao i iz- and even multimedia study of the ravna povezanost pojedinih funk- library holdings. This is the key cionalnih dijelova zgrade, πto novelty in the organization of the zajedno s popratnim sadræajima interior space. Another differ- treba pruæiti podlogu za transdis- ence is that, in contradistinction ciplinarni pa i multimedijalni ka- to the old “introvert” building, rakter prouËavanja grae. To je the new building is “extrovert” bitna novina unutarnje organi- and open towards the city. This zacije prostora koja je, uz to πto means not only catering to the je za razliku od stare “intro- needs of modern library users vertne” zgrade “ekstrovertno” but also having a reference to its otvorena gradu, Ëvrsto utemelje- urban context. The latter is na u suvremenu koncepciju koriπ- achieved by means of a transpar- tenja biblioteËne grae, ali je k ent entrance atrium facing north tome i referentna na urbani kon- and oriented towards the city’s tekst preko transparentnog ulaz- most attractive vistas. The nog hala orijentiranog prema sje- cityscape role of architecture is veru i najatraktivnijim gradskim very much stressed in this vizurama. Ideja projekta nove nacionalne knjiænice jasno istiËe gradotvorni element arhitekture kroz ugraivanje novih sadræaja u joπ neizgraeni i nesreeni dio buduÊeg srediπta grada. U tom sklopu valja promatrati ovu zgra- du, prije svega kao dio novoga Zagreba, kao jedan od Ëimbenika novog urbanog identiteta, kakvih bi u bliskoj buduÊnosti trebalo biti viπe. BuduÊi da je nova Na- cionalna i sveuËiliπna biblioteka prva velikoformatna zgrada na tom potezu, moæe se pretpostavi- ti da Êe se sve zgrade koje na tom
58 59 Entrance level 0 floor plan; atrium — entrance hall Tlocrt razine 0; atrijski ulazni hall
60 61 Atrium; details Atrij; detalji
62 63 Reading areas, level 3 floor plan, reading table; southeast view »itaonice, tlocrt razine 3, radni stol; jugoistoËni pogled
design, which introduces new prostoru tek trebaju biti podig- new order into the existing net- aksijalnoj ravni koja na sjeveru urban functions into the still nute morati na neki naËin, pozi- work of mixed, old and new, zahvaÊa pribreæni zeleni gradski undeveloped and undefined part tivno ili negativno, odrediti pre- structures, unlike Lubynski’s old pojas i markira religiozno srediπ- of the future city centre. In this ma njoj. U tome je vaænost ovoga library which simply completed te grada s katedralom. sense, the National and Uni- projekta, koji u postojeÊu mreæu one side of Zagreb’s “green versity Library should be viewed pomijeπanih starih i novih urban- horseshoe” park. While the old in the first place as an element of ih struktura uvodi jedan novi red, library effectively marked the new Zagreb, a factor of its new za razliku od stare zgrade Lubyn- city’s southern rim, the new urban identity, to be followed by skog πto je tek okrunila jedan library opens the way for the city other such elements in the near krak “zelene potkove”. Dok je to develop in the same southerly future. Since the library building stara Biblioteka na jedinstven direction. is the first large structure in this naËin markirala kraj onodobnog The end point of the projected district, it is to be expected that Zagreba prema jugu, nova je avenue is further south, across all the subsequent structures will zgrada putokaz πirenju grada u the River Sava, but on the same have to take a stand, either posi- istom pravcu. axis that runs from Zagreb’s tive or negative, in relation to it. Krajnja toËka tog poteza nalazi se green hillside, taking in also the This gives an added significance u novom dijelu Zagreba, s one centre of religious life with the to this project: it introduces a strane rijeke Save, ali na istoj Cathedral.
64 65 Northwest view, façade detail; entrance hall, catalogues and reference library Sjeverozapadni pogled, detalj proËelja; ulazni hall, katalozi i referentna zbirka
66 67 Zagreb urban axis / Urbana osovina Zagreba, 1981-85 Project designs for the Zagreb urban axis Projekti za zagrebaËku urbanu osovinu
This axis has a crucial signifi- Cijeli je taj potez od iznimnog cance for the city’s urban growth, znaËenja za urbani rast Zagreba since most of its representative jer su uzduæ njega nastale najre- buildings are to be found along prezentativnije graevine grada, this line, including, now, the new meu kojima je i Nacionalna i National and University Library sveuËiliπna biblioteka, koja se half way between the city’s his- danas smjeπta na pola puta izme- toric core and the new housing u stare gradske jezgre i novih complexes on the other side of prekosavskih stambenih naselja. the river. In 1985, Velimir Godine 1985. Velimir Neidhardt Neidhardt marked the southern- obiljeæio je i krajnju toËku toga most point of this important axis najvaænijeg zagrebaËkog poteza with his design of the INA projektom poslovne zgrade Ina Trgovina office building. This trgovine, koja proizlazi iz neko- solution was based on several liko urbanistiËkih i arhitekton- preliminary urban development skih studija prethodno izraenih and architectural studies for this za lokaciju na samom ulazu u novi location at the point of entry into dio grada. Taj prostor, definiran s the new part of the city. The loca- jedne strane kompleksom Zagre- tion is defined, on one side, by the baËkog velesajma iz pedesetih i Zagreb Fair grounds built in the πezdesetih godina, a s druge ne- fifties and sixties and, on the preglednim ledinama izmeu ras- other side, by undeveloped tracts prπene stambene gradnje, nije do of land among scattered mass- sredine osamdesetih nikada pos- housing buildings. Until the mid- tao predmetom od znaËajnijeg in- eighties, this part of the city had teresa za nove arhitektonske never aroused any architectural intervencije, iako je, potpuno pra- interest, even though, empty as zan kakav je veÊ bio, itekako tre- it was, it called for interventions bao nove gradnje koje Êe ne samo in the form of new buildings that usaditi novi æivot u jednu urbanu would not only breathe life into Ëesticu nego i ponuditi znak za an urban district but also stand identifikaciju ulaza u cijeli jedan as a sign of identification at the dio grada. Taj problem nije bez entrance to that part of the city. razloga otvoren tek osamdesetih It was no accident that the prob- godina, kad ionako dolazi od po- lem came to the fore only in the novnog vrednovanja dostignuÊa eighties, since this was the time moderne arhitekture XX. stolje- of re-evaluation of the achieve- Êa, posebno u stambenoj izgrad- ments of modern (twentieth-cen- nji. U to je vrijeme oËito sazrela tury) architecture, particularly svijest o dosezima i nedostacima as regards housing construction. novog dijela Zagreba, pa je tako At that time, the awareness of razmiπljanje o promaπajima cije- the effects and defects of New log jednog grada, koji je nastao u Zagreb became quite strong, and nepunih tridesetak godina a da people were ready to consider nije stekao ili razvio neki prepoz- the failure of the part of the city natljivi urbani identitet, postalo built over some thirty years sastavnim dijelom urbanistiËko without ever acquiring or develop- arhitektonske prakse u Zagrebu. ing a recognizable urban identity.
68 INA Office Building Convention & Trade Centre Hotel National and University Library Poslovna zgrada INE Kongresno - poslovni centar Hotel Nacionalna i sveuËiliπna knjiænica
69 Convention & Trade Centre / Kongresno - poslovni centar, Zagreb, 1985
The INA Trgovina building was Zgrada Ina trgovine prvi je the INA Trgovina building show prikazuju objekt potpuno drukËi- the first attempt to think about pokuπaj drukËijeg razmiπljanja o a structure of a rather different jeg izgleda i koncepta, a sami cr- the identity of New Zagreb in a identitetu novog dijela Zagreba u shape and design than the one teæi hotela i kongresnog centra new key. It was the result, also, of cjelokupnoj njegovoj povijesti, a eventually built, while the draw- vanjskim izgledom mogu podsje- Neidhardt’s long and systematic proizlazi iz dugotrajnog i sis- ings of the hotel and the conven- titi na klasiËne vrijednosti moder- study of the entrance to that part tematiËnog Neidhardtova bav- tion centre show exteriors which nistiËke arhitekture, na skice of the city. The beginnings of his ljenja ulaznim prostorom u taj dio are reminiscent of the classical Sant’Elie ili Mendelsohna, i to preoccupation with that location grada. PoËetak se moæe locirati u values of modernist architecture, zbog apstraktne razine samog date back to 1985, when the first gradskom natjeËaju koji je 1985. not unlike Sant Elia’s or Mendel- crteæa, koji uvijek nudi situacije prize at the City of Zagreb com- raspisan za to podruËje i na ko- sohn’s sketches. This effect is due idealnije nego u stvarnosti. Crte- petition enabled him to work out jem je prva nagrada omoguÊila to the abstract nature of the æi unutraπnjosti hotela, meutim, designs for a convention and com- Neidhardtu daljnju razradu kon- drawings, which always present zorno pokazuju Neidhardtovu mercial/office centre on the same gresnog i trgovaËko-poslovnog situations as idealized rather sklonost totalnim prostorima u line as the INA Trgovina build- centra, koji se nalaze u istoj ravni than realistic. The drawings of maniri “kasnog modernizma” πez- ing. The convention centre and s kasnijom zgradom Ina trgovine. the hotel’s interior reveal desetih i sedamdesetih godina, no luxury hotel forming the Zagreb Kongresni centar i hotel visoke Neidhardt’s unmistakable pref- pravi se dojam o tim neizvedenim Trade Centre remain unexe- kategorije ostali su na razini pro- erence for total space, in the projektima moæe steÊi tek uspo- cuted, but are nevertheless jekta, ali zanimljivi su jer dosta manner of Late Modernism of the redbom sa stvarnom graevinom important because they witness govore o idejnim i konceptualnim sixties and seventies. However, Ina trgovine. the ideas and conceptual stimuli poticajima u procesu nastajanja the proper idea of these unexe- that guide the process of real-life stvarne arhitekture. Perspektive cuted designs can be obtained architectural creation. The per- koje prikazuju lokaciju na mjestu only when they are compared spective drawings of the site for danaπnje zgrade Ina trgovine with the INA Trgovina building.
70 Isometric view; Zagreb Fair east entrance and hotel perspectives, urban design concept
Izometrija; perspektive istoËnog ulaza ZagrebaËkog velesajma i hotela, urbanistiËki koncept
71 Section, atrium level floor plan, east elevation
Presjek, tlocrt razine atrija, istoËno proËelje
72 73 INA Trgovina Building / Poslovna zgrada INE, Zagreb, 1985-89 Southeast view, floor plans, façade concept JugoistoËni pogled, tlocrti, koncept proËelja
The overall architectural concept Kompletno arhitektonsko obliko- landmark of a possible future i izvedbene razine zgrade Ina of this building, its contents, allo- vanje te zgrade, njezini sadræaji, identity of this part of the city. trgovine moæe posvjedoËiti o joπ cation of space, and, finally, its dispozicija prostora i sam izgled, Another point needs to be made jednoj vaænoj karakteristici appearance are almost inconceiv- gotovo su nezamislivi izvan kon- about this project. The relation- Neidhardtova arhitektonskog able outside of the context of teksta grada Zagreba, prije sve- ship between the quality of the oblikovanja, koju je takoer mo- Zagreb, primarily because of the ga zbog Ëinjenice da je to prva design and the quality of its exe- guÊe zamijetiti u procesu nasta- fact that this was the first large- poslovna zgrada velikog formata cution reflects an important prin- janja zgrade Nacionalne i sveuËi- scale office building erected podignuta juæno od Save, u dijelu ciple of Neidhardt’s architectural liπne biblioteke. RijeË je o teænji south of the River Sava, in the grada koji sadræi uglavnom stam- design, which is also very much k potpunom autorskom obliko- part of the city containing practi- bene objekte. Zbog toga Ina trgo- noticeable in the process of con- vanju zgrade ili moæda o duænosti cally only residential buildings. vina mora biti promatrana kao struction of the National and arhitekta kao najodgovornijeg That is why the INA Trgovina pionirski pokuπaj unoπenja druk- University Library. In the case tumaËa vlastitog projekta u pro- building must be viewed as a pio- Ëijeg identiteta u tipiËno jednodi- of the INA Trgovina building, we cesu neprekidnog praÊenja iz- neering attempt to introduce a menzionalno naselje. Drugi je ne- observe the architect’s desire, vedbe zgrade, od ideje do njezina new and different identity into a mimoilazan element toga Neid- nay, the fulfilment of his duty, to potpunog dovrπenja, πto neri- typically unidimensional residen- hardtova projekta karakter iden- remain at every step the authen- jetko obuhvaÊa i niz dodatnih tial district. The second funda- titeta kojeg donosi u novozagre- tic interpreter of his project, fol- projekata te oblikovanje enteri- mental property of Neidhardt’s baËke prostore. RijeË je o ele- lowing the process of execution jera pojedinih prostora zgrade. design is the character of the mentima arhitektonske tradicije i from the idea to its completion. Na tomu se ustrajno inzistira da identity that it introduces into urbaniteta zagrebaËkog donjeg Not infrequently, this includes a bi se i najmanja pojedinost koja this part of Zagreb. It brings in grada, prije svega o specifiËnoj series of additional projects and utjeËe na pojavnost zgrade pod- elements of architectural tradi- blokovskoj gradnji te reprezenta- the design of the interior space of redila cjelovitoj autorskoj viziji. tion and urban growth of down- tivnim proËeljima velikoformat- the building. Neidhardt insists on Time se na poseban naËin podcr- town Zagreb with its characteris- nih javnih zgrada. Meutim, this, trying to make sure that tava veza s tradicijom zagrebaË- tic block structures and repre- Neidhardt nije ovim projektom even the smallest detail that can ke urbane arhitekture s poËetka sentative façades of large-scale jednostavno preslikao situaciju affect the building’s appearance stoljeÊa, kad su uspostavljena public buildings. However, karakteristiËnu za arhitekturu fits into the architect’s original oblikovna naËela suvremene hr- Neidhardt’s design does not sim- konca XIX. stoljeÊa, nego je, suk- vision. This is another link with vatske arhitekture, i kad je, uz ply copy the situation character- ladno duhu vremena, interpreti- the tradition of urban architec- bogato i skladno sreivanje unu- istic for late nineteenth-century rao one elemente zagrebaËkog ture in Zagreb at the turn of the tarnjih prostornih odnosa, naro- architecture; rather, reflecting urbanog identiteta koje je sma- century, when the formal princi- Ëita pozornost pridavana potpu- the spirit of the times, it inter- trao dovoljno opÊenitim da bi ples of modern Croatian architec- nom i dovrπenom oblikovanju prets those elements of Zagreb’s mogli funkcionirati u drukËijem ture were laid and when, in addi- zgrade. urban identity which the archi- kontekstu. ZnajuÊi da je i Novi tion to the harmonious arrange- Suzdræanost forme zgrade prema tect regarded as sufficiently gen- Zagreb, kolikogod drukËiji, joπ ment of the interior space, partic- javnom gradskom prostoru iteka- eral to be able to function also in uvijek Zagreb, Neidhardt je pre- ular attention was paid to the fin- ko je opuπtena meuigrom velik- a different context. Accepting ko rijeke transponirao jednu ti- ishing operations completing the ih zastakljenih tamnih povrπina i that New Zagreb, however dif- piËnu reprezentativnu zgradu architectural envelope. svijetle kamene obloge koja u ele- ferent, was still Zagreb, -palaËu, koja praktiËno zaprema The restrained form of the INA gantnom tradicionalno komponi- Neidhardt transferred across the cijeli blok. Kad je o bloku rijeË, Trgovina building in the public ranom redu “sapinje” stakleni river a typical representative valja, dakako, skrenuti pozornost urban space is largely compen- kubus. Pravilnost kamenih parti- building-palace occupying practi- na Ëinjenicu da — a jer je unutar sated for by an interplay of large ja “omekπana” je zaobljenjima cally an entire block. Speaking zgrade otvoren prostor — Ina glass-covered dark patches and tek iznad ulaza pa je tako optiËki about the block, it should be trgovina ima fiziËku veliËinu jed- the light-coloured stone lining, olakπano snalaæenje korisnika noted that, since there is an open nog donjogradskog bloka, ali u which envelop the glass cube in koje ionako veÊ privlaËi posebno space inside the building, the kontekstu Novog Zagreba ona an elegant traditionally com- oblikovanje okoliπa zgrade s isko- INA Trgovina building has the funkcionira kao usamljena nazna- posed order. The regularity of riπtenim elementima arhitek- physical size of a downtown ka moguÊeg buduÊeg identiteta the stone-covered sections is tonske tradicije XIX. stoljeÊa: block, but in the context of New novog dijela grada. “softened” by carved roundings kroz πiroke esplanade zgrada bi Zagreb it functions as a solitary Osim toga, odnos razine projekta above the entrance, thus optically doslovno trebala naplaviti grad,
74 75 Floor plan, isometric view; southeast corner Tlocrt, izometrija; jugoistoËni ugao
