25 [2017]2[54] A SCHOLARLYJOURNALOFARCHITECTUREANDURBANPLANNING ZNANSTVENI ÈASOPISZAARHITEKTURUIURBANIZAM UDK | CODEN PORREV ISSN 1330-0652 7-12 [2017] 171-440 25 [2017]2[54] ARCHITECTURE FACULTY OF OF , UNIVERSITY FAKULTET ARHITEKTONSKI U ZAGREBU, SVEUÈILIŠTE UDC

71/72 PROSTOR POSEBNI OTISAK/ 306-315 Znanstveni prilozi Massimo Sargolini Tamara Zaninoviæ Obad Šæitaroci Bojana Bojaniæ

Scientific Papers SEPARAT - Design ofMemorials UDC 725.945.1(497.5)”19/20” Preliminary Communication Method ofPlaceRegeneration TheArtofRemembering OFFPRINT UDK 725.945.1(497.5)”19/20” Prethodno priopæenje Metoda obnovemjesta - Stvaranje memorijala umijeæesjeæanja 306

Fig. 1 Contemporary Memorials in : Memorial Bridge in Rijeka, Water Tower Memorial in and Gordan Lederer Memorial in Hrvatska Kostajnica Sl. 1. Suvremeni memorijali u Hrvatskoj: Most hrvatskih branitelja u Rijeci, Memorijal Vodotoranj u Vukovaru i Memorijal Gordana Lederera u Hrvatskoj Kostajnici PROSTOR Scientific Papers | Znanstveni prilozi 25[2017] 2[54] 307

Bojana Bojaniæ Obad Šæitaroci1, Tamara Zaninoviæ1, Massimo Sargolini2

1 University of Zagreb 1 Sveuèilište u Zagrebu Faculty of Architecture Arhitektonski fakultet Croatia - 10000 Zagreb, Kaèiæeva 26 HR - 10000 Zagreb, Kaèiæeva 26 2 University of Camerino 2 Sveuèilište u Camerinu School of Architecture Škola arhitekture Italy - 63100 Ascoli Piceno, Viale della Rimembranza Italija - 63100 Ascoli Piceno, Viale della Rimembranza [email protected] [email protected] [email protected] [email protected] [email protected] [email protected]

Preliminary Communication Prethodno priopæenje UDC 725.945.1(497.5)”19/20” UDK 725.945.1(497.5)”19/20” Technical Sciences / Architecture and Urban Planning Tehnièke znanosti / Arhitektura i urbanizam 2.01.02. - Urban and Physical Planning 2.01.02. - Urbanizam i prostorno planiranje Article Received / Accepted: 12. 11. 2017. / 13. 12. 2017. Èlanak primljen / prihvaæen: 12. 11. 2017. / 13. 12. 2017.

Design of Memorials - The Art of Remembering Method of Place Regeneration Stvaranje memorijala - umijeæe sjeæanja Metoda obnove mjesta

collective memory kolektivno prisjeæanje memorials memorijali post-war poslijeratni public space javni prostor

The paper continues on-going research of memorials by putting typological Èlanak nastavlja istraživanje memorijala, prema postavljenoj tipološkoj iden- identification from previous studies into the context of post-disaster and post- tifikaciji iz ranijih istraživanja, u kontekstu problematike obnove razorenog war place regeneration. The aim is to explore the ‘concept of manipulation’ on mjesta. Cilj je istražiti na primjerima ‘koncept manipulacije’ putem koreogra- case studies through choreography of motion as a design tool for memorials. fije kretanja što postaje naèin stvaranja memorijala. PROSTOR 308 2[54] 25[2017] 306-315 B. BOJANIÆ OBAD ŠÆITAROCI, T. ZANINOVIÆ, M. SARGOLINI Design of Memorials… Scientific Papers | Znanstveni prilozi