facilitating its identification. The dok ulazni trijemovi uvlaËe grad visitor is attracted by the strik- u unutraπnjost. Meuigra arhi- ing design of the building’s sur- tekture i urbanizma potpuna je u roundings, using elements of ovom projektu i upravo stoga bi nineteenth-century architecture: se mogao izvuÊi zakljuËak o origi- across its broad esplanades the nalnoj interpretaciji zagrebaËke building literally flows towards arhitektonske tradicije jer veli- the city, while the access arcades Ëinom i odgovarajuÊom dispozi- “suck” the city into the building. cijom prostora zgrada nadilazi The interplay of architecture and sve πto je u Zagrebu izgraeno u urban design is complete in this podruËju arhitekture javnih project, justifying the conclusion objekata. Dakako, nije rijeË samo that this is an original interpreta- o dimenzijama, premda ne treba tion of Zagreb’s architectural tra- zaboraviti Ëinjenicu da je Ina dition. With its size and corre- trgovina projektirana za milijun- sponding arrangement of space, ski grad, ali kolikogod bila refer- the building surpasses every- entna na lokalno u kulturnoj thing done in Zagreb in public tradiciji konteksta, rijeË je prije building architecture. Of course, svega o interpretaciji naslijea u this is not just a matter of size, kljuËu internacionalno prepoznat- though one should not lose sight ljive arhitekture, dakle o onome of the fact that the INA Trgovina πto je na svjetskoj sceni svoje- building was designed for a city dobno prepoznato kao “kasni mo- with the population of over one dernizam” ili “produktivizam”. million, but also — despite all its Ako bismo rekli da je, primjerice, local cultural references and con- Juraj Denzler postavio u srediπtu text — a matter of creative inter- grada svojom zgradom javnih pretation of the domestic archi- poduzeÊa parametar zagrebaËke i tectural heritage in an interna- europske arhitekture javne nam- tional key. This is precisely what jene u odnosu na veliËinu grada the terms such as Late tridesetih godina ovoga stoljeÊa, Modernism or Productivism are onda je Neidhardtova Ina trgovi- intended to signify. If, for na uzoran primjer kako na koncu instance, Juraj Denzler’s Zagreb stoljeÊa arhitektura jednake na- Municipal Services Building in mjene poprima nove kvalitete u the city centre provided a yard- nekoliko puta naraslom gradu, i stick for public buildings in a city to na toËci spajanja starog i no- of the size that Zagreb had in the vog dijela grada. Novo u Neid- thirties, Neidhardt’s INA hardtovom projektu jest prije Trgovina building is an exem- svega oËito u supremaciji javnog plary specimen of a public build- u velikim povezanim prostorima ing in a city several times bigger, baze objekta tako tipiËnim za when it becomes necessary to “kasni modernizam” , prostorima link the old and the new parts of koji su moguÊi i zbog od Den- the city. The new element that zlerovih vremena uznapredovale Neidhardt introduces is the tehnologije gradnje. To novo, supremacy of the public content dakle, oËito je u poveÊanom udje- in the large, connected spaces at lu javnih i komercijalnih prostora the base of the building, so typi- u zgradi, pa zatim u izbje- cal of the Late Modernist archi- gavanju kompozicije zasnovane
76 tecture. Such large spaces have na strogosti pravog kuta, i konaË- modernism of that time. The been made possible by the no, u kolaænoj estetici oploπja INA Trgovina building “speaks” progress in building technology zgrade. Sve te kvalitete afirmi- a universally understood lan- since Denzler’s time. In addition rane su na meunarodnoj razini, guage, but with a distinct local to the increased share of public ali u ovom projektu ipak pomaæu accent: establishing a dialogue and commercial space in the pribliæiti lokalne arhitektonsko between the locally coloured and building, other novel features -urbanistiËke vrijednosti povijes- the globally impersonal parts of include the avoidance of rigid nog dijela grada u novom preko- the city, it acts as an interpreter, right angles and the collage-type savskom kontekstu, koji je za- translating the old content and exterior of the building. All of miπljen i izveden prema naËelima form into the new, and the other these features are known inter- internacionalnog modernizma pe- way round. nationally, but in this project desetih i πezdesetih godina. Ina they successfully fulfil the task trgovina “govori” opÊerazumlji- of bringing together the local vim jezikom, iako s jasno izraæen- architectural and urban develop- im narjeËjem: uspostavljajuÊi ment traditions of the historic dijalog izmeu lokalno obojenog i city centre and the new architec- globalno bezliËnog dijela grada, ture of the city districts on the postaje nekom vrsti prevodioca other side of the River Sava sadræaja i forme iz starog u novo i built during the fifties and six- obratno. Utoliko Ina trgovina ties and designed according to istodobno dotiËe proπlost ali i the principles of international pokuπava predvidjeti buduÊnost:
77 Atrium perspective; façade detail Perspektiva atrija; detalj proËelja
78 79 In this sense, the INA Trgovina tradiciju interpretira u novom Trgovina building is that of a ske dvorane u polovicu dvoriπta building links up with the past, kljuËu, a buduÊnosti predlaæe modern Western European te posebno provlaËenjem dijago- while trying to predict the jedan moguÊi model javnog palace with a representative cen- nalne komunikacije iznad volu- future: it interprets the tradition objekta. Da je to zaista model, tral courtyard around which dif- mena dvorane. Dominacija dijag- in a new key and offers a possible moæe se jasno vidjeti prema ferent contents are grouped onala oËita je i u reprezenta- model of a public building for crteæima i studijama koje according to the principle of diag- tivnom dvoetaænom javnom ulazu future use. The fact that this was neposredno prethode poËetku onal symmetry. This is addition- koji ugaonim smjeπtajem negira indeed intended as a model can izvedbe zgrade Ina trgovine, ally underscored by the place- tradicionalnu dispoziciju ulaza na be seen from the drawings and posebno kad je rijeË o projektu ment of a large conference hall in srediπtu zidnog plaπta. ZnaËajna studies immediately preceding poslovnog centra istoËno od Za- one half of the courtyard and je i orijentacija glavnog ulaza na the construction of the INA grebaËkog velesajma, u kojem je especially by a diagonal commu- najfrekventnije novozagrebaËko Trgovina building, especially prvi put elaborirana ideja kasnije nication line drawn over the vol- kriæanje, Ëime se dosljedno prati those for the trade centre to the izvedena projekta poslovne ume of the hall. The dominant osnovna ideja zgrade Ina east of the Zagreb Fair grounds. zgrade. Cijeli je prostor, naime, diagonal principle is evident also trgovine, ona o mijeπanim These drawings were the first artikuliran graevinama velikih in the representative two-storey poslovnim i javnim sadræajima. elaborations of the subsequent dimenzija koje bi prema projektu public entrance, placed in a cor- Ambicije ovoga projekta da bude office building project. The whole trebale tvoriti novo gradsko ner and thus contradicting the neπto viπe od obiËne poslovne area is articulated by large, rep- srediπte poslovnog i komerci- traditional placement of the zgrade i postane neka vrsta resentative buildings that would jalnog tipa. ©to je posebno vaæno, entrance in the middle of the “gradske kuÊe” imaju snaænu pot- together make the new business cijelo je novo srediπte artikulira- front wall. Another point to note poru u rasporedu prostora i and commercial centre of the no u nizu sklopova izriËito refer- is the orientation of the entrance sadræaja odijeljenih tako da se city. What is particularly note- entnih na donjogradsku urbanu towards the busiest intersection nigdje ne poniπtavaju, pa je worthy is the fact that this new situaciju. Stoga bi se moglo pret- in New Zagreb, thus consistently koriπtenje prizemlja i mezzanina centre is articulated as a series of postaviti da Ina trgovina svoj following the main idea of this od graanstva moguÊe jednako building complexes with distinct puni smisao poprima tek u pot- building as one with mixed busi- kao i potpuno efikasno poslovanje references to Zagreb’s down- punoj vezanosti uz kontekst πto ness and public contents. The tvrtke. town urban situation. That is je vrlo jasno naglaπeno u raspore- architect’s ambition for this pro- why it can be said that the INA du sadræaja u zgradi koji nisu ject to be something more than a Trgovina building acquires its samo poslovnog nego i komerci- mere office building and to serve full significance only when direct- jalno-javnog tipa. Zgrada Ina as an “urban house” is successful- ly related to its context, which is trgovine oblikom jest moderna ly realized by means of a distri- very clearly indicated by the dis- palaËa zapadnoeuropskog tipa, s bution of space and contents in tribution of contents in the build- reprezentativnim srediπnjim such a way that they never clash. ing, since these are not merely dvoriπtem oko kojega su grupi- Thus, for instance, the public can business offices but also certain rani sadræaji prema naËelu dijag- use the ground floor and the mez- contents of a commercial/public onalne simetrije, πto je naglaπeno zanine without in the least dis- type. The shape of the INA smjeπtanjem velike konferencij- turbing the office functions.
80 Façade details; main entrance sketch, conference hall ensemble Detalj proËelja; skica glavnog ulaza, sklop konferencijske dvorane
81 Diagonal patterns / Dijagonalne kompozicije
An unusual feature of this pro- NeobiËnost je projekta u tome da ject is that the inner composition nutarnja kompozicija prostora, of space, organized — as already provedena, kako je reËeno, prema noted — on the principle of diag- naËelu dijagonalne simetrije, onal symmetry, is almost no- gotovo nigdje nije uoËljiva s van- where visible on the outside of the jske strane jer je nutrina zgrade, building. The inner space is made na svakoj etaæi sastavljena od up of two communicating trian- dva komunikacijama spojena gles on each floor, which together trokuta, cjelovito uklopljena u form a rectangle enveloped in a pravokutnik i ovijena plaπtem stone-lined and glass wall. A sim- kamene obloge i staklene opne. ilar composition is to be found in SliËnu kompoziciju, osim u pro- the National and University jektu Nacionalne i sveuËiliπne Library, as well as in another of biblioteke, Neidhardt je primije- Neidhardt’s projects, five years nio i u jednom pet godina stari- earlier, where the central diago- jem projektu, u kojem srediπnja nal communication line again komunikacija takoer dijagonal- links different parts of the space no povezuje pojedine dijelove enclosed in a rectangular shape. prostora u zatvorenom pravokut- The project in question was the nom bloku graevine. RijeË je o Husar family house, in which the projektu obiteljske kuÊe Husar, u diagonal communication line kojem dijagonalna komunikacija serves as the main compositional funkcionira kao glavna kompozi- axis, around which space is orga- cijska os uzduæ koje je orga- nized. One is reminded in this niziran prostor. context that a similar diagonal Treba se, dakako, podsjetiti da je line, only applied on a larger sliËna dijagonala, samo u neπto scale, was the main axis for the veÊim razmjerima, istaknuta kao organization of space in the first glavna os organizacije prostora i version of Neidhardt’s 1977 com- u prvoj varijanti natjeËajnog pro- petition entry for the regulation jekta za regulaciju Trga fran- of Trg Francuske Republike in cuske republike u Zagrebu 1977. Zagreb. In the case of the INA U zgradi Ina trgovine ta je dijag- Trgovina building, the diagonal onala stvarna u prizemlju, mez- line is physically present on the zaninu i prvom katu, na tri je pre- ground floor, mezzanine and first ostala kata zamiπljena. Da ovaj floor, and only imagined on the Neidhardtov projekt ipak nije remaining three floors. The fact moguÊe potpuno razumjeti izvan that the INA project cannot be promiπljanja urbanog konteksta fully understood without consid- pokazuju brojne studije za pros- ering its urban context is borne tore novog gradskog srediπta u out by the numerous studies of the sklopu kojih je i nastala zgrada new city centre that Neidhardt Ina trgovine. Te studije razrai- prepared before embarking on vane u obliku natjeËajnih radova the design of this building. The donose u nekoliko etapa razvi- studies, presented as competition janu ideju novog srediπta istoËno entries on several occasions, od kompleksa ZagrebaËkog vele- develop different stages of the sajma. idea of a new city centre to the east of the Zagreb Fair grounds.
82 INA Trgovina building; National and University Library, Husar family house, Trg Francuske Republike Poslovna zgrada INA trgovina; Nacionalna i sveuËiliπna knjiænica, obiteljska kuÊa Husar, Trg francuske republike
83 Large - scale architecture / Velikoformatna arhitektura
The monumental structure, with Monumentalna struktura velikih individual buildings making razmjera, unutar koje blokove whole blocks, is a very clear tvore Ëitave graevine, vrlo je attempt at a modern interpreta- jasan pokuπaj suvremene inter- tion of the urban matrix of down- pretacije urbane matrice iz sjev- town Zagreb. Individual build- ernog dijela grada, dok su pojedi- ings are planned as vital genera- ni objekti zamiπljeni kao veliki tors of urban life, and as such generatori gradskog æivota, kao anything but single-function. objekti koji nisu monofunkcional- This is particularly well illus- ni, πto se posebno dobro vidi u trated by the projected high- projektu hotela visoke klase s class hotel with the Late klasiËnim “kasnomodernistiËkim” Modernist motif of a spacious motivom velikog ulaznog hala lobby-cum-plaza. Such an enclo- -plaze. Takav zatvoreni trg jest sed square is an internationally meunarodno prihvaÊena tema recognized solution for large- velikoformatne arhitekture, ali se scale buildings, but somewhat donekle sliËna izvoriπta u manjem similar solutions, on a much small- mjerilu mogu pronaÊi i u zagre- er scale, can be found in some of baËkoj arhitekturi javne namjene Zagreb’s public buildings de- joπ na prijelomu stoljeÊa, πto je signed and built at the turn of moæda najbolje izraæeno pojedin- the century, the most obvious im arhitektonskim projektima examples being some banks, such bankovne namjene, posebno pa- as, especially, Josip Vancaπ’s laËom Prve hrvatske πtedionice 1899 First Croatian Savings Josipa Vancaπa iz 1899. Na neπto Bank. The same city-building drukËiji naËin istu gradotvornost qualities are to be found in nalazimo i u veÊ spomenutoj Denz- Denzler’s already mentioned lerovoj zgradi gradskih poduzeÊa Municipal Services office build- ali i u drugim objektima zagre- ing, but also in several other baËke moderne tridesetih godina, thirties buildings such as Stanko poput stambene i poslovne zgra- Kliska and Anton Ulrich’s resi- de na PreradoviÊevom trgu Stan- dential and office building at Pre- ka Kliske i Antona Ulricha iz radoviÊev Trg (1939/40). Similar 1939/40. SliËni elementi jesu ka- elements remained a recogniz- rakteristika zagrebaËke arhitek- able characteristic of the Zagreb ture i nakon 1945. godine, primi- architecture after 1945, applied jenjeni iz jednakih razloga, iako for the same reason, though in a formalno na neπto drukËiji naËin. formally somewhat different way. Stoga se gradotvornost moæe Therefore, city-building can be promatrati kao legitiman uporiπ- seen as the legitimate central ni element i u Neidhardtovoj ar- component of Neidhardt’s archi- hitekturi, iako smjeπtajem nad- tecture, although, because of the rasta onu dimenziju kakva je u particular location in which it is Zagrebu postala tradicijom. Ali applied, its importance goes well nepromijenjena ostaje teænja da beyond the established Zagreb se pojedinaËni objekt aktivno tradition. What remains un- ukljuËi u æivot grada. A da takvi i changed is the desire to involve sliËni elementi nisu sluËaj u Neid- each individual building in the hardtovoj arhitekturi, pokazuje i active life of the city. primjer projekta za poslovnu
84 New city centre to the east of the Zagreb Fair grounds (1985); hotel perspectives Novo gradsko srediπte istoËno od ZagrebaËkog Velesajma (1985.); perspektive hotela
85 Exportdrvo Office Building / Poslovna zgrada Exportdrvo, Zagreb, 1985
That such elements are no mere zgradu “Exportdrva” u jednoj od its ground floor to urban public puni smisao, da bi javni prostori u accident in Neidhardt’s architec- studija za novo gradsko srediπte spaces, with a veritable urban njima zaista æivjeli treba svaku ture is shown by his design of the istoËno od ZagrebaËkog velesaj- plaza at the centre. But it should pojedinaËnu zgradu promatrati u Exportdrvo office building in the ma. Kao πto je zgrada Ina trgovi- be noted that each of these indi- sklopu cjeline urbanog plana i projected new city centre to the ne referentna na zagrebaËko vidual designs gets its full signif- kroz potencijalne veze izmeu east of the Zagreb Fair grounds. moderno nasljee tek kroz filtar icance, and the public spaces can zgrada u pretpostavljenoj dogo- Just as the INA Trgovina build- osuvremenjene interpretacije, come to life, only in the context of tovljenosti buduÊeg gradskog ing refers to Zagreb’s architec- tako je i zgrada “Exportdrva” u the overall urban plan for the srediπta. tural heritage through the filter prizemnom dijelu rastvorena jav- new city centre, where, once of a contemporary interpreta- nim gradskim prostorima s pra- completed, links between indi- tion, the Exportdrvo building vom urbanom plazom u sredini. vidual buildings will be estab- does the same by fully opening No da bi svi ti projekti poprimili lished.
86 North elevation, perspective, ground floor plan, conceptual sketches; perspective Sjeverno proËelje, perspektiva, tlocrt prizemlja, konceptualne skice; perspektiva
87 Vision of cosmopolitan city / Vizija kozmopolitskoga grada, Zagreb, 1981-92
Though it is impossible to predict Iako nije lako prognozirati, hoÊe li building with full-mass sections of figurativnim volumenima koji that the whole new city centre cijelo srediπte biti izgraeno pre- the walls. This is by no means a djeluju kao cjelina. Ne treba ni will be built according to ma Neidhardtovim projektima, traditionally decorative feature, spominjati da gradotvorna arhi- Neidhardt’s designs, it remains moæe se primijetiti da i ovako ela- but rather an example of the lan- tektura velikog formata potpuno true that his proposals, as well as borirane ideje pa i dosad podignu- guage of “abstract representa- negira tradicionalnu ornamentiku the designs realized to date, are te graevine nude viπe nego zan- tion”, that is, non-representation- pa Ëak i tradicionalnu dispoziciju highly stimulating for further imljiv poticaj razmiπljanjima o al volumes which together act as proËelja kuÊe, ali se Ëini vrijednim thinking about the future shape buduÊnosti Novog Zagreba, po- a whole. It goes without saying uputiti na moguÊu razliku prema of New Zagreb, particularly in so sebno u odnosu prema onim sadr- that large-scale cityscape archi- modernistiËkoj arhitekturi, raz- far as they introduce contents of æajima kakvih do sada s juæne tecture completely rejects tradi- liku iskazanu raslojavanjem stro- the kind that have been absent strane rijeke Save nije bilo. Iako tional ornamentation and even gog volumena i veÊim otvaranjem south of the River Sava so far. je za konaËne zakljuËke o vrijed- the traditional arrangement of zgrade prema okruæju. Time i While it may be too early to nostima joπ æivog arhitektonskog the façade. Also, in contradistinc- Neidhardtova arhitektura, kao assess the ultimate value of the opusa zacijelo rano, veÊ sada se tion to the modernist architec- eminentno gradotvorna, poprima opus of a still active architect, one moæe istaÊi tema vizije kozmopo- ture, it stratifies the rigid volume nove kvalitete u odnosu prema can safely point to the cosmopoli- litskog grada kao jedna od najza- and opens the building to its envi- ostvarenjima klasiËnog modern- tan urban vision as one of the nimljivijih u Neidhardtovoj arhi- ronment. In this sense, being emi- izma tridesetih pa Ëak i pedesetih most interesting aspects of tekturi, ne samo zbog konstantne nently urban, Neidhardt’s archi- godina ovoga stoljeÊa. Tu bi se Neidhardt’s architecture, not prisutnosti takvih ideja u moder- tecture possesses certain new negdje mogli potraæiti elementi only because he thus continues noj tradiciji zagrebaËke arhitek- qualities compared with the clas- koje Êe biti moguÊe identificirati the uninterrupted modern tradi- ture nego i zbog posebnog, rekli sical modernist designs of the kao iskaze postindustrijske urba- tion of the Zagreb architecture, bismo - postindustrijskog, tretma- thirties and even fifties. This is ne svijesti, πto znaËi svijesti o but also because his designs na gradotvornosti u njegovim where we should look for ele- veliËini i poloæaju objekta u gradu approach city-building in what projektima. Zaπto postindustri- ments that can be identified as za koji se projektira. one might call the postindustrial jskog? Zbog barem dva elementa expressions of a postindustrial Pokuπaj traæenja druπtveno-poli- way. Why postindustrial? There koji predstavljaju novinu u odno- urban consciousness —conscious- tiËkih korijena arhitekture koju are at least two novel elements su na zagrebaËku modernistiËku ness of the size and position of the smo prethodno oznaËili sintag- that Neidhardt has introduced tradiciju kao pretpostavljeni izraz building in the city for which it is mom “gradotvorne monumental- into the Zagreb modernist tradi- industrijske ere (bez obzira radilo designed. nosti” vjerojatno bi iziskivao tion as the presumed expression se o razdoblju prije ili poslije Dru- Seeking to identify the socio- posebnu studiju jer niti u of the industrial era (both before gog svjetskog rata): rastvaranje political roots of the architecture najπirim okvirima nema u Hrvat- and after the Second World War): Ëvrstog pravokutnog volumena that we have labelled the “archi- skoj osamdesetih godina cjelovi- one is the opening of the regular zgrade prostorima javne uporabe tecture of monumental cityscape” tih elemenata postindustrijske rectangular volume of the build- i estetika kolaænog tipa kojom se would probably require a sepa- kulture. ing to provide spaces for public nadilazi rigidna uniformnost u rate study, since the elements of Postindustrijsko, dakle, u Neid- use, and the other is the collage- materijalu oplate graevine. Da- postindustrial culture in Croatia hardta treba tumaËiti kao poseb- type aesthetics to overcome the paËe, materijali se, kao u zgrada- in the eighties have not been no iskustvo naglaπeno urbane rigid uniformity of the material ma nove Nacionalne i sveuËiliπne described even in bare outlines. arhitekture, πto podrazumijeva i making the building’s exterior. bibilioteke i Ina trgovine, mijeπa- In Neidhardt’s case, the postin- meunarodnu razinu primjene Different combinations of mate- ju iz funkcionalnih ali i estetiËkih dustrial experience should be takvih iskustava. Jer ako je o lo- rials are used — as in the case of pobuda, πto Êe reÊi da transpar- intepreted as the experience of kalnome rijeË, teπko bi u tadaπ- the new National and University entnost velikih staklenih partija strictly urban architecture, which njoj Hrvatskoj bilo moguÊe iden- Library and the INA Trgovina nije samo put k veÊoj koliËini presupposes also the internation- tificirati karakteristike postin- building — for both functional svjetla u unutraπnjosti nego i al applicability of such experi- dustrijskog druπtva, pa stoga and aesthetic reasons. Thus, dionica “priËe” nutrine zgrade u ence. The local situation in projekti i izvedene zgrade poput large exterior sections made of dinamiËnom sravnjenju s arhitek- Croatia at that time offered few Neidhardtovih predstavljaju viπe transparent glass do not only let tonikom punih masa. Dakako, nije clear characteristics of postindus- usamljene posebnosti negoli du- more light into the interior, but rijeË o tradicionalnom dekoru trial society, and therefore pro- boko ukorijenjen druπtveni stan- also make for a dynamic contra- nego o jeziku “apstraktne repre- jects and designs like those pro- dard. Dakako, ne treba zaboravi- puntal relationship inside the zentacije”, drugim rijeËima o ne- duced by Neidhardt were indi- ti da jedna zgrada moæe stvoriti
88 Zagreb as it could be; urban activities simulation model MoguÊi Zagreb; maketa simulacije urbanih aktivnosti
89 Central Zagreb riverfront area perspective (1981) Perspektiva gradskog srediπta i priobalja Save (1981.)
vidual endeavours rather than ne samo posebnu duhovnu klimu as an urban sign. In addition, his dakako, ne doslovnim prenoπe- well-established and deep-rooted nego i odrediti konkretnu urbanu projects refer in a particular way njem oblika i rjeπenja nego stu- social standards. Of course, one situaciju i na taj naËin ispuniti to the Zagreb modernist tradi- dioznim analizama pojedinih should not forget that a single uvjete za definiranu kulturnu tion — not, of course, by replicat- karakteristika, ponajviπe slojevi- building can not only create a situaciju. Teπko bi, meutim, bilo ing particular forms and solu- tog odnosa zgrade prema urba- particular spiritual climate but braniti tezu da su projekti poput tions, but by carefully examining nom kontekstu. Govorimo li, also determine a particular urban Nacionalne i sveuËiliπne bibliote- and absorbing certain character- dakle, o arhitekturi gradotvorne situation and thus define a partic- ke ili zgrade Ina trgovine izrazi istics, particularly those that monumentalnosti, ne govorimo o ular cultural situation. While it is uvrijeæenog standarda zagre- affect the building’s multifaceted trendu u zagrebaËkoj arhitekturi true that projects such as the baËke arhitekture javne namjene relationship to the urban context. nego o ideji koja plodno æivi u National and University Library sedamdesetih i osamdesetih god- When we, thus, speak about the arhitektonskoj misli tijekom and the INA Trgovina building ina, ali se ovim projektima ne architecture of monumental cijele moderne epohe, od druge are not expressions of the well- moæe zanijekati izniman znaËaj u cityscape, we have in mind not a polovice XIX. stoljeÊa sve do established standards of the kontekstu Zagreba i cijele trend but an idea that has been konca XX. Suvremena povijest Zagreb architecture for public Hrvatske. present in the Zagreb architec- Zagreba obiljeæena je arhitektur- buildings in the seventies and Neidhardtova arhitektura ne tural thought, and borne fruit, om izrazito urbanog karaktera pa eighties, their exceptional impor- proizlazi iz druπtva obilja ali throughout the modern period, tako arhitekti poput Neidhardta tance for Zagreb and the whole of svjesno ostvaruje njegova upo- from the second half of the nine- rjeπavaju gotovo sliËne probleme Croatia cannot be denied. riπta i pokuπava utjecati na smis- teenth to the end of the twenti- kao i prethodnici, uz nuæno poπti- Neidhardt’s architecture does lene tokove pribliæavanja istom, eth century. Zagreb’s modern vanje faktora poveÊanja stanov- not emanate from an affluent kako oslobaanjem zgrade od history is marked by architecture niπtva i gradske povrπine. society, but it consciously seeks formalnog hermetizma, tako i of a distinctly urban character, Drugim rijeËima, postindustrijs- to realize its tenets and work unoπenjem prourbanih karakter- and architects like Neidhardt ka faza zagrebaËke pa i hrvatske towards its acceptance by freeing istika i sadræaja u velike poveza- deal with problems very similar arhitekture obiljeæena je redefi- the building from formal her- ne unutraπnje prostore te napos- to those of their predecessors, niranjem tek tridesetak godina metism and introducing pro- ljetku “apstraktnom reprezenta- only anticipating the increased starog dijela grada s juæne strane urban characteristics and con- cijom” vanjskog izgleda koji u population and physical area of rijeke Save i pripadajuÊim prob- tents into large, interconnected cjelini funkcionira kao urbani the city. lemima, poput uspostavljanja no- interior spaces, and finally by the znak. Uz to, njegovi su projekti In other words, the postindustri- vog gradskog srediπta juæno od “abstract representation” of the na poseban naËin referentni na al phase of the Zagreb, as well as æeljezniËke pruge te ugraiva- exterior, whose totality functions zagrebaËku modernu tradiciju, Croatian, architecture is con- njem novih sadræaja u jedno-
90 Zagreb Urban Cross — city axis spanning the Sava river (1985-92) Studije kriæiπta gradske osovine i Save (1985.-92.)
cerned with a redefinition of the funkcionalni Novi Zagreb. Od tih evolved and into which it was to part of the city south of the Sava, Ëinjenica treba poÊi kad se raz- be implanted. Zagreb is no longer no more than thirty years old, matra arhitektura Velimira the city that it was in the late and the solution of its many prob- Neidhardta, πto znaËi da treba nineteenth century — it is now a lems, including the shaping of a uraËunati promjene koje su se u million-strong metropolis, dis- new city centre to the south of Zagrebu zbile od tridesetih godi- playing in some of its parts all the the railway line and the incorpo- na do danas da bi bilo razumljivo positive and negative aspects of a ration of new contents into the zaπto su neke pojedinaËne grae- rushed and chaotic urbanization. hitherto monofunctional New vine ekstrovertnije u odnosu pre- Zagreb. These facts should be ma urbanom kontekstu i zaπto su taken as a starting point for any oblikovane drukËije od klasiËnih discussion of Neidhardt’s archi- ostvarenja modernizma tridese- tecture. An awareness of the tih godina. changes that have taken place in Sve u svoje vrijeme, reklo bi se, Zagreb since the thirties of this pa tako i pretpostavljena postin- century helps to explain why dustrijska/postmoderna faza hr- some individual buildings are vatske arhitekture tijekom osam- more extrovert in relation to desetih godina temelji svoju for- their urban context and why they malnu raznolikost na bitnim are necessarily designed along promjenama urbanih uvjeta u different lines than those exem- kojima je projektirana i u kakve plified by the classical modernist se ugrauje. Zagreb viπe nije buildings of the thirties. grad s kraja XIX. stoljeÊa nego There is time and place for every- milijunska metropola, podloæan u thing, as the saying goes, and nekim svojim dijelovima svim therefore the presumed postin- pozitivnim i negativnim aspekti- dustrial/postmodernist phase in ma kaotiËne i nagle urbanizacije. Croatian architecture in the Stoga Neidhardt tijekom posljed- eighties derives its formal vari- njih godina veÊim brojem svojih ety from the essentially changed projekata postavlja pitanje o mo- urban conditions in which it guÊnosti stvaranja novih urbanih
Zagreb Fair south entrance perspective Perspektiva juænoga velesajamskog ulaza
91 Adriatic Pipeline Headquarters / Zgrada Jadranskog naftovoda, Zagreb, 1989-91 Model views, floor plan; west façade Slike makete, tlocrt; zapadno proËelje
That is why Neidhardt is increas- poteza kakvi su obiljeæili razdo- Pipeline Headquarters building. ra i vanjskim izgledom itekako ingly exploring, in his recent pro- blje definiranja zagrebaËke urba- Typologically, it follows the tra- razliËit, drugim rijeËima suvre- jects, the possibility of shaping ne sheme, od posljednje Ëetvrtine dition of the classical Zagreb mena zgrada postindustrijske new urban structures as a contin- devetnaestog do tridesetih godi- office-cum-residential building of provenijencije. uation of those that helped to na dvadesetog stoljeÊa. Jedan od- the kind built in the early twenti- define Zagreb’s urban matrix govor bi moæda mogao biti naen eth century. But its treatment of between the last quarter of the u projektu zgrade Naftovoda iz the interior space and the exteri- nineteenth century and the thir- 1989., koji se tipoloπki naslanja na or appearance is quite different, ties of the twentieth century. One klasiËni zagrebaËki tip poslovno- making it a modern building born possible answer could perhaps be stambene zgrade s poËetka sto- out of a postindustrial inspira- his 1989 design for the Adriatic ljeÊa, ali je oblikovanjem prosto- tion.
92 93 Competition perspective, floor plan; final design perspective NatjeËajna perspektiva; tlocrt; konaËna perspektiva
94 95 World Trade Centre / Svjetski trgovinski centar, Zagreb, 1991 Site plan, isometric view; elevation, floor plan, section Situacija, izometrija; proËelje, tlocrt, presjek
It was precisely the former pro- Prethodni projekt, skupa s pro- ject, together with the 1991 jektom Svjetskog trgovinskog World Trade Centre design, that centra iz 1991., ponajbolje iskazu- best expressed the potential of je potencijalni karakter arhitek- the architecture of city-building ture gradotvorne monumental- monumentality in presentday nosti u suvremenom Zagrebu, Zagreb — both with the scale of kako dimenzijama arhitektonsko the architectural and town-plan- -urbanistiËkog zahvata tako i ning intervention and with the estetikom proËelja, a ne treba particular aesthetics of the exte- zaboraviti ni pretpostavljeni rior, as well as with the planned mijeπani vanjsko-unutarnji ka- blending of the exterior and inte- rakter prostora koji se prema rior spaces over the entire projektu pretapaju cijelom povr- ground-floor area of the World πinom Svjetskog trgovinskog Trade Centre. centra.
96 97 Metropolitan axis / Os metropole, Zagreb, 1992
98 Partial isometric view; urban design composition DjelomiËna izometrija; arhitektonsko-urbanistiËka kompozicija
A similar procedure can be SliËan je postupak proveden of life on what used to be rio u odnosu prema potezu nad observed in the 1992 plans for 1992. u planu za novu metropol- Zagreb’s periphery. This is the kojim je dugogodiπnje aktivno Zagreb’s new metropolitan axis, sku osovinu Zagreba, Ëime se topic that Neidhardt has system- razmiπljao) i tako logiËno nas- Neidhardt’s constant preoccupa- autor ponovno vraÊa svojoj traj- atically explored for more than tavio ideju zapoËetu joπ prvim tion and a direct continuation of noj temi, prostorno izravno twenty years, and now he has planom za novu srediπnju zonu his work on the National and vezanoj uz zgradu Nacionalne i deepened his explorations (or Zagreba. Na taj se naËin, sustav- University Library building. The sveuËiliπne biblioteke. U tom je widened them to include the nom kombinacijom arhitekture i metropolitan axis project relies projektu primijenjeno naËelo po- entire axis), logically continuing urbanizma, uspostavio jedan po- on the principle of linked repre- vezujuÊih reprezentativnih pro- the idea already present in his sebni work-in-progress kojem je sentative fronts which define the Ëelja, koja definiraju sveËani ka- first urban development plan for zgrada nove Nacionalne i sveuËi- solemn character of the city’s rakter glavnog poteza, a dublje u Zagreb’s new city centre. In this liπne biblioteke srediπnja polaziπ- main thoroughfare, while a dif- boËnim zonama predvia se way, by systematically combin- na toËka, a zgrada Ina trgovine ferent kind of architecture is pro- drukËija vrst arhitekture. Taj je ing architectural and urban krajnja juæna granica kontinuira- posed for deeper, side-street sec- plan orijentiran k buduÊem Zag- design and planning solutions, he nog osmiπljavanja uzduænog sre- tions. The plan is geared towards rebu jer nastoji cjelovito povezati has produced a particular, sus- diπnjeg poteza Glavni kolodvor - the future Zagreb, in which its potpuno razliËite dijelove grada, tained work-in-progress, in centar juænog Zagreba. very different parts — the old staru jezgru na sjeveru i novu na which the National and Univer- historic core in the north and the jugu, ali je jednako orijentiran i sity Library building is the start- new development in the south — na oæivljavanje usitnjene urbane ing point and the INA Trgovina will be linked together into a strukture Trnja kao muzeja building the southern end-point coherent whole; but equally, zagrebaËkog periferijskog æivota. of a central axis linking the Main however, it seeks to give new life To je tema kojom se Neidhardt Railway Station and the New to the fragmented urban struc- sustavno bavio viπe od dva deset- Zagreb city centre. ture of Trnje as a living museum ljeÊa a sada je produbio (ili: proπi-
99 Sections; conceptual sketch, perspectives, isometric view Presjeci; koncept spomenika, perspektive, izometrija
100 101 St. John the Evangelist Church / Crkva Sv. Ivana evanelista, Zagreb, 1991
A similar continuity of ideas can SliËan se kontinuitet ideja moæe be observed also in Neidhardt’s utvrditi i u Neidhardtovu projek- design for the Church of St. John tu crkve Sv. Ivana evanelista u the Evangelist in New Zagreb, novom dijelu Zagreba, koja svoj whose distinctly urban character, izrazito urbani karakter, seen in the monumental scale not potvren u profanim projektima unlike that of the secular build- monumentalnim mjerilom i kom- ings and in the complex blending pleksnim pretapanjem prostora i of different spaces and contents, sadræaja, iskazuje neobiËnim is underscored by an unusual oblikom ali i inovativnim koncep- form and an innovative concept of tom medijski potpuno oprem- audio and video electronics ljene crkve, koja elektroniËkim designed for a particular kind of sredstvima treba stvoriti novu religiosity that might go under vrstu religioznosti, kakvu bismo the name of urban religiosity. moæda mogli zvati i urbanom. To The design calls for the installa- zbog Ëinjenice da je projektom tion of unconventional equipment predvieno opremanje zgrade s to enhance the sacral functions of nekonvencionalnim sredstvima the building — the kind of multi- postizanja funkcije zgrade, sred- media equipment that is usual in stvima koja inaËe nisu uobiËajena some other types of buildings, u sakralnoj arhitekturi, a moguÊe but not so far in churches. ih je sresti u zgradama sasvim drukËijih sadræaja.