INTRODUCTION public space as a method of collective and individual healing. UVOD Regeneration is explored through two no- tions: the notion of recovery, as bringing back lost and invisible, and the notion of re- habilitation as brining into better condition existing character or mark. ”Events are bigger than people think.” This research is a part of Heritage Urbanism 4 François Guizot1 research project and builds upon the frame- work of memorials as cultural landscapes.5 Heritage urbanism method was used for fur- ther analysis of memorials in which identity factors (regeneration intention, setting type and identification concept) were used to define the models of healing interventions and the criteria for evaluating their design. Results show the significance of location in cases of post-war memorials - regardless if they are situated in landscape or in urban areas. Therefore, case studies were evaluat- ed through the criteria of accessibility, scale and motion manipulation. This paper is also part of wider topic called Urbanscape Emanation formed at the Faculty of Architecture, the University of Zagreb. Ur- banscape Emanation examines the addition of time and structure to space and the transi- tion from static to dynamic models achieved 6 D isaster risk reduction [DRR] is a system- by creating awareness about place. One of atic approach and disaster management par- the dynamic characteristic of urbanscape is adigm. UN agencies define it as: ”The con- movement experience therefore this research correlates the notion of memorials and walk- ceptual framework of elements considered 7 with the possibilities to minimize vulnerabili- space . Memorials are dynamic models of ties and disaster risks throughout a society, public spaces and through moving in them to avoid (prevention) or to limit (mitigation we achieve awareness of past and a glimpse and preparedness) the adverse impacts of of future. Main design tools are: 1. elements hazards, within the broad context of sustain- of focus, 2. vista and 3. walking choreogra- able development.”2 Under that approach in phy. Relation and organization of these three March 2015 UN adopted the Sendai Frame- combined elements explain ”the concept of work for disaster risk reduction 2015-2030 manipulation” through motion in the contem- with seven global targets and four priorities porary memorial design. for action. One of the concepts is a priority to ”Build Back Better” in recovery, rehabilita- 1 Virilio, 2000: iv tion and reconstruction.3 Research subject - 2 *** 2004: 17 the notion of memorials in public space de- 3 http://www.unisdr.org/we/coordinate/sendai-frame- sign - supports these aims and priority to work build back better through creation of public 4 Heritage Urbanism - Urban and Spatial Models for Revival and Enhancement of Cultural Heritage is the proj- places with associative and healing charac- ect financed by the Croatian Science Foundation [HERU teristics for citizens and society. HRZZ-2032] and is been carrying out at the Faculty of Ar- chitecture, University of Zagreb, principal investigator Frameworks for disaster neglect the effects prof. Mladen Obad Šæitaroci, Ph.D. that war brings to urban environments which 5 Bojaniæ Obad Šæitaroci, Mariæ, 2015 have the same consequences as natural haz- 6 Concept of Urbanscape Emanation is a series of the ards. In the post-war context, reducing post- research carried out at the Department of Urban Planning, disaster impact refers to issues of emigra- Spatial Planning and Landscape Architecture at the Facul- tion, poverty and psychological impressions ty of Architecture, University of Zagreb since 2010 through the Landscape Architecture Workshops, Diploma Thesis connected to lost persons and places. This (on master and doctoral programs) under the mentorship work analyses the post-1990s-war memorials of prof. Bojana Bojaniæ Obad Šæitaroci, Ph.D. in Croatian context as a method of dealing 7 Mariæ, Bojaniæ, 2012 with the past and at the same time preparing 8 Sekuliæ, 2013 public places for the future. It points out the 9 http://www.staff.amu.edu.pl/~ewa/Memorials_in_ importance of urban regeneration through the_Age_of_the_Anthropocene_abstracts.html PROSTOR Scientific Papers | Znanstveni prilozi Design of Memorials… B. BOJANIÆ OBAD ŠÆITAROCI, T. ZANINOVIÆ, M. SARGOLINI 306-315 25[2017] 2[54] 309