102 Perspective, floor plan; projection patterns, section Perspektiva, tlocrt; sheme projekcije, presjek
103 Parish Church / Æupna crkva, VolovËica - Zagreb, 1994
A similar interest in innovative SliËan interes za inovativnim eks- atmospheric changes. In addition, skih mijena. Uz to, pravilno experimentation is evident in perimentom Neidhardt pokazuje the correctly observed elements uoËeni elementi urbane dinamike Neidhardt’s 1994 competition i u natjeËajnom radu za æupnu of urban dynamics stimulated the potakli su arhitekta na stvaranje entry for the parish church in the crkvu u zagrebaËkom predgrau architect to adopt an open concept otvorenoga koncepta crkve koja Zagreb suburb of VolovËica. VolovËica 1994. godine. Umjesto of the church, whereby the church je svetiπte, ali i generator socijal- Instead of the virtual reality of virtualne stvarnosti multimedi- is a place where the religious ser- nih okupljanja drugih vrsti. Ute- the multimedia backdrop for the jskog slikovnog zalea oltara, vice is held but where also social meljenje takvom konceptu nae- altar as applied in the design of kojeg je primijenio u projektu gatherings of other kinds are no je u povijesnim ali i suvreme- the church of St. John the crkve Sv. Ivana evanelista, held. The justification for such a nim referentnim graevinama. Evangelist, at VolovËica the wall ovdje stijenu iza oltara rjeπava concept is to be found in both his- Neidhardt je tako na sebi doslje- behind the altar is transparent, potpuno transparentno, te tako torical and contemporary refer- dan naËin pokuπao razrijeπiti jed- thus visually deepening the nave vizualno produbljuje prostor crk- ence buildings. In this way, nu od temeljnih dvojbi koja se and projecting it into the open vene lae na otvoreni atrij s dra- remaining faithful to himself, postavlja pred crkvenu arhitek- atrium, with a dramatic focus on a matskim fokusom na velikom kri- Neidhardt tried to resolve one of turu u zemljama bivπeg istoËnog large cross and the texture of its æu i teksturi njegove pozadine the key dilemmas facing church politiËkog bloka. Jer u tim je zem- background, which reflects the koja odslikava stanja atmosfer- architecture in the countries of ljama proces graenja novih sa-
104 the former eastern political bloc. kralnih prostora donekle reverzi- social development in already socijalnoj dimenziji projekta, It should be noted that in these bilan u odnosu na povijesni: dok formed settings. In the case of the odnosno u njenoj funkcionalno i countries the process of sacral je Crkva u drugim dijelovima parish church of VolovËica, the oblikovno otvorenoj strukturi building construction is in a way Europe tijekom proteklih pede- answer was found in the distinct- koja potiËe zateËeno stanje kon- reversible compared with the set godina logiËno rasla uz πire- ly social dimension of the project, teksta. Stoga ovaj projekt elabo- actual historical process: while in nje zajednice, taj je proces bio its functionally and formally open rira ideju crkve koja nije samo the rest of Europe the Church uvelike prekinut u zemljama structure, which stimulates the pastoralni objekt nego i subjekt grew naturally, step in step with bivπeg socijalizma. Stoga se respect for the context as already aktiviranja kvalitetnijega zajed- the expansion of the religious danas kao jedan od kljuËnih prob- given. Neidhardt’s design elabo- niËkog æivota. community, in the former socialist lema pred arhitektima postavlja rates the idea of the church which countries the growth was in most pitanje kako novim pastoralnim is not merely a pastoral building cases halted. That is why the graevinama slijediti kontinuitet but also a subject which activates architects designing new pastoral urbanog i socijalnog razvoja u a greater quality of collective buildings today must first answer veÊ formiranim sredinama. U living. the crucial question: how to main- sluËaju æupne crkve u VolovËici tain the continuity of urban and odgovor je pronaen u izraæeno
105 Architectural elements, section; model and floor plan Arhitektonski elementi, presjek; maketa i tlocrt
106 107 Badel City Block / Blok Badel, Zagreb, 1992-96
If one wished to predict the Ako se hoÊe predvidjeti autorsko angles: with a substantive and slojno - sadræajnom i oblikovnom future course of Neidhardt’s djelovanje Velimira Neidhardta formal architectural revitaliza- arhitektonskom revitalizacijom architectural work, at least over tijekom sljedeÊih godina, trebalo tion and a two-way planning reg- te dvosmjernom urbanistiËkom the next few years, one ought to bi, uz veÊ istaknute elemente ulation — from the outside regulacijom, prema unutraπnjo- consider — in addition to the arhitektonskog oblikovanja, kao towards the inside of the block sti bloka i od unutraπnjosti prema already noted elements of archi- poticaj za razmiπljanje uzeti neki and from the inside towards the vanjskom prostoru. Valja tako- tectural design — also some of od recentnih projekata, prim- outside. To this should be added er primijetiti i oblikovne inova- his more recent projects, for jerice onaj za gradski blok uz also certain formal innovations cije. Prisutne su varijacije koje instance, the city block next to tvornicu Badel, izmeu MartiÊe- envisaged within the block which prate mijene suvremene arhitek- the Badel Beverage Plant, ve, Vlaπke i DerenËinove ulice te reflect the changes in architec- ture, ponajbolje izraæene svjet- between MartiÊeva, Vlaπka and Kvaternikova trga. Program tog tural design, best expressed in skim ostvarenjima, poput zgrade DerenËinova Streets and Kvater- pozivnog natjeËajnog rada jest such realizations as Richard telekomunikacija “Canal +” u nikov Trg square. This competi- sreivanje jednog od trajnih pro- Meier’s Canal+ Telecommunica- Parizu Richarda Meiera ili uglov- tion grapples with one of the blema danaπnje gradske jezgre tions building in Paris or Helmut nice Mannheimer Versiecherung perennial problems in the pres- Zagreba, a to je regulacija pros- Jahn’s Mannheimer Versieche- AG u Mannheimu Helmuta ent city centre, since the space tora unutar bloka koji je tijekom rung AG building in Mannheim. Jahna. within that block has remained povijesnih promjena ostao izvan undeveloped and unused, a gap in funkcije pa tako i nedovrπen u the city’s urban fabric. As the urbanoj slici danaπnjega grada. invited architect Neidhardt ap- Kao pozvani autor Neidhardt proaches the task from two toj aktualnoj temi pristupa viπe-
108 Isomertic view; perspective, floor plans Izometrija; perspektiva, tlocrti
109 Model views, floor plan Slike makete, tlocrt
Furthermore, the office-cum- U projektu za realizaciju uglov- housing building of the Badel ne, poslovno-stambene zgrade u Block in ©ubiÊeva Street, design- bloku Badel, uz ©ubiÊevu ulicu, ed in 1993 for execution with zajedno s prof. M. BegoviÊem i D. Professor Miroslav BegoviÊ and Manceom, 1993. godine, primjer- Davor Mance, is a sophisticated no je ostvarena urbana simbioza example of contemporary office niza suvremenih namjena unutar functions within the architectural osebujnoga arhitektonskog kor- form of a postindustrial land- pusa s repernim oblikovanjem mark. novog, kozmopolitskog gradskog obiljeæja.
110 North, south and west elevations Sjeverno, juæno i zapadno proËelje
111 An entirely new design study of Potpuno nova studija istoga blo- peak of the urban design compo- atrij udomljuje gradski trg na the same block, was worked out ka ostvarena zajedno s profe- sition, the atrium plaza emanates globalnim zasadama, prema su- with Professor BegoviÊ in Octo- sorom BegoviÊem u listopadu an attractive big city life. Such a vremenim urbanim i komunikaci- ber 1996. The urban block was 1996., strukturira prostor uz new urbanity provided by global- jskim obrascima kakvi se npr. structured by two perpendicular pomoÊ dvije ortogonalne trgo- ly networked communication pat- nalaze u bloku Sony Center na shopping malls, one being open- vaËke ulice. Jedna je otvorena, terns is of a generic type like Potsdamer Platzu u Berlinu air and the other glass covered. dok druga, zatvorena, kulminira Murphy/Jahn’s Sony Center in Helmuta Jahna. The latter mall ended in the tri- atrijem kao klimaksom arhitek- Berlin’s Potsdamer Platz. angular atrium plaza. Being the tonske kompozicije. Trokutasti
112 Perspectives and section Perspektive i presjek
113 Croatian Government Centre / Zgrada Vlade, ministarstava i dræavne uprave, Zagreb, 1996
The 1996 competition entry for NatjeËajni rad za kompleks zgra- left bank of the Sava has do danas, unatoË razliËitim nam- the Croatian Government and da Vlade i dræavne uprave remained unurbanized until the jerama i planovima, neurban- administration complex reflects Republike Hrvatske iz 1996. present day, and Zagreb cannot izirane pa Zagreb joπ uvijek ne the author’s consistent approach godine iskazuje puni kontinuitet be said to live on its river. æivi na obalama svoje rijeke. to the architectural design of his- autorskoga koncepta u pristupu Neidhardt approached the artic- Neidhardt pristupa artikulaciji toric Zagreb to the north of the dogradnji povijesnog prostora ulation of the administrative upravnih zgrada u tom osjetlji- River Sava. Neidhardt opted for grada Zagreba sjeverno od Save. buildings in this highly sensitive vom gradskom prostoru s mje- a horizontal spread of the build- Arhitekt se opredjelio za horizon- urban space with caution, draw- rom i iskustvom arhitekta koji se ings in order to visually and mor- talno πirenje volumena zgrada ing on his long and rich experi- veÊ dugo bavi metropolskim phologically reconcile a new func- Ëime se morfoloπki i vizurno ence of an architect preoccupied temama. Stoga rasporeuje cijeli tion in that part of the city with usklauje jedna nova funkcija u with metropolitan themes. Thus, kompleks u tri cjeline unutar the logic of the existing context. tom dijelu grada s logikom kon- he divided the entire complex kojih se rasporedom funkcija i Viewed historically, and despite teksta. Povijesno gledajuÊi, sjev- into three wholes, within which masa volumena omoguÊuje ne a series of ideas and plans, the erne obale rijeke Save ostale su the functions and volume masses samo vrlo dobro funkcioniranje
114 Site plan Situacija
are arranged in such a way that cjeline nego i garantira gradski vicinity. The government build- tan u arhitekturi poslovnih i the whole can properly function karakter toga velikog prostora. ings are designed in the spirit of upravnih zgrada, a njihov ur- and at the same time preserve Sve to, dakako, uz pretpostavku the contemporary international banitet se znaËenjem generatora the urban character of this large da bi novi upravni prostor trebao modernism which prevails in the svjesno hoÊe ugraditi u postojeÊi space — all this, of course, pro- biti viπe od ËinovniËkoga eldora- design of recent business and prisavski zagrebaËki kontekst. vided that the new administra- da koji se gasi svaki dan u pet sati administrative buildings. It is tive complex is more than a poslije podne, nego bi dapaËe this idea of urbanity that mere bureaucratic Eldorado that mogao biti novi urbani predio Neidhardt consciously tries to turns its lights off at five o’clock koji privlaËi graane, a moæda i build — as a generator — into in the afternoon. Rather, it potencijalne ulagaËe u izgradnju the existing architectural con- should be a new urban space susjednih prostora. Zgrade Vla- text of the left bank of the River attractive to visitors and possibly de su, dakle, oblikovane u duhu Sava in Zagreb. also stimulating for investors suvremenog internacionalnog to build more buildings in the modernizma kakav je dominan-
115 Sections, sketches, floor plan Presjeci, skice, tlocrt
116 117 118 119 Continuation / Nastavak Perspective sketch of the Land Registry hall, INA Headquarters new interiors Perspektivna skica dvorane Gruntovnice, novi interijeri zgrade INE
A number of different conclu- ZakljuËci bi ovoga sumarnog pre- formal or substantive referential objekti, a kad se kaæe kapitalni, sions can be drawn from this gleda arhitekture Velimira Neid- links with the urban context. misli se uz dimenzije i na znaËaj brief overview of Velimir hardta mogli biti razliËiti. Nasta- That is why Neidhardt’s capital objekta u urbanom kontekstu, Neidhardt’s architecture. Focus- vimo li naznaËenim putem o post- projects — capital both in terms mogu svrstati meu one produk- ing on the postindustrial charac- industrijskom karakteru njegove of scale and in terms of their sig- te arhitektonske misli kakvi zaci- ter of his architecture, given the arhitekture u posve atrofiranom nificance — belong among those jelo pretendiraju na daleko veÊu completely atrophied industrial industrijskom okoliπu hrvatske products of architectural thought ulogu od sasvim praktiËne svrhe environment of the Croatian cul- kulture, strategija se monumen- that aspire to the role that goes za koju je objekt projektiran. Nji- ture, one might consider his talne gradotvornosti moæe Ëiniti far beyond the practical purpose hov je znaËaj, poglavito zgrada strategy of urban monumentality Ëak i utopijom dok joπ u urbanoj for which the building in ques- Ina trgovine i Nacionalne i sve- something of a utopia at the time stvarnosti nije moguÊe prepoz- tion is designed. Their impor- uËiliπne biblioteke, izniman za bu- when Zagreb’s urban reality nati cjelovite naznake grada koji tance, particularly in the case of duÊe definiranje rasta Zagreba, does not yet show signs of direct nije izravno vezan uz klasiËne the INA Trgovina and the pri Ëemu bi raskorak izmeu opÊe linkage with industrial modes of industrijske oblike proizvodnje. National and University Library kulturne situacije i idejne osnove production. But where Zagreb is Ako je rijeË o Zagrebu, valja pri- buildings, is exceptional, as they tih graevina mogao biti viπe po- concerned, it should be pointed mijetiti da je arhitektura tijekom define the future growth of ticajan nego πto bi eventualno out that its architecture has been proteklog stoljeÊa i pol bila utopi- Zagreb. The discrepancy be- ostao usamljenim primjerom gra- utopian for the past century and jska u smislu stvaranja novih tween the general cultural situa- dotvornog razmiπljanja. No, pred- a half, in the sense that it con- urbanih situacija ili pak zbog tion and the conceptual plan of vianja takvog tipa nisu predme- stantly created new urban situa- omoguÊivanja pretpostavki za these buildings might prove tom ovog teksta, koji je tek tions and/or preconditions for the novi rast grada. U tom smislu, stimulating, rather than frus- pokuπao pribliæiti neke motive city’s further growth. This was koji je donekle postao odreen trating as an isolated example of jednog orginalnog opusa suvre- particularly true of what is com- upravo unutar onoga πto se obiË- architectural thinking along mene hrvatske arhitekture. monly known as modern or mod- no naziva modernom ili moder- urban design lines. Such conjec- Neidhardt nastavlja autorski ernist architecture, which de- nistiËkom arhitekturom, defini- tures will be eschewed at this djelovati uz neprekidnu brigu o fined the outlines and structures rani su obrisi i strukture suvre- point, however, since the pur- grai svojega opusa, dokazujuÊi of contemporary Zagreb. By menog Zagreba, pa bi se analogi- pose of the present text has been vjerodostojnost i adaptabilnost analogy, Neidhardt’s architec- jom arhitektura Velimira Neid- only to examine the motifs and projekata pred novim izazovima. ture can be regarded as a devel- hardta mogla svrstati meu one achievements of an original opus U nerazdvojnosti autora i djela opment that significantly stimu- pojave koje urbanizmu dodaju in modern Croatian architecture. proæima se æivot opusa s dinami- lates city growth with individual znaËajne poticaje upravo pojedi- Neidhardt continues his archi- kom konca XX. stoljeÊa. Pokazu- buildings. Hence the label “archi- naËnim graevinama. Stoga na- tectural work, paying constant je se to u Neidhardtovim projek- tecture of monumental city- ziv monumentalna gradotvornost attention to the structure of his tima iz 1997. do 1999. godine. scape”. It is nothing but a code nije drugo doli πifra za pristup opus and proving the credibility Primjerice, zgradu INA trgovi- name for a particular approach to arhitekturi koja se dokazuje and adaptability of his projects in ne u Zagrebu transformira u architecture in which the charac- daleko znaËajnijim karakteris- the face of new challenges. The stoæerni upravni objekt u skladu teristics of individual buildings tikama nego πto je to moguÊe inseparability of the author and sa suvremenim informacijskim i have the significance that goes opisati na papiru koji u arhitek- his work gives life to this opus poslovnim potrebama naftne well beyond what can be repre- tonskom oblikovanju podnosi and invests it with late twenti- tvrtke INA, a u Nacionalnoj i sented on paper (which itself can raznolike, Ëak i one nemoguÊe, eth-century dynamics. This is sveuËiliπnoj knjiænici u Zagrebu stand all, even impossible, ideas ideje. evident in Neidhardt’s 1997 till dovrπava lateralni dio zgrade of architectural design). No, ovdje nije rijeË o papirnatoj 1999 projects. Thus, for instance, dopunjujuÊi ga novim radnim In Neidhardt’s case, however, we arhitekturi nego o vrlo realistiË- he transformed the INA-Trgovi- prostorima javnih ustanova. Ta- are faced not with “paper archi- nom promiπljanju urbanih situaci- na building in Zagreb into an kav work-in-progress pridruæuje tecture” but with a very realistic ja unutar kojih se Ëak i potpuno administrative headquarters djelima vremensku kontekstual- assessment of urban situations, novi karakter gradskih dijelova fully in line with the modern nost, odnosno vitalnost arhitek- within which individual buildings nastoji artikulirati pa i animirati information-processing and busi- tonske recentnosti. seek to articulate a completely graevinama, ali uz formalne ili ness management requirements new character of whole urban sadræajne veze s kontekstom. of the INA Petroleum Industries environments, but always with Stoga se kapitalni Neidhardtovi group; in the National and Uni-
120 121 versity Library in Zagreb, he is just completing the lateral sec- tion to add more space for various public institutions. Such work-in- progress is intended to give these buildings a new temporal contex- tuality, and it demonstrates the vitality of Neidhardt’s architec- tural solutions. Appendices / Referentni prilozi
Velimir Neidhardt / Biographical note / Saæeta biografija
Born in Zagreb, 7 October 1943, to a Roen je 7. listopada 1943. u Zagrebu, in Zagreb. He has been awarded a te Poslovna zgrada INA trgovine u family whose ancestors had come u obitelji koja je u XIX. stoljeÊu iz significant competition prize for The Zagrebu. Takoer je nagraen u from Germany and settled in Zagreb NjemaËke doselila u Zagreb. Meu Croatian Government Centre in natjeËaju za kompleks zgrada Vlade, in the nineteenth century. The mnogim poslovnim ljudima i industri- Zagreb. Since 1969, Neidhardt has ministarstava i dræavne uprave Re- Neidhardts soon became Croatized jalcima, Ëlanovi pohrvaÊene obitelji regularly published scholarly and pro- publike Hrvatske u Zagrebu. and were well-known as businessmen Neidhardt jesu i braÊa Juraj i Franjo, fessional papers in national and inter- Od 1969. godine aktivno objavljuje and industrialists. Two of them, the oba arhitekti, a Franjo je otac Velimi- national publications and periodicals. struËne i znanstvene radove u doma- brothers Juraj and Franjo (the latter rov. His book dealing with the anthroposo- Êoj i inozemnoj struËnoj perodici i was Velimir’s father), were architects. Neidhardt je diplomirao 1967. na Ar- cial method of design entitled Man in Ëasopisima. U knjizi “»ovjek u pros- Velimir Neidhardt earned his B.Sc. in hitektonskom fakultetu SveuËiliπta u the Environment (»ovjek u prostoru) toru”, objavljenoj 1997., postavlja Architecture at the University of Zagrebu. Od 1968. do 1970. bio je was published in 1997. Neidhardt has antroposocijalnu metodu projektira- Zagreb in 1967. Between 1968 and suradnik Majstorske radionice likov- shown his works (since 1970) at all nja. Od 1970. izlagao je na svim rele- 1970, he attended the Master nih umjetnosti profesora Drage major architectural exhibitions in vantnim grupnim i revijalnim izloæba- Workshop run by the architect and GaliÊa. Magistrirao je 1978. na Arhi- Croatia and participated in interna- ma arhitekture i urbanizma u Hrvats- professor of architecture Drago GaliÊ. tektonskom fakultetu u Zagrebu iz tional exhibitions, among them at the koj, a i na meunarodnim izloæbama He obtained his M.Sc. in Urban and podruËja urbanih i prostornih znanos- XIXth Triennale in Milan, Italy. He od kojih je najznaËajniji XIX. Trie- Environmental Studies from the ti. is a long-standing member and nnale u Milanu. Dugogodiπnji je Ëlan i Faculty of Architecture, Zagreb Akademske godine 1974.-75. boravio President (1995-99) of the Croatian predsjednik Udruæenja hrvatskih ar- University, in 1978. je kao stipendist zaklade “Zlatko i Architects Association and an hitekata (1995.-99.), te pridruæeni Ëlan He spent one academic year, Joyce BalokoviÊ” u Sjedinjenim Ame- Associate of the American Institute ameriËke arhitektonske asocijacije 1974-75, at Harvard University riËkim Dræavama na Harvard Univer- of Architects. (Associate of the American Institute (Department of City and Regional sity, Department of City and Regional In 1979, Neidhardt was appointed of Architects - AIA). Planning) and, partly, MIT as the Planning, i dijelom programa na part-time Urban Design Studio Od 1979. bio je honorarni asistent na Zlatko and Joyce BalokoviÊ Scholar. Massachusetts Institute of Techno- Lecturer at the Chair of Urban katedri za urbanizam Arhitektonskog This was followed by an invitation to logy. Nakon toga, do svibnja 1976. dje- Studies, Faculty of Architecture, fakulteta u Zagrebu, a od 1991. djelo- work in the Skidmore, Owings and lovao je u atelijerima Skidmore, Zagreb University, and was promot- vao je kao honorarni docent. Na kate- Merrill Architectural Design Studios Owings i Merrill u Chicagu. Iste ed to part-time Assistant Professor in dri za projektiranje izabran je 1993. za in Chicago. Returning to Zagreb in godine, nakon povratka u domovinu, 1991. In 1993, he was appointed part- honorarnog izvanrednog profesora na June 1976, Neidhardt joined the pristupio je UrbanistiËkom institutu time Associate Professor of predmetima Arhitektonsko projekti- Urban Planning Institute of Croatia. Hrvatske. Architectural Design VIII and ranje VIII i Integralni rad. Od godine He earned his Ph.D. from the Faculty Godine 1990. stekao je stupanj dokto- Integral Design at the Chair of 1994. stalni je nastavnik Arhitekton- of Architecture, Zagreb University, in ra znanosti obranom disertacije “An- Architectural Design. In 1994 he skog fakulteta u svojstvu izvanrednog 1990 with the dissertation entitled troposocijalni faktor u teorijskom joined the full-time faculty staff as profesora te zapoËinje predavati pred- “The Anthroposocial Factors Theory pristupu arhitektonskom i urbanistiË- Associate Professor of Architecture, met Zgrade za rad i trgovinu. in the Approach to Architectural and kom projektiranju” na Arhitekton- with courses on Commercial and Neidhardt 1996. osniva tvrtku za Urban Design”. skom fakultetu u Zagrebu. Office Buildings. arhitekturu Neidhardt arhitekti d.o.o. He was elected Alternate Member of Izabran je 1980. za Ëlana-suradnika, Neidhardt has established his own u Zagrebu. U nerazdvojnosti stvar- the Croatian Academy of Arts and 1990. za izvanrednog Ëlana, a od 1991. architectural design firm Neidhardt alaπtva i nastave, usporedno vodi Sciences in 1980, Associate Member in akademik je - redoviti Ëlan Hrvatske arhitekti d.o.o. in Zagreb, and since vlastiti arhitektonski atelijer i preda- 1990, and Full Member (Academician) akademije znanosti i umjetnosti. 1996 continued both practising and je na Arhitektonskom fakultetu in 1991. For his works he has been Za stvaralaπtvo je dobivao viπe priz- teaching architecture. In 1999 he was SveuËiliπta u Zagrebu, na kojem je awarded many prizes, such as the nanja, meu kojima su nagrade appointed Full Professor of 1999. izabran za redovitog profesora. Vladimir Nazor Awards for exellence “Vladimir Nazor” Ministarstva kul- Architecture. in architecture for the years 1989 and ture za najbolja ostvarenja u arhitek- 1995 from the Croatian Ministry of turi i urbanizmu 1989. i 1995. godine, Culture, and the Viktor KovaËiÊ te nagrada “Viktor KovaËiÊ” Udruæe- Award for excellence in architecture nja hrvatskih arhitekata za najbolje for the year 1979 from the Croatian arhitektonsko ostvarenje u 1979. Architects Association. His major Neidhardtovi najznaËajniji natjeËajni competition first prizes have been projekti nagraeni su prvim nagrada- executed, such as the National and ma i ostvareni, primjerice, nova zgra- University Library Building in da Nacionalne i sveuËiliπne biblioteke Zagreb, the City Centre I of Banja u Zagrebu, najuæe gradsko srediπte s Luka in Bosnia and Herzegovina robnom kuÊom “Boska” i viπenamjen- (with coauthors), and the INA skim domom kulture u Banja Luci u Petroleum Company Office Building Bosni i Hercegovini (sa suautorima),
125 Awards / Nagrade
Viktor KovaËiÊ award given by the Nagrada “Viktor KovaËiÊ” Saveza Marijan HræiÊ, Zvonimir KrznariÊ and Nagrada “Vladimir Nazor” za arhi- Croatian Architects Association, for arhitekata Hrvatske za zgradu robne Davor Mance). tekturu i urbanizam u 1989. za poslov- the design of the Boska Department kuÊe “Boska” u Banja Luci, Bosna i Vladimir Nazor annual award by the nu zgradu INA trgovine u Zagrebu. Store at Banja Luka, Bosnia and Hercegovina (s Ljerkom LuliÊ i Jas- Republic of Croatia for architecture Nagrada “Vladimir Nazor” za arhi- Herzegovina, as the best architectur- nom Nosso), kao najboljem arhitek- and urban design in 1989, for the tekturu i urbanizam u 1995. za real- al design in the year 1979 (with Ljerka tonskom ostvarenju u 1979. design of the INA Trgovina office izaciju zgrade Nacionalne i sveuËiliπne LuliÊ and Jasna Nosso). Nagrade l4. i 17. ZagrebaËkog salona building in Zagreb. knjiænice u Zagrebu (s M. HræiÊem, Z. Fourteenth (1979) and Seventeenth za projekt Nacionalne i sveuËiliπne Vladimir Nazor annual award by the KrznariÊem i D. Manceom). (1982) Zagreb Salon awards for the biblioteke u Zagrebu, 1979., te za stu- Republic of Croatia for architecture design of the National and University diju centralnog gradskog prostora Za- and urban design in 1995, for the Library in Zagreb and for the urban greba i priobalja Save, 1982. (s Marija- National and University Library development study of central Zagreb nom HræiÊem, Zvonimirom Krznari- Building in Zagreb (with M. HræiÊ, Z. and the Sava riverfront area (with Êem i Davorom Manceom). KrznariÊ and D. Mance).
126 Catalogue of design projects / Katalog projekata
Presented works / Prikazana djela 1969 Hotel Lapad, Dubrovnik (with I. Kolbach and B. ©avora) 16 Hotel Begova Ledina, Makarska 20 1970 Bit Pazar Shopping Centre / TrgovaËki centar, Skopje, Macedonia (with I. FraniÊ) 26 1972 Shopping Centre / TrgovaËki centar, MrkonjiÊ Grad, Bosnia and Herzegovina 30 1973-79 City Centre I / Gradski centar I., Banja Luka, Bosnia and Herzegovina (with Lj. LuliÊ and J. Nosso) 34 1975-76 American studies / AmeriËke studije 42 1971 New Zagreb City Centre / Centar Novoga Zagreba (with L. Schwerer and B. VelniÊ) 44 1977 French Republic Square / Trg Francuske Republike, Zagreb (with I. FraniÊ) 48 1984 Hamma Centre / Centar Hamma, Algiers (with Z. KrznariÊ) 52 1980 Telecommunications Building / Zgrada telekomunikacija, ©ibenik 54 1978-95 National and University Library / Nacionalna i sveuËiliπna knjiænica, Zagreb (with M. HræiÊ, Z. KrznariÊ and D. Mance) 56 1981-95 Zagreb urban axis / Urbana osovina Zagreba 68 1985 Convention & Trade Centre / Kongresno-poslovni centar, Zagreb 70 1985-89 INA Trgovina Building / Poslovna zgrada INE, Zagreb 74 1977-95 Diagonal patterns / Dijagonalne kompozicije 82 1985 Large-scale architecture / Velikoformatna arhitektura 84 1985 Exportdrvo Office Building / Poslovna zgrada Exportdrvo, Zagreb 86 1981-92 Vision of cosmopolitan city / Vizija kozmopolitskoga grada, Zagreb 88 1989 Adriatic Pipeline Headquarters / Poslovna zgrada Jadranskoga naftovoda, Zagreb 92 1991 World Trade Centre / Svjetski trgovinski centar, Zagreb, (with Z. KrznariÊ and D. Mance) 96 1992 Metropolitan axis / Os metropole, Zagreb (with Z. KrznariÊ and D. Mance) 98 1991 St. John the Evangelist Church / Crkva Sv. Ivana evanelista, Zagreb 102 1994 Parish Church / Æupna crkva, VolovËica - Zagreb 104 1993-96 Badel City Block / Blok Badel, Zagreb (with M. BegoviÊ and D. Mance) 108 1996 Croatian Government Centre / Zgrada Vlade, ministarstava i dræavne uprave, Zagreb 114 1997-00 Continuation / Nastavak 120
127 Work done at the MedveπËak Archi- Radovi u arhitektonskom birou “Me- architectural design) 1976. - Sear’s Store, Seaview Square, tectural Design Studio in Zagreb, dveπËak” u Zagrebu, 1968.-74. 1976 - Sear’s Store, Seaview Square, NJ (elementi oblikovanja robne kuÊe); 1968-1974 NJ (formal elements of department 1976. - Dow Chemical Industrial Park, 1968. - projekt hotela “Preko” u Pre- store architectural design) Freeland, MI (studija oblikovanja 1968 - Preko Hotel, Preko, Island of ku, otok Ugljan (suradnik); 1976 - Dow Chemical Industrial Park, industrijskog parka); Ugljan (co-worker) 1969. - projekt stambenog naselja Freeland, MI (formal improvement 1976. - MD project Chicago, IL (studi- 1969 - BaπËeluci housing project, “BaπËeluci” u Jajcu, Bosna i design study) ja atrija poslovnog tornja). Jajce, Bosnia and Herzegovina (co- Hercegovina (suradnik); 1976 - MD Project, Chicago, IL (office worker) 1969. - urbanistiËko-arhitektonsko rje- tower atrium architectural design Radovi u UrbanistiËkom institutu 1969 - Tuleg housing project, Konjic, πenje naselja “Tuleg” u Konjicu, study). Hrvatske, 1976. - 1994. Bosnia and Herzegovina Bosna i Hercegovina; 1970 - Police Headquarters, MrkonjiÊ 1970. - upravna zgrada Policije, Mrko- Work done at the Urban Planning 1976.-77. - urbanistiËki plan Petrinje; Grad, Bosnia and Herzegovina, real- njiÊ Grad, Bosna i Hercegovina, real- Institute of Croatia, 1976-1994 1976.-78. - prostorne analize za urban- ized (with Lujo Schwerer) izirano (s Lujom Schwererom); istiËki plan Nove Gradiπke; 1971 - S-21 and S-23 residential build- 1971. - stambeni objekti S-21 i S-23, 1976-77 - Petrinja master plan 1977. - prostorni plan opÊine Petrinja ings, MrkonjiÊ Grad, Bosnia and Her- MrkonjiÊ Grad, Bosna i Hercegovina, 1976-78 - preliminary analyses for the (s Fedorom Wenzlerom); zegovina, realized (with L. Schwerer) realizirano (s L. Schwererom); Nova Gradiπka master plan 1977. - programske analize za pros- 1971 - Podravska Slatina town centre 1972. - urbanistiËko rjeπenje srediπta 1977 - physical plan for the municipal- torni plan opÊine Nova Gradiπka; project Podravske Slatine - projekt stam- ity of Petrinja (with Fedor Wenzler) 1977. - programske analize i smjernice 1971 - housing-cum-commercial build- beno-poslovnog objekta, Podravska 1977 - programming analyses for the za prostorni plan opÊine Æupanja; ing, Podravska Slatina Slatina; municipality of Nova Gradiπka physi- 1977. - urbanistiËki projekt istoËnog 1972 - MrkonjiÊ Grad shopping centre 1972. - urbanistiËko rjeπenje i projekt cal plan dijela glavnog gradskog trga, Nova project, Bosnia and Herzegovina trgovaËkog ansambla u srediπtu 1977 - urban design of the eastern Gradiπka; 1972 - Dugo Selo new town centre MrkonjiÊ Grada, Bosna i Hercegovina; front of the main square, Nova 1978. - urbanistiËki projekt stambene project 1972. - projekt novog srediπta, Dugo Gradiπka zone “Zlata”, Nova Gradiπka; 1973 - Kuve tourist village develop- Selo; 1978 - urban design of the Zlata resi- 1978.-84. - revizija natjeËajnog rada ment project near Rovinj (with L. 1973. - projekt turistiËkog naselja dential zone, Nova Gradiπka (1978.), novelirano idejno rjeπenje Schwerer) “Kuve” kod Rovinja (s L. 1978-84 - revision of the 1978 competi- (1979.), tender projekt (1979.-81.) i 1972 - Jaz Hotel project, Preko, Island Schwererom); tion entry for the National and izvedbeni projekt baze srediπnjeg kor- of Ugljan 1972. - projekt hotela “Jaz”, Preko; University Library in Zagreb, pusa (1983.-84.) Nacionalne i sveuËiliπ- 1973-74 - Workers’ Solidarity Centre 1973.-74. - projekti Doma radniËke sol- amended schematic design (1979), ne biblioteke u Zagrebu - voditelj pro- and Boska Department Store, Banja idarnosti i robne kuÊe “Boska”, Banja design development (tender) project jekta (s M. HræiÊem, Z. KrznariÊem i Luka, Bosnia and Herzegovina, real- Luka, Bosna i Hercegovina (s Lj. (1979 - 81), and final design and con- D. Manceom); ized (with Lj. LuliÊ and J. Nosso). LuliÊ i J. Nosso). tract documents for two stories of the 1983. - projekt aneksa upravne zgrade central part of the building (1983-84) “Gradskih groblja” na Mirogoju u Work done at the Skidmore, Owings Radovi u atelierima Skidmore, — project leader, (with M. HræiÊ, Z. Zagrebu; and Merrill Studios, Chicago, IL Owings i Merril, Chicago, 1975.-1976. KrznariÊ and D. Mance) 1983. - studija regionalnog parka pri- 1975-76 1983 - addition to the Zagreb Ceme- rode “Miruπa”, Kosovo (s Dragutinom 1975. - Franklin Tower South Block, teries Administration building at Kiπom); 1975 - Franklin Towers South Block, Philadelphia, PA (idejni projekti hote- Mirogoj 1983. - provedbeni urbanistiËki plan Philadelphia, PA (schematic design la i poslovnog bloka); 1983 - Miruπa Regional Nature Park stambene zone “Rade KonËar”, for the hotel and office towers) 1975. - Chicago-Tokyo Bank, Chicago, project, Kosovo (with Dragutin Kiπ) Sesvetski Kraljevac; 1975 - Chicago-Tokyo Bank, Chicago, IL (studije detalja unutarnjeg ure- 1983 - Rade KonËar residential zone 1985.-86. - detaljni urbanistiËki plan IL (detailed interior design studies) enja); urban design project, Sesvetski podruËja ©kaljari, Kotor, Crna Gora; 1975 - Congress Street Bridge, 1975. - Congress Street Bridge, Kraljevac 1986. - idejna urbanistiËko-arhitekton- Boston, MA (urban development and Boston, MA (urbanistiËko-arhitekton- 1985-86 - ©kaljari district urban ska studija ansambla ulaznih termi- architectural design study to link ska studija povezivanja prostora design project, Kotor, Montenegro nala regionalnog parka prirode Boston City Hall and Fanneuill Hall izmeu zgrada Boston City Hall i 1986 - urban and architectural design “Miruπa”, Kosovo; on the Boston shore front — variant Fanneuill Hall u priobalnoj zoni study for the entrance terminals to 1986.-89. - poslovna zgrada INA trgo- designs for the linking of pedestrian Bostona - varijantni projekti pjeπaË- the Miruπa Regional Nature Park, vina u Zagrebu - idejni projekt za do- plazas) kih mostovnih poteza); Kosovo bivanje graevinske dozvole, izved- 1976 - Sixty State Street, Boston, MA 1976. - Sixty State Street, Boston, MA 1986-89 - INA Trgovina office build- beni projekt suterenskog dijela, (studies for the plaza entrance to the (studije ulaznog prostora poslovnog ing, Zagreb — schematic design for umjetniËki nadzor na izvedbenom pro- office tower) tornja); the preliminary building permit, jektiranju, autorsko praÊenje real- 1976 - Sear’s Store, Rockaway, NJ 1976. - Sear’s Store, Rockaway, NJ architectural supervision of design izacije; (formal elements of department store (elementi oblikovanja robne kuÊe); development, author’s field monitor- 1985.-95. - Nacionalna i sveuËiliπna