ACKGROUND B Table I Deconstructed notion of memorials POLAZIŠTA Tabl. I. Dekonstrukcija pojma memorijala Term Dictionary definition Synonyms Antonyms Impact factors causing the need for disaster rehabilitation and recovery in societies and REGENERATION To effect a complete moral reform in. To re-create, reconstitute, Reconstruction Decline cities can be distinguished in two categories: or make over, especially in a better form or condition. Transformation Stagnation natural (earthquakes, volcanoes, floods, hur- REHABILITATION To restore one’s reputation or character in the eyes of others. Reestablishment Damage Healing ricanes, landslides, avalanches, wildfires) RECOVERY The regaining of or possibility of regaining something lost Return Departure and man-made (wars, terrorist attacks, acci- or taken away. Conciliation dents). Memorials as a type of monuments REMEMBRANCE A retained mental impression. The length of time over which Reminiscence Ignorance serve the purpose of not only remembrance, recollection or memory extends Flashback but also present a way to deal with the past IDENTITY The fact of being whom or what a person or thing is. Identification Opposition events that provoke negative emotions and Integrity enable a glimpse into positive future. In post- MEMORIAL A statue or structure established to remind people Remembering Forgetting disaster context memorials give to cities new of a person or event. They are anthropogenic places designed Mediation Oblivion public places with added urban and social in landscapes or urban contexts, always with the associative values. This means that memorials, as an- character. thropogenic places designed in landscapes or urban contexts always with the associative ation, these monuments have common char- character, serve for remembering and media- acteristics formed by time and context when tion and at the same time for forgetting and they were erected. That makes them specific oblivion of negative emotions. They bring a research topic connected more to history new identity and new integrity to places and than future. Therefore, the case studies for enable conciliation and healing of people and this paper are contemporary post-war memo- society (Table I). rials in Croatia related to recent events, so The previous work presented in the paper that conclusions could be used in future new ‘Memorials as cultural landscapes’ in the memorials and public space interventions. conference proceeding book ‘Cultural Heri- All three case studies relate to persons and tage - Possibilities for Spatial and Economic events from Croatian War of Independence Development’ is an overview of typologies which took place from 1991 to 1995. and design models of memorials. Examples used for typological identification are here CONTEMPORARY POST-1990S-WAR correlated to regeneration of place through: MEMORIAL CASE STUDIES IN CROATIA regeneration intention, setting differences between urban and natural landscapes and SUVREMENI PRIMJERI MEMORIJALA symbolic design identification sign or land- POSLIJE DOMOVINSKOG RATA mark (Table II). U HRVATSKOJ It is a question whether the memorial works ”In helping humanity to survive we must as a rehabilitation or recovery and whether wake up our dormant memorials, and they become a sign/stamp or a landmark in transform them into useful sites for critical the area. The sign/stamp is related to a me- and inclusive public discourse concerning morial that is created as a new creation in memory of the past, for sharing, exchanging area. There are two types of landmarks: the first is a memorial where the existing sym- and confronting our positions concerning bolic element is integrated into the design, the present and the future…” the second type is a memorial that creates Krzysztof Wodiczko9 new public space that has an artistic value for becoming a new identity. The core of this research constitutes a survey on the concept of recovery and rehabilitation Analyzing literature and examples related to in memorials. The purpose of this research is memoria ls it is evident that tragic and war to build a path through which we could iden- memorials dominate as a category. Among tify and propose a new role of memorials as them most explored in European history are regeneration of public places, within the the post-second-World-War memorials. This changed social and political context. is also applied to the Balkan context where recent studies show high interest for monu- Selected examples derive from Table II where ments to WWII built as a blend of art and ar- three types of memorial design are defined in chitecture across the former Socialist Federal relation to their regeneration intention (reha- Republic of Yugoslavia.8 Within the premise bilitation or recovery), setting (urban or land- of cultural identity theory that every identity scape context) and identification (designed is socially controlled and culturally condi- sign, integrated landmark or designed land- tioned, and that identity is created and devel- mark) as a process of attributing qualities oped from inside of culture and political situ- and characteristics of memorials. PROSTOR 310 2[54] 25[2017] 306-315 B. BOJANIÆ OBAD ŠÆITAROCI, T. ZANINOVIÆ, M. SARGOLINI Design of Memorials… Scientific Papers | Znanstveni prilozi

Table II Memorial examples analyzed through factors of identity 1. Regeneration intention (rehabilitation or recovery): rehabilitation - restoring character; recovery - regaining lost. 2. Setting (urban or landscape context). 3. Identification (designed sign, integrated landmark or designed landmark): designed sign - adding new symbol or monument; integrated landmark - including existing recognizable mark in new design and usage; designed landmark - new recognizable public space design. Tabl. II. Analiza èimbenika identiteta na primjerima memorijala 1. Namjera regeneracije (oporavak ili oživljavanje): rehabilitacija - oporavak karaktera; oživljavanje - oživljavanje izgubljenog. 2. Smještaj (urbani ili pejsažni kontekst). 3. Identifikacija (projektirani znak, integrirani reper ili projektirani reper): projektirani znak - dodavanje novog simbola ili spomenika; integrirani reper - ukljuèivanje postojeæeg prepoznatljivog obilježja u novo ureðenje i korištenje; projektirani reper - novi prepoznatljivi projekt javnog prostora.