128 ing of the project’s execution knjiænica u Zagrebu - projektiranje i design of elevator lobbies (4/1992), dizajn rasvjete proËelja (6/92.); projek- 1985-95 - National and University autorsko praÊenje realizacije - prikaz design of restroom facilities (5/1992), ti funkcionalnih izmjena prostora u Library, Zagreb, design and execu- prostora I. etape izgradnje NSB s design of interior partitioning system dijelovima II, III i IV (9/92.); projekt tion process — Stage 1 master plan pripremnim radovima (1985.); arhi- (3-11/1992), design of façade lighting dvostrukih modularnih (kompju- and preparatory work (1985-86), tektonsko-urbanistiËka studija rjeπe- (6/1992), functional emendations of torskih) podova (9/92.); dizajn obradbi Stage 1 architectural and urban nja I. etape zgrade i okolice (1986.- areas in the lateral parts II, III and proËelja graevnih dijelova XI, XII i design study of the building and its 87.); idejni arhitektonski projekt, pro- IV (9/1992), design of double modular XIII (10/92.); - voditelj projekta (s D. surroundings (1986-87), Stage 1 jekt za dobivanje graevinske dozvole floors (9/1992), design of façades for Manceom i Z. KrznariÊem). Projekt schematic architectural design for the I. etape izgradnje (1987.); raspored building parts XI, XII and XIII preureenja prostora u kompleksu building permit (1987), Stage 1 interi- radnih mjesta i dispozicija opreme I. (10/1992) — project leader, (with D. NSB za trgovaËki centar uz ulicu or design layout of workstations, fur- etape, dopuna uvjeta ureenja prosto- Mance and Z. KrznariÊ). Schematic Hrvatske bratske zajednice (1994.- niture and equipment, amended land- ra I. etape (1988.-89.); autorske inter- design for the transformation of com- 95.), s D. Manceom. use and urban development require- vencije u projektu za izvoenje I. mercial premises into a shopping cen- ments (1988-89), architect’s interven- etape (1988.); interijersko rjeπenje tre along the Hrvatske Bratske Za- Konzultantski poslovi tions in the working drawings for sustava stropova, obloga i podova jednice strip within the National and Stage 1 building execution (1988-95), (1988.-89.), novo idejno rjeπenje atrija University Library complex (1994- Konzultant za Europu tvrtke Schmidt, interior design: system of ceilings, (1989.); idejno rjeπenje proπirenja I. 95), with D. Mance. Garden i Erikson, Architects - panelling and flooring (1988-89), new etape (lateralni dijelovi, 6/1989.), obli- Engineers, Chicago, IL (1976.-1981.). design for the atrium (1989), schemat- kovanje oploËenja proËelja i prateÊih Consultancy work ic design for extended Stage 1 build- povrπina oko zgrade, idejno rjeπenje i Radovi u slobodnom stvaralaËkom ing (lateral parts, 6/1989), cladding projekti poteza lokala uz ulicu Hrvat- European consultant to Schmidt, djelovanju (izbor) and flooring design for elements of ske bratske zajednice u sastavu kom- Garden and Erikson, Architects - the surrounding plazas, schematic pleksa NSB, prostorno-programska Engineers, Chicago (1976-81). Projekti obiteljskih kuÊa: design of commercial premises along osnova umjetniËkog ureenja nove the Hrvatske Bratske Zajednice strip zgrade NSB (1990.); prostorno-pro- Freelance work (selection) 1969. - kuÊa Kudera, Stari Grad na within the National and University gramska osnova umjetniËkog uree- Hvaru; Library complex (1990), outline of nja NSB s posebnim dispozicijsko-in- Family houses: 1970. - kuÊa Delfar, Rovinj; spatial arrangement of permanent formacijskim prilogom (5/91.); arhi- 1971. - dvojni objekt Lavrinc, Karlo- fine arts exhibits in the Library tektonski prilozi za program vizualnih 1969 - Kudera, Stari Grad, Island of vac; (1990), with a visual-informational komunikacija (3/91.); dizajn ovjeπenih Hvar 1971. - kuÊa PijetloviÊ, Jajce, Bosna i supplement (5/1991), architectural ele- stropova NSB u mjerilu 1:50 (5-6/91.); 1970 - Delfar, Rovinj Hercegovina; ments for the Library’s visual commu- dizajn kamenih obloga proËelja, podo- 1971 - Lavrinc, semi-detached, Karlo- 1977. - kuÊa Kudera, Hrastje kod Jas- nications programme (3/1991), design va i vanjskih prateÊih povrπina; inter- vac trebarskog; of suspended ceilings for the Library, ijerska dispozicija prostora osnovnog 1971 - PijetloviÊ, Jajce, Bosnia and 1979. - kuÊa Buljan, DediÊi, Zagreb; scale 1:50 (5-6/1991), design of granite korpusa NSB (7-10/91.); dizajn rasv- Herzegovina 1982. - kuÊa Husar, ©estinski vrh, cladding for the façades, floors and jetnog stupa za okolicu NSB (9/91.); 1977 - Kudera, Hrastje near Jastre- Zagreb; adjoining surfaces, interior design pregledni dispozicijski tlocrti u mjer- barsko 1983. - kuÊa AkaloviÊ, Bijenik, Zagreb; allocation of spaces in the Library’s ilu 1:200 (11/91.); projekti za obradbu 1979 - Buljan, DediÊi, Zagreb 1984. - kuÊa PetkoviÊ, Remete, Zag- main building (7-10/1991), design of javnih prostora na lateralnom dijelu 1982 - Husar, ©estinski Vrh, Zagreb reb; the lighting pylon for the Library’s proπirenja I. etape izgradnje NSB 1983 - AkaloviÊ, Bijenik, Zagreb 1988. - kuÊa Drave, Gornje Prekriæje, exterior (9/1991), new schematic lay- (11/91.); idejna faza projekta unutraπ- 1984 - PetkoviÊ, Remete, Zagreb Zagreb; out plans, scale 1:200 (11/1991), design njeg ureenja lateralnih dijelova II, 1988 - Drave, Gornje Prekriæje, Zag- 1989. - kuÊa PreseËki, Novalja na of public spaces in the lateral exten- III i IV, zbirki grae posebne vrste reb Pagu; sions of the Stage 1 building (11/1991), (razina 2) te perimetarskih prostora 1989 - PreseËki, Novalja, Island of Pag 1990. - Richard Penner Residence, conceptual framework of interior na razinama mezanina, 1., 2., 3. i 4. 1990 - Richard Penner Residence, Ca- California (studija); design for the lateral parts II, III and kata osnovnog korpusa (1991.-92.); lifornia, (study) 1992. - kuÊa Lauπ, PantovËak, Zagreb; IV, for special holding depots (Level detaljni dizajn sustava spuπtenih stro- 1992 - Lauπ, PantovËak, Zagreb 1993. - Ohanesian residence addition 2), and for perimeter spaces on the pova i definicija rasvjetnih tijela (2- 1993 - Ohanesian Residence addition project, Pottstown, Pennsylvania; mezzanine, first, second, third and 11/92.); dizajn proËelja i stropa glav- project, Pottstown, Pennsylvania 1997. - kuÊa Ostoja, Somuni, Zagreb; fourth floor levels in the main building nog atrija (3/92.); nova prostorna dis- 1997 - Ostoja, Somuni, Zagreb 1997.-98. - kuÊa TomaπiÊ, Gornje Pre- (1991-92), detailed design of the sys- pozicija sustava obradbe knjiæniËke 1997-98 - TomaπiÊ, Gornje Prekriæje, kriæje, Zagreb; tem of suspended ceilings and lighting grae (4/92.); dizajn kamene obloge Zagreb 1999.-00. - kuÊa Damvergis, MedveπËi- fixtures (2-11/1992), new design of the pretprostora dizala (4/92.); dizajn oplo- 1999-00 - Damvergis, MedveπËina, na, Zagreb. front and the ceiling of the main atri- Ëenja sanitarnih prostora (5/92.); di- Zagreb. um (3/1992), new layout of the book zajn fiksnih interijerskih obloga i sus- processing department (4/1992), tava pregradnih stijena (3-11/92.);
129 Architectural and interior design pro- Arhitektonski i interijerski projekti: Urban and architectural design UrbanistiËko-arhitektonske studije i jects studies and projects projekti: 1987. - interijer poslovne zgrade INA 1987 - interior design of the INA trgovina, Zagreb; 1972 - study of six locations for the 1972. - studija πest lokacija za hotel Trgovina office building, Zagreb 1987.-90. - interijer lokala u poslovnoj Zagreb Sheraton Hotel Sheraton u Zagrebu; 1987-90 - rental areas in the INA zgradi INA trgovina - prostor sluæbe 1979 - proposal for pedestrian and 1979. - prijedlog pjeπaËkog i pros- Trgovina building: Public Audit SDK (1987.), sa Slavicom RadiÊ- communication links between the his- tornog povezivanja povijesnih i novih Service, 1987 (with Slavica RadiÊ- VukoviÊ; Duty Free Shop, Privredna toric and new centres of Zagreb, (with dijelova srediπta Zagreba, s M. VukoviÊ), Duty Free Shop, banka i Prodaja bonova (1988.); M. HræiÊ, Z. KrznariÊ and D. Mance) HræiÊem, Z. KrznariÊem, i D. Mance; Privredna Banka and Coupon Sale reprezentativni prostori na mezaninu, 1984 - preliminary urban and archi- 1984. - idejna urbanistiËko-arhitekton- Counters, 1988, representative te 3. i 5. katu - umjetniËke realizacije tectural design for the Zagreb Fair ska studija poslovnog srediπta s lounges in the mezzanine and on the ostvario Æelimir DrakuliÊ (1989.); pro- Business Centre, with hotel and con- hotelom, trgovaËkim i kongresnim third and fifth floors, 1989 (art work dajni centar INA trgovina i Rent-a- ference facilities sadræajima uz ZagrebaËki velesajam; Æelimir DrakuliÊ), INA Trgovina Car, 1990.; 1990-91 - office-cum-residential build- 1990.-1991. - poslovno-stambena zgra- Sales Centre and Car Rental 1991.-92. - interijer ureda generalnog ing of the Adriatic Pipeline in Zagreb: da Jadranskog naftovoda u Zagrebu - Service, 1990 direktora u poslovnoj zgradi INA author’s directive design and supervi- autorsko direktivno projektiranje i 1991-92 - interior design of the INA (ranije INA trgovina) u Zagrebu i sion of the design development and nadzor nad izradbom tehniËke doku- Director General’s office in the INA umjetniËki nadzor izvedbe - tekstilnu interior design mentacije i interijera; Building (formerly INA Trgovina) in aplikaciju u blagovaonici ostvarila 1991 - project emendation and new 1991. - novelacija programa i novo Zagreb, (textile applications in the Vanda »rnja; schematic design for the Zagreb idejno rjeπenje aneksa upravne dining room by Vanda »rnja) 1992. - interijer dijela korisniËkih Cemetery Administration building zgrade “Gradskih groblja” u Zagrebu 1992 - interior design of user space on prostora na razini “0” I. etape izgrad- addition: author’s directive design - autorsko direktivno projektiranje i Level 0 of the National and Univer- nje Nacionalne i sveuËiliπne biblioteke and supervision of design develop- nadzor nad izradom tehniËke doku- sity Library in Zagreb, Stage 1, (with u Zagrebu s Z. KrznariÊem, D. Mance- ment mentacije; Z. KrznariÊ, D. Mance, M. HræiÊ, B. om, M. HræiÊem, B. AntunoviÊem, A. 1/1992 - study of possible space rental 1/1992. - projekt moguÊnosti iznajmlji- AntunoviÊ, A. MeπtroviÊ, and S. MeπtroviÊ i S. RadiÊ-VukoviÊ; in the lateral extension of Stage 1 of vanja prostora u lateralnom dijelu RadiÊ-VukoviÊ) 1993.-95. - interijeri zbirki s graom the National and University Library proπirenja I. etape izgradnje Nacio- 1993-95 - interior design of the special posebne vrste, te edukativnog sklopa, in Zagreb nalne i sveuËiliπne biblioteke u collections departments, educational total prostora Ëitaonica i relaksivnih 3/1992 - proposal for the Croatian Zagrebu; facilities, open access stacks reading prostora Nacionalne i sveuËiliπne bib- Audiovisual Archives layout in the 3/1992. - prijedlog prostorne dispozici- floors, and recreation amenities of the lioteke u Zagrebu s D. Manceom i S. lateral extension of the National and je za Hrvatski audiovizualni arhiv u National and University Library in RadiÊ-VukoviÊ; University Library, Zagreb lateralnom dijelu Nacionalne i Zagreb, (with D. Mance and S. RadiÊ- 1994.-95. - arhitektonski i interijerski 3/1992 - outline of the visual communi- sveuËiliπne biblioteke u Zagrebu; VukoviÊ) projekti ugostiteljskog kompleksa cations programme for the National 3/1992. - osnove programa vizualnih 1994-95 - architectural and interior Jana na uglu BakaËeve i ulice Pod and University Library, Zagreb komunikacija Nacionalne i sveuËiliπne design of the Jana restaurants com- Zidom u Zagrebu; 1993 - mixed-use office-cum-housing biblioteke u Zagrebu; plex in Zagreb 1997.-98. - arhitektonski i interijerski building project, Badel city block, 1993. - idejni projekt viπenamjenske 1997-98 - architectural and interior projekti transformacija prostora Zagreb, with Miroslav BegoviÊ and trgovaËko-poslovno-stambene zgrade design for the transformation of the poslovne zgrade INA u Zagrebu u Davor Mance u bloku Badel u Zagrebu s INA building into an open landscape velike radne prostore s informaci- 1996 - new urban and architectural Miroslavom BegoviÊem i Davorom and trading floor type of office space, jskom infrastrukturom tipa trading- design study for the Badel city block, Manceom; Zagreb, (within Neidhardt arhitekti floors - ostvareno u tvrtci Zagreb, with M. BegoviÊ 1996. - nova urbanistiËko-arhitektons- d.o.o.) Neidhardt arhitekti d.o.o.; 1998 - architectural design for the ka studija bloka Badel u Zagrebu s M. 1998-00 - architectural and interior 1998.-00. - arhitektonski i interijerski INA Headquarters new north addi- BegoviÊem; design of the Land registry office in projekti uredskog prostora tion, Zagreb 1998. - idejno arhitektonsko rjeπenje the lateral part of the National and Gruntovnice - Zemljiπnoknjiænog 1998 - housing building project archi- kompleksa INA Headquarters u University Library building in odjela OpÊinskoga suda u Zagrebu u tectural design, Majcenov put, Aveniji V. Holjevca u Zagrebu, nova Zagreb, (within Neidhardt arhitekti zgradi Nacionalne i sveuËiliπne Zagreb sjeverna dogradnja uz postojeÊu d.o.o.) knjiænice - ostvareno u tvrtci 1998 - study of the Croatian poslovnu zgradu; 1999 - VIP entrance of the INA Head- Neidhardt arhitekti d.o.o.; Information and Documentation 1998. - projekt viπestambene zgrade quarters building, Zagreb 1999. - novi VIP ulaz Poslovne zgrade Agency offices in the National and na Majcenovom putu u Zagrebu; 1999 - new cloakrooms of the National INE, Zagreb; University Library in Zagreb 1998. - studija ureda agencije HIDRA and University Library in Zagreb 1999. - nove garderobe Nacionalne i 1999-00 - conversion of the Organic u prostorima NSK u Zagrebu; 1999 - graphic and TV studio HRG, sveuËiliπne knjiænice u Zagrebu; Chemistry Centre building into the 1999.-00. - studija obnove zgrade new rental space of the National and 1999. - grafiËki i TV studio HRG u Library of the Croatian Academy of Centra za organsku kemiju za potrebe University Library in Zagreb. sklopu poteza lokala NSK u Zagrebu. Sciences and Arts in Zagreb. Knjiænice HAZU u Zagrebu.
130 Urban and architectural design UrbanistiËki i arhitektonski natjeËajni invitation (first prize, commissioned nog ulaza u ZagrebaËki velesajam; competition entries projekti for realization) 1989. - pozivni natjeËaj za poslovno 1990 - Astra Office Building project, -stambenu zgradu Jadranskog nafto- 1969 - Lapad Hotel, Dubrovnik, with 1969. - hotel “Lapad” u Dubrovniku, s Zagreb, by invitation, with Z. Krzna- voda na obali rijeke Save u VeslaËkoj Ivan Kolbach and Biserka ©avora Ivanom Kolbachom i Biserkom riÊ and D. Mance (purchase) ulici u Zagrebu (prva nagrada i odabir (purchase) ©avora (otkup); 1991 - World Trade Centre, five-star za izvedbu); 1969 - Begova Ledina tourist complex 1969. - turistiËki ansambl “Begova led- hotel, shopping mall, and eastern 1990. - pozivni i javni natjeËaj za with a 500-bed hotel, Makarska, (sec- ina” s hotelom od 500 kreveta, entrance to the Zagreb Fair, Zagreb, kompleks poslovne zgrade “Astra” ond prize) Makarska (druga nagrada); with Z. KrznariÊ and D. Mance (ex u Zagrebu, s Z. KrznariÊem i D. 1970 - Bit Pazar Shopping Centre, 1970. - Centar snabdijevanja “Bit aequo first prize) Manceom (otkup); Skopje, Macedonia, with Ivan FraniÊ Pazar” u Skopju, Makedonija, s 1991 - St. John the evangelist parish 1991. - Svjetski trgovinski centar, (third prize) Ivanom FraniÊem (treÊa nagrada); church, Utrine, Zagreb hotel A kategorije, shopping centar i 1970 - Stoja Valovine tourist settle- 1970. - turistiËko naselje Stoja 1992 - Zagreb’s urban axis — Ulica istoËni ulaz u Velesajam u Zagrebu, s ment, Pula, with Marica Perak and Valovine u Puli, s Maricom Perak i Hrvatske Bratske Zajednice and new Z. KrznariÊem i D. Manceom (podije- Benedetto Tardozzi Benedettom Tardozzijem; main square, Zagreb, with Z. Krzna- ljena prva nagrada); 1971 - South Zagreb city centre, with 1971. - srediπte juænog Zagreba, s riÊ and D. Mance 1991.- æupna crkva Sv. Ivana evan- Lujo Schwerer and Branko VelniÊ Lujom Schwererom i Brankom Velni- 1993 - Badel city block development elista u naselju Utrine u Zagrebu; (purchase) Êem (otkup); project, Zagreb, by invitation as 1992. - oblikovanje prostora ulice Hr- 1973 - Banja Luka city centre with the 1973. - srediπte Banja Luke u Bosni i author and project team leader (ex vatske bratske zajednice i srediπnjeg Civic Hall, department store and Hercegovini, s Domom radniËke soli- aequo first prize) trga u Zagrebu, s Z. KrznariÊem i D. Palace Hotel, with Lj. LuliÊ and J. darnosti, robnom kuÊom i hotelom 1994 - Parish church, VolovËica, Zag- Manceom; Nosso (first prize) Palace, s Ljerkom LuliÊ i Jasnom reb, by invitation (second prize) 1993. - pozivni natjeËaj za arhitekton- 1976 - Retirement Home, Iblerov Trg, Nosso (prva nagrada); 1996 - Croatian Government Centre, sko rjeπenje bloka Badel u Zagrebu - Zagreb 1976. - Dom umirovljenika na Iblerovu Zagreb, (ex-aequo second placement pozvani autor-voditelj natjecateljske 1977 - Trg Francuske Republike, trgu u Zagrebu; and eligibility for Stage 2 of the com- grupe (podijeljena prva nagrada); Zagreb, with I. FraniÊ (second prize) 1977. - Trg Francuske Republike u petition) 1994. - pozivni natjeËaj za arhitekton- 1978 - National and University Zagrebu, s I. FraniÊem (druga nagra- 1997 - Zagreb Bank Headquarters, sko rjeπenje æupne crkve u naselju Library, Zagreb, with M. HræiÊ, Z. da); Zagreb, with M. BegoviÊ (competition VolovËica u Zagrebu (druga nagrada); KrznariÊ and D. Mance (first prize) 1978. - Nacionalna i sveuËiliπna bib- with international invitations — 1996. - kompleks zgrada Vlade, mini- 1980 - ©ibenik Telecommunications lioteka u Zagrebu, s M. HræiÊem, Z. fourth prize). starstava i dræavne uprave Republike Building, ©ibenik, (second prize) KrznariÊem i D. Manceom (prva Hrvatske u Zagrebu (podijeljen drugi 1981 - Central Zagreb and the Sava nagrada); plasman i pravo na sudjelovanju u riverfront area, by invitation — vari- 1980. - zgrada telekomunikacija u drugom krugu natjeËaja); ant studies without formal ranking, ©ibeniku (druga nagrada); 1997. - natjeËaj s meunarodnim po- with M. HræiÊ, Z. KrznariÊ and D. 1981. - pozivni natjeËaj bez rangiranja zivnicima za idejno urbanistiËko-arhi- Mance za varijantne studije srediπnjeg grad- tektonsko rjeπenje zgrade ZagrebaË- 1983 - »ovjek i Prostor competition skog podruËja i priobalja Save u ke banke u Zagrebu, s M. BegoviÊem for architectural design for a public Zagrebu, s M. HræiÊem, Z. (Ëetvrta nagrada). plaza in Zagreb (Viktor KovaËiÊ KrznariÊem i D. Manceom; Museum), Zagreb 1983. - natjeËaj Ëasopisa “»ovjek i pro- 1984 - Hamma City Centre in Algiers, stor” za ureenje jednog prostora u international competition, with Z. Zagrebu (Muzej Viktor KovaËiÊ); KrznariÊ 1984. - meunarodni natjeËaj za rjeπe- 1985 - Zagreb Trade Centre, Zagreb, nje srediπta Hamma u gradu Alæiru, s (first prize — commissioned design Z. KrznariÊem; for a multi-purpose Congress Centre) 1985. - poslovno srediπte istoËno od 1985 - central business district, zones ZagrebaËkog velesajma u Zagrebu 2 and 3 to the east of the Zagreb Fair (prva nagrada i povjerena daljnja grounds, Zagreb, (first prize — com- razrada projekata za viπenamjensku missioned design for the INA Trgo- zgradu Kongresnoga centra); vina office building) 1985. - poslovna zona 2 i 3 istoËno od 1986 - Zagreb Fair Southern ZagrebaËkog velesajma u Zagrebu Entrance, by invitation, Zagreb (prva nagrada i povjerena razrada 1989 - Adriatic Pipeline Main Office projekata i izvedba Poslovne zgrade building on the banks of the River INA trgovina); Sava, VeslaËka Street, Zagreb, by 1986. - pozivni natjeËaj za rjeπenje juæ-
131 List of publications / Publicirani znanstveni i struËni radovi
“Arhitekt i buduÊnost” (The architect method used in the design of the paper). and the future), »ovjek i prostor, no. ©ibenik Telecommunications Buil- “Kevin Lynch i Maks Fabiani” (Kevin 195, Zagreb, 1969, 9-11. ding), »ovjek i prostor, no. 343, Zag- Lynch and Max Fabiani), Prostor, vol. “Unapreenje æivotne okoline i una- reb, 1981, 24-27. 2, no. 3-4, Zagreb, 1994, 291-299. preenje druπtva” (Environmental “The City, the Cradle of the Future”, Architectural aspects of home improvement and social improve- Ekistics - Problems and Science of injuries prevention, Sigurnost, vol. 47, ment), »ovjek i prostor, no. 233, Zag- Human Settlements, vol. 50, no. 301, no. 2, Zagreb, 1995, 87-108 (collective reb, 1972, 21-23. Athens, 1983, 288-289. paper). “Suradnja arhitekata i sociologa u “Robna kuÊa u Banja Luci” (Banja “Nova zgrada Nacionalne i sveuËiliπ- stvaranju prostora mjesne zajednice” Luka department store), Arhitektura, ne knjiænice” (A new building of the (The collaborative effort of architects no. 182-183, Zagreb, 1982, 68-69 (col- National and University Library), and sociologists in designing the local lective paper). Graevinar, vol. 47, no. 10, Zagreb, community environment), Proceedings “Velika kuÊa na maloj parceli: dileme 1995, 601-612 (collective paper). of the Yugoslav Architects’ Society oko naπeg pristupa parcelaciji” (A “Naπa arhitektonska skulptura” (Our Conference and Architecture Days, large building on a small lot: Dile- architectural sculpture), Vjesnik, Zag- Skopje-Ohrid, Macedonia, 1977. mmas about land parcelling practice reb, May 27, 1995 (on the eve of the “Metajezik URBAN: upotreba kom- in this country), Arhitektura, no. 186- opening of the National and Univer- pjutora u urbanistiËkom i prostornom 188, Zagreb, 1983-84, p. 94. sity Library). planiranju” (URBAN metalanguage: “Knjiænica” (Library), TehniËka enci- Croatia, Triennale di Milano, XIX computer usage in urban design and klopedija, Miroslav Krleæa Lexico- Esposizione Internazionale - Identity regional planning), Proceedings of the graphic Institute, vol. 9, Zagreb, 1984, and Difference, Electa, Milano, 1996, Regional and Physical Planning 71-95. 332-341. Symposium, vol I, topic II, paper 2 “Individualno u kolektivnom” (The Towards the visions of urban future: (with D. Boras), Yugoslav Institute individual in the collective), »ovjek i Croatia’s prospects, Forum of for Urban Development and Housing, prostor, no. 422, Zagreb, 1988, p. 17. National Acedemies of Sciences and Belgrade, 1977, 37 pp. “30 godina nagrade ‘Viktor KovaËiÊ’” Engineering, Bosphorus University, “Profesionalna arhitektonska praksa (Thirty years of the Viktor KovaËiÊ Istanbul, May 31- June 1, 1996. u SAD” (Professional practice of award), »ovjek i prostor, no. 440-441, “»ovjek u prostoru” (Man in the envi- architects in the United States), »ov- Zagreb, 1989. ronment), ©kolska knjiga, Zagreb, jek i prostor, no. 308, Zagreb, 1978, Arhitekti Ëlanovi JAZU (Architects 1997, 196 pp. 22-23. — members of the Yugoslav (now “Hrvatska izloæba” (Croatian exhibi- “O pjeπaËkom i prostornom povezi- Croatian) Academy of Arts and tion), Katalog hrvatskog muzeja vanju povijesnih i novih dijelova Sciences), Rad Hrvatske akademije arhitekture (Catalogue of the Croa- srediπta Zagreba” (On pedestrian and znanosti i umjetnosti, no. 435 (mem- tian Museum of Architecture), Zag- ambiental linkages between the his- ber of the editorial committee headed reb, 1997, 3-5. toric and new parts of central by Drago GaliÊ), Zagreb, 1991. “Urbana rasprava ususret Zagrebu Zagreb), »ovjek i prostor, no. 321, “Akademik Drago GaliÊ, 1907-1992 XXI. stoljeÊa” (A discussion on town Zagreb, 1979, 21-24 (collective paper). (nekrolog)” (Academician Drago Ga- planning for Zagreb in the 21st centu- “O arhitektonskom konceptu Nacio- liÊ, 1907-1992 — obituary), Vjesnik ry), Prostor, vol. 6, no. 1-2, Zagreb, nalne i sveuËiliπne biblioteke” (On the HAZU, no. 7-8, 1992. 1998, 67-78. architectural concept of the National “Hrvatska u prostoru” (Croatia’s “Kultura i gospodarstvo - komple- and University Library in Zagreb), physical space), chapter in the special menti urbane vizije Zagreba XXI. Arhitektura, no. 168-169, Zagreb, 1979, publication of the Croatian Academy stoljeÊa” (Culture and economy - 95-100 (collective paper). of Arts and Sciences entitled Hrvat- Complementary elements of the 21st “Stvaranje kompjutorskog jezika za ska — zadatosti i usmjerenja, HAZU, century’s vision of Zagreb), Razvoj potrebe urbanistiËkog i prostornog Zagreb, 1992, 23-28 (collective paper). Zagreba: prilozi za strategiju hrvat- planiranja” (The development of a “Drago GaliÊ, 1907-1992”, obituary, ske i europske metropole, Gospodar- computer language for urban and Ljetopis HAZU, vol. 97, Zagreb, 1993, ska komora Zagreb, Zagreb, 1999, 35- regional planning), Arhitektura, no. 755-58. 51. 172 - 173, Zagreb, 1980, 95-99. “Drago GaliÊ, 1907-1992)”, Æivot umje- “Podsljemenska obiteljska kuÊa” (A “Prilog analizi procesa arhitektonske tnosti, no. 51, Zagreb, 1993. house at the bottom of mtn. Sljeme), definicije: metoda sekventne optimal- Architectural Aspects of the Home Graditelj, no. 3, March 2000, 16-18. izacije u projektiranju zgrade teleko- Injuries Prevention in Croatia, The “Zagreb joπ uvijek simbol europske munikacija u ©ibeniku” (A contribu- Second World Conference On Injury periferije” (Zagreb — still a symbol of tion to the analysis of the architectur- Control, Abstracts, Atlanta , Georgia, European periphery), Vijenac, no. al process: Sequential optimization May 20-23, 1993, p. 165 (collective 161, Zagreb, 4 May 2000, 20-21.
132 Notes, views, interviews / Publicirani prilozi, razgovori, miπljenja
“Izazov ‘Izazova’” (The challenge of “Chicago — 150 Years of Architectu- tectural culture), »ovjek i prostor, no. ‘Izazov’ /Challenge/), interview by re”, VeËernji list, Zagreb, 3 December 526-527, Zagreb, 1998, p. 6. Marijan Vogrinec with a group of 1984, p. 10. “Opstojnost Udruæenja hrvatskih ar- young architects about the meaning, “Grad lijepoga lica” (A lovely face of hitekata” (The continued existence of purpose and direction of contempo- the city), VeËernji list, Zagreb, 29-30 the Croatian Architects Association), rary architecture, Vjesnik, Zagreb, 23 December 1984. »ovjek i prostor, no. 526-527, Zagreb, July 1971. “OËuvajmo urbanistiËko dostojanstvo 1998, p. 15. “Odakle toliki prostorni defekti u Zag- nove zgrade NSB u Zagrebu” (Let us “Odnosi udruæenja i Ëlanova” (The rebu” (Why so many defective urban preserve the dignity of the new Member - Association relations), »ov- design solutions in Zagreb), Vjesnik, National and University Library in jek i prostor, no. 528-529, Zagreb, Zagreb, 6 July 1971. Zagreb), protest against planned 1998, p. 13. “Maksimalan angaæman stvaralaËkih building in front of the new library’s “Da, ima nade za arhitekturu” (Yes, snaga” (Maximum involvement of cre- atrium, May, 1991. there is hope for architecture), »ov- ative potential), contribution to a dis- “Sjaj i bijeda redizajna” (Splendour jek i prostor, no. 530-531, Zagreb, cussion on the topic “ Are we covering and misery of redesign), Vijenac, no. 1998, p. 18. the Adriatic with concrete?”, Vjesnik, 14/II, Zagreb, 7 July 1994, p. 26. “Raspravljana naËela ustroja Komo- 28 February 1973, p. 9. “Arhitektura arhitektima” (Architec- re” (Discussion of the principles of the “Prostor dat buduÊnosti” (Space ear- ture to the architects), interview, Ve- professional architectural chamber), marked for the future), contribution Ëernji list - Obzor, Zagreb, 21 May »ovjek i prostor, no. 530-531, Zagreb, discussing the architectural competi- 1995, p. 20. 1998, p. 18. tion for the area of Trg Francuske “Kulturologija obnove i globalno oz- “Pitalo se za miπljenje” (Opinion was Republike in Zagreb, »rnomerec, no. raËje (Cultorology of renewal and sought), VeËernji list, Zagreb, 3 16, Zagreb, 1978. global influences), Prostor, Vol. 4, br. March 1998, p. 19. “Promet je dio oblikovnoga koncepta 1 (11), Zagreb 1996, 121-122. “Odnosi sa svijetom” (Relations with grada koji bi morao pridonijeti kvali- “RijeË Predsjednika Udruæenja hr- the rest of the world), »ovjek i pros- teti slike grada” (Traffic system is vatskih arhitekata” (A word from the tor, no. 532-535, Zagreb, 1998, p. 17. part of urban design that should con- president of the Croatian Architects “IzvjeπÊe predsjednika Udruæenja tribute to the quality of a city’s Association), »ovjek i prostor, special hrvatskih arhitekata (Croatian image), contribution to the round issue no. I for the UIA Barcelona Architects Association President’s table discussing the traffic master Congress, Zagreb, June 1996, p. 5. Report), »ovjek i prostor, no. 540-543, plan of Zagreb, »ovjek i prostor, no. “Ne smijemo bjeæati od teme monu- Zagreb, 1999, 10-11. 332, Zagreb, 1980, p. 11. mentalnosti” (The theme of monu- “Fotografija u arhitekturi” (Photo- “Stanley Tigerman: moj najdraæi pro- mentality cannot be avoided), inter- graphy in architecture), »ovjek i jekt — onaj slijedeÊi” (Stanley Tiger- view to Kreπimir Rogina, Arhitektu- prostor, no. 540-543, Zagreb, 1999, man: My favourite project — the next ra, no. 212, Zagreb, 1996, 039-049. p. 71. one), interview, »ovjek i prostor, no. “Iskaznica arhitektonske profesije” “Suvremena pouka moderne tradici- 330, Zagreb, 1980, 17-19. (A professional portfolio of archi- je” (Contemporary lesson of modern “Arhitektura sedamdesetih godina” tects), Tko je tko u hrvatskoj arhitek- tradition), Oris, no. 2, Zagreb, 1999, (Architecture in the seventies), con- turi (Who is who in Croatian architec- 88-91. tribution to a round table held on 12 ture), Biblioteka Psefizma, Zagreb, “Obiteljska kuÊa na Gornjem Prekriæ- November 1981, Arhitektura, no. 178- 1997, 10-11. ju” (Family house in Gornje Prekriæje 179, Zagreb, 1981, 42-43. “Standardi arhitektonske struke I- - Zagreb), »ovjek i prostor, no. 544- “Djelovanje u prostorima SR Hrvat- IV” (Standards of professionalism in 545, Zagreb, 1999, p. 35. ske” (Country-wide activity in Croa- architectural practice I-IV), »ovjek i “Najtuænije desetljeÊe zagrebaËke tia), introductory text for the exhibi- prostor, no. 516-519, no. 520-521, no. arhitekture u 20. stoljeÊu” (The sad- tion commemorating thirty-five years 522-523, no. 524-525, Zagreb, 1997. dest decade of Zagreb architecture in of work of the Urban Planning Inst- “Pojam arhitekt” (The notion of arhi- the XXth century), Vijenac, no. 162, itute of Croatia, »ovjek i prostor, no. tect), »ovjek i prostor, no. 520-521, Zagreb, 18 May 2000, 20-21. 357, Zagreb, 1982 (collective paper). Zagreb, 1997, p. 8. “Bez cesta za Europu Zagreb ostaje “Esej za grad” (An essay for the city), “120. godiπnjica Udruæenja hrvatskih dijelom Balkana” (Without highways Radio Zagreb Third Programme, 7 arhitekata” (120 years of the Croatian to Europe Zagreb will remain a part May 1983. Architects Association), »ovjek i pro- of Balkans), interview to Marinko “Grad, kolijevka buduÊnosti” (The stor, no. 524-525, Zagreb, 1998, p. 6. BobanoviÊ, Vijesnik, Zagreb, 10 city, the cradle of the future), Danas, “Javni natjeËaj - temelj hrvatske arhi- September 2000, p. 20. no. 100, Zagreb, 1984, 49-51. tektonske kulture (Open competition - Opinions of visitors to the exhibition the foundation of the Croatian archi-