REGENERATION INTENTION SETTING IDENTIFICATION MEMORIAL Designed Integrated Designed [name, city, country, author, year of the project or competition / year of construction] Rehabilitation Recovery Urban Landscape Sign Landmark Landmark Memorial Bridge dedicated to veterans, Rijeka, Croatia, 3LHD, 1997/2001 + + + Water Tower Memorial of Indipendance War, Vukovar, Croatia, Radionica Arhitekture, ++ + 2007 and 2015 Gordan Lederer Memorial, Èukur Hill, NFO, 2014/2015 + + + Memorial to murdered Jews in Europe, Berlin, Germany, Peter Eisenman, 1997/2004 + + + Vietnam Veteran Memorial Wall, Washington, USA, Maya Lin, 1981/1982 + + + General Maister Memorial Park, Ljubno ob Savinji, Slovenia, Bruto, 2005/2007 + + + National Memorial, Zagreb, prof. Nenad Fabijaniæ and design team, 2016 + + + Jefferson National Expansion Memorial, St. Louis, USA, 1947 arch, 2007 MVVA park ++ + re-envision / 1935 a park, 1963-65 arch, 2018 new park Esterwagen Memorial to mass killings, Esterwagen, Germany, WES Landscape +++ Architecture and collaborators, 2008/2011 National 9/11 Memorial, New York, USA, Michael Arad, Peter Walker and Partners, +++ + 2003/2006-2011 Emblematic Monument for 150th Anniversary of the Battle of Puebla, Puebla, México, ++ + TEN Arquitectos, 2011/2011 Steilneset Memorial for the people burned as withches, Vardø, Norway, ++ + Peter Zumthor and artist Louise Bourgeois, /2011 11 March Memorial for the victims of terrorist attach at Atocha Station, Madrid, Spain, ++ + Estudio FAM, /2007 Canadian Firefighters Memorial for fallen in the line of duty, Ottawa, Canada, PLANT ++ + Architects, 2010/2012 Kornati Memorial to fallen firefighters, Kornati island, Croatia, Nikola Bašiæ, 2010/2010 + + + The Creto di Burri memory of a lost city in earthquake, gibellina, Italy, ++ + Alberto Burri artist, 1985-89/2006

RECOVERY WITH URBAN DESIGNED Adriatic sea. The location itself is not directly LANDMARK: MEMORIAL BRIDGE IN RIJEKA connected to specific events at that point. The memorial is designed as a landmark model OŽIVLJAVANJE URBANIM PROJEKTIRANIM because in addition to bridge design includes REPEROM: MOST HRVATSKIH BRANITELJA vertical extension and area for sitting. U RIJECI

”The definition of the public space was 10 http://www.3lhd.com/en/project/memorial-bridge achieved only through the structure of the 11 ”Our symbol is this oak, on our land, defiant and un- bridge itself, which at the same time must be bending. Our symbol is this wounded Water Tower. It’s recognized as a memorial object… This placed on a hill from which it can see deep to the East, but urban public hybrid has changed the vista of can also be seen far from the East… We are not touching the tower, but emphasizing its message, by parks and the city (in the material as well as mental other architectural elements, making it most clear. Every- sense) and has achieved its goal of being a thing we are planning serves to that. The ceremony en- Memorial Bridge.” trance stains, the cut towards the street forcing us to bend in front of it. Also, the museum being placed below the 10 3LHD park, not to compete with the tower. And the amphithe- ater. Names of those who gave everything they had are Memorial Bridge in the city of Rijeka is a de- written in the foundations. We give honor to everyone to sign solution by the author 3LHD (team: Sil- whom the tower meant everything those smoky days. The vije Novak, Marko Dabroviæ, Saša Begoviæ, rest should be a park, a game place, a place for a new be- ginning.” [https://www.radionica-arhitekture.hr/memori- Tatjana Grozdaniæ Begoviæ, Siniša Glušica, jal-vodotoranj-1] Koraljka Brebriæ Kleonèiæ, Milan Štrbac) com- 12 ”We barely touch the Water Tower... The panoramic pleted 2001 (competition 1997) in honor and elevator leads us to the memorial room in place of the for- memory of veterans from the Croatian War of mer water tank. In the room, on the screens, we can see Independence. The new urban pedestrian documentary videos from the period of the city and Water Tower suffering. A long zig-zag path leads us to the roof, to bridge is placed in the central urban area be- a viewpoint from which we can see the city which is re- tween historical urban core and Delta area newed. And we can see the Danube.” [https://www.radi- where the river Rjeèina connects with the onica-arhitekture.hr/memorijal-vodotoranj-2] PROSTOR Scientific Papers | Znanstveni prilozi Design of Memorials… B. BOJANIÆ OBAD ŠÆITAROCI, T. ZANINOVIÆ, M. SARGOLINI 306-315 25[2017] 2[54] 311