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135
Projects contributors / Sudionici projekata
Coauthors / Suautori Branko PrekratiÊ, Marijan Sever, Dragutin Kiπ, ©ime Ricov, Ksenija Marija Geæin, Jakob JeliÊ, Ljubica Ivan Kolbach, Biserka ©avora, Ivan Bruno ©imuniÊ, Ante ©egedin SineliÊ, Pavao Ungar, Sonja Vavra Kangler, SreÊko MajiÊ, Lora FraniÊ, Lujo Schwerer, Branimir Zvonko ©kunca, Milko SpaËek, - VarjaËiÊ. Neidhardt, Nikola Posavec, Olga VelniÊ, Ljerka LuliÊ, Jasna Nosso, Zlatko VuËiniÊ, Vlado ÆivkoviÊ. Rukavina, Ljubica Rod, Melita Marijan HræiÊ, Zvonimir KrznariÊ, Interior design / Interijer Simichen, Mirjana StanËiÊ, – ura Davor Mance, Miroslav BegoviÊ. Elevators & escalators / Dizala Boæo AntunoviÊ, Slobodan JoviËiÊ, Slonjπek, Boæo ©poljariÊ, Nataπa Antun BerkoviÊ, Nikola CindriÊ, Franjo Kamenski, Zdenka MagdiÊ, VojnoviÊ. Part-coautorship / Suautorstvo Dalibor »izmar. Andrea MeπtroviÊ, Marko MurtiÊ, dijelova Slavica RadiÊ - VukoviÊ. Models / Makete Neda Kaminski, Slavica RadiÊ- Electrical engineering / Ivan AniËiÊ, Miπo AntunoviÊ, Miro VukoviÊ. Elektrotehnika Design development captains / BajiÊ, Antun BrËiÊ, Stijepo Gamzelja Ognjen Bergam, Branko »orko, Ivan Nosioci arhitektonske provedbe Vilim Kmoch, Slobodan Kolbach Consultants / Konzultanti Husar, Ivan IvankoviÊ, Branko Zdenko CrviÊ, Hrvoje Davidovski, Boro KovaËeviÊ, Ante Lui, Vladimir Drago GaliÊ, Jurak, Marijan Klancir, Adolf Klarin, Franjo Kamenski, Aleksandar Laslo, MiliÊ, Darko PeterËiÊ, Almaz Ivan Bauer, Vladimir Bedenko, Vladimir KolariÊ, Jaroslav Kudera, Dunja LinariÊ, Neda Morsan, SarajliÊ, Ivica SusoviÊ, Toπo ©tras- Miroslav BegoviÊ, Damir Boras, Miroslav Malagurski, Ivan MenjaËki, Ognjenka RaπËiÊ - MatkoviÊ, berger. Ivica Fizir, Eugen FrankoviÊ, Mijo Zvonimir MoËkoviÊ, Ivan PeÊnik, Miroslav Pak. GabriÊ, Andrija MohoroviËiÊ, Marijan Pinhak, Vinko PeriniÊ, Ivica Perspectives and artistic interven- Zvonimir RadiÊ, Josip RogliÊ, Matija RadovËiÊ, Æeljko SariÊ, Zdenko Architectural design collaborators / tions / Perspektive i umjetniËke Salaj, Dubravka Skender, Dionis PreseËki, Miloljub VujiËiÊ, Boæidar Arhitektonski suradnici obrade SrebrenoviÊ, Lujo Schwerer, Neven VuletiÊ, Branka Æitnik. Estera BaπiÊ, Sanja BeretiÊ - Æic, Branka Kaminski, Æelimir DrakuliÊ, ©egviÊ, Edo ©midihen, Godfrey Vladimir BerkoviÊ, Josip BistroviÊ, Kreπimir Feletar, Marko Piljek, Thompson. Commercial, hotel and restaurant Stjepan BiraË, Leonija Bubenik, Slavica RadiÊ - VukoviÊ, Slobodan technology / Tehnologija hotelskih, Vanja Car, Zdenko Cener, Jagoda VukoviÊ, Dinko ZlatariÊ. Structural engineering / ugostiteljskih i prodajnih prostora CrnËeviÊ, Mirica Crnolatac, Ankica Konstrukcije Tereza MatiÊ, Ivanka PetroviÊ, Ante DeliπimunoviÊ, Miro DragomanoviÊ, 3-D CAD models / 3D CAD prikazi Mijo BalenoviÊ, Filip Filipec, AntoniÊ, Nenad JanjiÊ, Zlatko Antun Ester, Gordana FabijanoviÊ, Iva Kuπan, Tomislav Kuπan, Davorin Vladimir Fras, Vladimir GaliÊ, Novak. Kreπimir Feleter, Æeljka Fotak, FulanoviÊ, Dragutin Vukovojac. Vladimir IliËkoviÊ, Zvonko Jureπa Jadranka Golik, S. Grebenar, Danijel Kajzer, Bruno MargitiÊ, Building physics & acoustics / Gordana Groman, Ruæica Hanzir - Photographers / Fotografije Zdravko MikotiÊ, M. MiπiÊ, Ivo Graevinska fizika i akustika IliÊ, Ilinka Hariπ - MikiÊ, Katja Damir FabijaniÊ, Zvonimir BarbariÊ, Podhorsky, Æeljko RaËiÊ, Zdenko CrviÊ, Zlatko Leitner, Hariπ, Gordan Jelinek, Katarina Vilko Belijan, Petar Dabac, Fjodor Aleksandar OlujiÊ, Ivan TurËiÊ, Branko Somek, Vladimir ©imetin. Jeramaz, Miroslava JuriËev - Koæul, FatiËiÊ, Siniπa Hrg, Aleksandar Dragutin ©krtiÊ, Miljenko SrkoË, Biserka Kavran, Ivica Kiπ, Sanja Karoly, Mio VesoviÊ. Anselmo TomljenoviÊ, P. ÆelaliÊ. Fire protection / Zaπtita od poæara KrniÊ, Sanja MaduniÊ, Sanja Katarina Mundorfer, Josip DekoviÊ, MaraviÊ, Jelena MarijanËiÊ, K. Clients representatives / Transportation planning / Promet – ura BelobrajiÊ, Zdravko Poæar, MarkoviÊ - GlavaËeviÊ, Andreja Predstavnici investitora Duπko »iËovaËki, Mate JuriπiÊ, Antun KneæeviÊ, Dinko Kaleb, MeπtroviÊ, Ljiljana MironoviÊ, Ines Mirko Koæulj (INA - trgovina, INA Branka PeroviÊ, Julius Pevalek, Magdalena AniËiÊ. Moπtak, Dora Neidhardt, Rajkica d.d. Zagreb) Damir Poloπki. NovaËiÊ, Æeljko Novak, Viπnja Peleπ, Zdenka MagdiÊ (National and Maintenance & shelters / Odræavanje Ljiljana PeËur, Tomislav Petrinec, University Library / NSK) Civil engineering / Ceste, temeljenje i skloniπta Melita RaËki, Slavica RadiÊ - Anka ©vaiÊ (Croatian Ministry of i vodotehnika Ivan Valek, Radovan Volmut, Mijo VukoviÊ, »edomir Ramljak, Sanka Justice / Ministarstvo pravosua Kreπimir BoæiÊ, Alojzije Car, Damir Zagorac. RatkoviÊ, Ognjenka RaπËiÊ - RH) »orko, Damir DevËiÊ, Vladimir MatkoviÊ, Nela Rubin, Mario KrivoπiÊ, Mladen ©ribar, Dragutin Quantity surveying / Troπkovnici i Schwerer, Rada Senker, Nikolina Clients high officials / Visoki duænos- Vukovojac, Marko Vrkljan. nadzor SimiÊ, Z. Snajder, Dubravko nici investitora Mate ButoroviÊ, Zdenko CrviÊ, StaniπiÊ, Ivana StipetiÊ, Mira Tadej, Miroslav Fajerbah, Ivo MaraviÊ Mechanical engineering / Dubravko LjubiÊ, Miodrag Parmak, Darinka SoriÊ, Darko ©avoriÊ, Iva (INA - Trgovina) Termotehnika Vesna PastuoviÊ, Veljko PeroviÊ, ©avoriÊ, Vlasta ©egrc, Tomislav Veseljko VelËiÊ, Ivan JurkoviÊ, Ante Bailo, Slavimir Brachtel, Petar Zlatko Pleπko, Franjo PopËeviÊ, ©krtiÊ, Vlatka ©utalo, Jasenka Milan BoæiÊ, Andrija MohoroviËiÊ, DonjerkoviÊ, Rudolf DragoviÊ, Stjepan Sunek, Mirjana ©aban, Tomek, Sonja Vavra - VarjaËiÊ, Ivo Delalle, Edo ©midihen, Stipe Miodrag DrakuliÊ. Miroslav Vjeran ©tambuk, Hari VladoviÊ- Vlatka VidoviÊ, Stojan Zafauk, Z. ©uvar, Petar PiskaË, Ivan Mihel, FilipoviÊ, Zdravko KoporËiÊ, Slavko Relja. ZrinπËak. Josip Stipanov (National and MamiÊ, Boris Masnec, Ratko PeËariÊ, University Library / NSK) Branko Peh, Nikola Planinπek, Landscaping / Hortikultura i oprema Other collaborators / Ostali suradnici Davor ©tern CEO (INA d.d. Zagreb)
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Illustration credits / Izvori slikovnog materijala
Photographs / Fotografije Mio VesoviÊ cover / naslovnica, 14. Aleksandar Karoly 16, 31, 33, 44-45, 47. Vilko Belijan 20, 23-24. Petar Dabac 27-28. Velimir Neidhardt 40-41, 89, 110. Marija Braut 41. Siniπa Hrg 57, 69. Damir FabijaniÊ 59, 61-67, 75, 77, 79- 83, 92-93, 107, 121. Kreπimir TadiÊ 81.
Drawings / Crteæi Branka Kaminski 49,51-54, 69, 71, 78, 85, 87, 90-91, 94, 95, 102. Slavica RadiÊ VukoviÊ 75-76. Kreπimir Feletar 84. Marko Piljek 96. Davor Mance 97.
3-D CAD models / Digitalni prikazi Tomislav i Iva Kuπan 98, 100-101, 108-109, 112-113, 118-119.
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Juraj Neidhardt 1901 - 1979 Franjo Neidhardt 1907 - 1984 Anja Neidhardt 1936 Velimir Neidhardt 1943 Tatjana Neidhardt 1945 Dora Neidhardt 1970 Architects within the family / Arhitekti u obitelji
Architectural design studio / Druπtvo s ograniËenom odgovornoπÊu za arhitekturu Founded / osnovano 1996. Ilica 26, HR-10000 Zagreb This issue was sponsored by / Ovo izdanje omoguÊili su:
Ministry of Culture — Republic of Croatia / Ministarstvo kulture Republike Hrvatske
I.C.F. d.o.o. Investicije / Konzalting / Financije, 10000 Zagreb, A. von Humboldta 4B
Podne obloge d.o.o. HR - 10000 Zagreb, KaraπiËka 22a
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VELIMIR NEIDHARDT was born in Zagreb, 7 October 1943. He earned his B.Sc. in Architecture at the University of Zagreb in 1967. He spent one academic year, 1974-75, at Harvard University and, partly, MIT as the Zlatko and Joyce BalokoviÊ Scholar. This was fol- lowed by an invitation to work in the Skidmore, Owings and Merrill Architectural Design Studios in Chicago 1975- 76. He was elected Full Member (Academician) of the Croatian Academy of Arts and Sciences in 1991. For his works he has been awarded many prizes such as the Vladimir Nazor Awards for excellence in architecture for the years 1989 and 1995, the Viktor KovaËiÊ Award for excellence in architecture for the year 1979. His major competition first prizes have been executed, such as the National and University Library Building in Zagreb, the City Centre I of Banja Luka in Bosnia and Herzegovina (with coauthors), and the INA Petroleum Company Office Building in Zagreb. His book dealing with the anthroposocial method of design entitled Man in the Environment (»ovjek u prostoru) was published in 1997. He is a long-standing member and President (1995-99) of the Croatian Architects Association and an Associate of the American Institute of Architects. He earned his Ph.D. in 1990 from the Faculty of Architecture, Zagreb University. In 1994 he joined the full-time faculty staff as Associate Professor of Architecture, with courses on Office and Commercial Buildings. Neidhardt has estab- lished his own architectural design firm NEIDHARDT arhitekti d.o.o. in Zagreb, and since 1996 continued both practising and teaching architecture. In 1999 he was appointed Full Professor of Architecture.
VELIMIR NEIDHARDT roen je 7. listopada 1943. u Zagrebu. Diplomirao je 1967. na Arhitektonskom fakulte- tu SveuËiliπta u Zagrebu. Akademske godine 1974.-75. boravio je kao stipendist fondacije "Zlatko i Joyce BalokoviÊ" u SAD na sveuËiliπtu Harvard, s dijelom pro- grama na sveuËiliπtu MIT. Nakon toga, do svibnja 1976. djelovao je u atelijerima Skidmore, Owings i Merrill u Chicagu. Od 1991. akademik je - redoviti Ëlan Hrvatske akademije znanosti i umjetnosti. Za stvaralaπtvo je dobi- vao viπe priznanja, meu kojima su nagrade “Vladimir Nazor” za najbolja ostvarenja 1989. i 1995. godine, te nagrada “Viktor KovaËiÊ” za najbolje arhitektonsko ostvarenje u 1979. Neidhardtovi natjeËajni projekti na- graeni su prvim nagradama i ostvareni, primjerice, nova zgrada Nacionalne i sveuËiliπne knjiænice u Zagrebu i naj- uæe gradsko srediπte s robnom kuÊom “Boska” i viπe- namjenskim domom kulture u Banja Luci (sa suautori- ma), te Poslovna zgrada INA Trgovine u Zagrebu. U svo- joj knjizi “»ovjek u prostoru”, objavljenoj 1997., postavlja antroposocijalnu metodu projektiranja. Zasluæni je Ëlan i predsjednik Udruæenja hrvatskih arhitekata (1995.-99.), te pridruæeni Ëlan AIA (Associate of the American Insti- tute of Architects). Godine 1990. stekao je stupanj dokto- ra znanosti na Arhitektonskom fakultetu u Zagrebu, a od 1994. zapoËinje predavati predmet Zgrade za rad i trgo- vinu u svojstvu izvanrednog profesora. Neidhardt 1996. osniva tvrtku za arhitekturu NEIDHARDT arhitekti d.o.o. u Zagrebu, te usporedno vodi vlastiti arhitektonski atelijer i predaje na Arhitektonskom fakultetu na kojem je 1999. izabran za redovitog profesora. FEDJA VUKI∆ was born in 1960. He graduated from the Department of Art History at the Faculty of Philosophy in Zadar. He taught at the School of Applied Arts and Design in Zagreb from 1987 till 1994 and has been teaching at the University of Zagreb School of Design since 1994. He has published articles, critical reviews and orig- inal scientific papers in the fields of fine arts, visual communications and the history of modern archi- tecture and design in various Croatian and interna- tional periodicals, daily newspapers and magazines. In 1995 he was awarded a grant from The Wolfsonian Foundation in Miami Beach for his research project on the History of Italian Advertising in the First Half of the 20th century. He was an editorial staff member of the architec- tural magazine »ovjek i prostor, and has been on the staff of the art magazine Æivot umjetnosti since 1993. He is also a member of Croatian section of AICA. VukiÊ has published several monograph studies on Croatian architects and artists. In 1996 he published the book A century of Croatian Design (both on Croatian and English). In 1997 an exhibition based on that book was staged in the KloviÊevi dvori Gallery in Zagreb. VukiÊ is a founding member of IDC - International Design Center (1998).
FEDJA VUKI∆, povjesniËar umjetnosti, roen je 1960. godine. Diplomirao je na Filozofskom fakulte- tu u Zadru 1984. Pohaao je poslijediplomski studij na Filozofskom fakultetu u Zagrebu od 1985. do 1987. Nastavnik je na ©koli primijenjene umjetnosti i dizajna u Zagrebu od 1987. do 1994., a zatim je pre- davaË na Studiju dizajna na Arhitektonskom fakul- tetu SveuËiliπta u Zagrebu. U hrvatskoj i inozemnoj struËnoj periodici te dnev- nom, tjednom i revijalnom tisku objavljuje Ëlanke, kritike, recenzije kao i izvorne znanstvene radove iz podruËja likovnih umjetnosti, vizualnih komunikaci- ja, povijesti moderne arhitekture i dizajna. Stipendist je Zaklade Wolfsonian u Miami Beachu 1995. godine sa znanstvenim istraæivanjem: Povijest talijanske reklame u prvoj polovici XX. stoljeÊa. »lan je uredniπtva Ëasopisa Æivot umjetnosti od 1993. te Ëlan uredniπtva Ëasopisa »ovjek i prostor u razdoblju 1993.-95. »lan je Hrvatske sekcije AICA. Objavio je viπe monografija o suvremenim hrvatskim arhitektima i likovnim umjetnicima. Godine 1996. objavio je knjigu StoljeÊe hrvatskog dizajna koja je prevedena na engleski jezik s naslovom A Century of Croatian Design. Na temelju te knjige 1997. godine bila je postavljena i istoimena izloæba u Muzejskom galerijskom centru KloviÊevi dvori u Zagrebu. VukiÊ je jedan od Ëlanova utemeljitelja IDC - Meu- narodnog dizajn centra 1998.