Analysis of memorial design: Table III Design analysis and comparison of case studies of post-1990s-war memorials in Croatia A. accessibility: in the center of the city, pub- Tabl. III. Analiza i usporedba primjera poslijeratnih memorijala Domovinskog rata u Hrvatskoj lic use Gordan Lederer Memorial, Analysis Memorial Bridge, Rijeka Water Tower Memorial, Vukovar B. scale: public place (bridge as a linear Hrvatska Kostajnica square), applied method is a construction of Regeneration Recovery-urban-designed Rehabilitation-urban-integrated Recovery-landscape-designed a new infrastructure (scale of the city is landmark landmark sign 128.500 people) Conclusion on HEALING CULTURE HEALING HISTORY HEALING NATURE C. manipulation concept: Regeneration: 1. elements of focus: new vertical exten- Healing model sion at the end of a bridge A. ACCESSIBILITY 2. vista: slit in the wall is inward looking, Location In the center in the center proximity on the periphery canalscape is outward looking Distance from center 200 m from main 1 km from center 3.22 km from the center 3. walking choreography: access from the pedestrian street city center, circumventing a glass fence Usage Urban public place Urban park Park in natural landscape on west, crossing a bridge (movement and infrastructure through), circumventing a wall on east and CONCLUSION PUBLIC PUBLIC VISITING stopping (sitting on benches) on terrain vague. B. SCALE The Memorial Bridge is a recovery example in City (inhabitants) 128.500 27.500 2.700 urban context and identified as designed land- Intervention Pedestrian bridge Park and museum Sculpture in landscape mark, which assumes the role of public urban CONCLUSION PUBLIC: EXPOSED PUBLIC AND VISITING: EXPLORATORY AND VISITING: space. Intervention is not at the scene of the EXPOSED AND INTIMATE INTIMATE event but on chosen setting where it creates C. CONCEPT OF MANIPULATION an experience that enables awareness of what C.1. focus Vertical extension Water tower Sculpture is intended. It is located in response to the cur- of bridge rent needs of the city for pedestrian motion. C.2. vista Canalscape Townscape, Riverscape Townscape and Riverscape Its purpose is determined by the movement and Urbanscape and Landscape through new urban infrastructure. Crossing Conclusion on walkscape: Vista through whole Vista views from the focus Townscape from the memorial the bridge from the center of the city is sym- Vista vs. focus memorial and panoramic on the top area and Riverscape from the bolic vertical monument and around it the of the focus focus place of rest and contemplation. Existing place C.3. walking Horizontal, directed Wandering in park around Directed on the meandering east from the memorial bridge, called Delta choreography and circumventing around the focus, vertical and zig-zag path and wandering around the focus with possibility through focus and circular focus, with possibility to look in Rijeka, is a terrain vague waiting for a new to pass through. on the top vista point of focus. through the focus. use. With this bridge, a new city link adds Conclusion on walkspace: Towards, through Around the focus, through Towards the focus value with greater connectivity and the ability movement vs. focus and around focus the focus and on the focus and around focus to revive a terrain vague.

REHABILITATION WITH URBAN INTEGRATED Marin Mišan, Klara Nikšiæ, Jelena Prokop, LANDMARK: WATER TOWER MEMORIAL Goran Rako, Ana Ranogajec, Josip Saboliæ). It IN VUKOVAR is a symbol of the Croatian War of Indepen- dence and the battle for Vukovar. Vukovar OPORAVAK URBANIM INTEGRIRANIM is a city on the boarder of Croatia with Ser- REPEROM: MEMORIJALNI VODOTORANJ bia. Placement of the memorial area is at U VUKOVARU the place of an event where war destruction took place. It is an existing water tower in a Water Tower 1 renewed urban park at the entrance to the ”We are not touching the tower, but periphery settlement which was a target in emphasizing its message, by parks and the battle. other architectural elements, making it most Analysis of memorial design: clear.”11 A. accessibility: in the city, 1 km from city cen- Water Tower 2 ter (2 km from periphery) ”We barely touch the Water Tower... B. scale: scale of a public park of 1.5 ha (scale A long zig-zag path leads us to the roof, to a of the city 27.500 people) viewpoint from which we can see the city C. manipulation concept: which is renewed.”12 1. elements of focus: 50 m high water Radionica Arhitekture tower 2. vista: tower inward looking and in addi- For Water Tower Memorial in the city of Vuk- tion to that an exhibition will be added in ovar designed by Radionica arhitekture there the tower according to the project two are two projects, one from 2007 (Kristina (2015), urbanscape - city and river panora- Jeren, Kata Marunica, Goran Rako, Nenad ma will be outward looking from a tower Ravniæ) and second from 2015 (Fani Frkoviæ, 3. walking choreography: access from the Sara Jurinèiæ, Tena Kneževiæ, Dora Krušelj, urban park without directed movement, PROSTOR 312 2[54] 25[2017] 306-315 B. BOJANIÆ OBAD ŠÆITAROCI, T. ZANINOVIÆ, M. SARGOLINI Design of Memorials… Scientific Papers | Znanstveni prilozi

vertical lift movement combined with zig 3. walking choreography: meandering path zag walking inside the tower and circula- leading towards the sculpture, ending with tion on the top of the tower. the text before the sculpture and leaving Water Tower Memorial is a rehabilitation ex- field between the path and sculpture to wander and enjoy vistas in free movement ample in urban context and identified with not lead by pathways. integrated landmark which exist as a symbol. Water Tower as a symbol is integrated in both Gordan Lederer Memorial creates public space projects through public space that recogniz- in nature - a viewpoint with memory. The in- es the new role of water tower in restored city tervention is at the scene of the event, on the and landscape. Intervention is on the place of topography that enabled this event. Aware- the event, stressing the experience of the re- ness is achieved in a number of ways: directly membrance and connecting it with an idea of symbolizing a person through sculpture, in- the museum. New creation is achieved scriptions, a path that lengthens the way to through the motion of going up the tower to contemplating and ultimately the paradox of a experience the vista on the contemporary city path that does not come to sculpture, allowing and what it may be in the future. Added value wandering and discovery of new vistas. Its purpose is determined by movement and at for the city is in new perspectives of public the end of that movement is the vista area. space established through the memorial This is primarily the place of contemplation park, museum and water tower. that suits the context. The view on the sculp- ture from the settlement is not noticeable, but RECOVERY WITH LANDSCAPE DESIGNED the sculpture idea is that it is large enough to SIGN: GORDAN LEDERER MEMORIAL occasionally create flashes through light re- IN HRVATSKA KOSTAJNICA flection as a remembrance. ŽIVLJAVANJE PEJSAŽNIM PROJEKTIRANIM O DISCUSSION ZNAKOM: MEMORIJAL GORDANA LEDERERA U HRVATSKOJ KOSTAJNICI DISKUSIJA ”Lost lens on the edge of the Èukur hill, ”Memory is built. Memory is not something above the Una valley. The lens is cracked which is just there. It is also constructed… and pushed in the grass, Access path is When we remember we are not in the past. directed toward the monument, stops about We are always remembering now. The nature 10 meters before him, thus leaving of the memory also changes with the present monument intact and surrounded by and with the future.” emptiness. Crossing the meadow in front of Daniel Libeskind14 the monument is left to the decision of the visitor; to stop at the end of the path and Three models of the act of healing through me- return the same way or step toward the goal morial are: healing nature, healing history and - the monument and look at Una valley healing culture. Healing nature is recovering through the lost lens of Gordan Lederer.” the illusion of landscape. Healing history is re- use of landscape and existing constructions. 13 NFO Healing culture is new relationship between Gordan Lederer Memorial on the Èukur hill is people, urbanscape and landscape. a project design called ”Broken Landscape” Weather memorials are more public/exposed by NFO (Kata Marunica, Nenad Ravniæ, Nikica or private/intimate character depends on its Pav loviæ, Filip Vidoviæ, Dragan Mileusniæ, accessibility and scale. By analyzing these Željko Serdareviæ) and sculptor prof. Petar two planning criteria in correlation to the us- Barišiæ, finished in 2015 (2014 competition). ers we can conclude if the memorials are It is erected in a memory of a person, a re- public or exposed or hidden and left to be porter from the front line who was killed on explored by enthusiasts and specific curious the 10th of August 1991 by a sniper shot. visitors. Memorial Bridge in Rijeka is an example of public memorial used daily be- Analysis of memorial design: cause it is placed in the urban center and de- A. accessibility: in the landscape at the place signed as an addition to public infrastructure. of an event, 3.22 km from the urban center and border crossing between Croatia and Bosna and Hercegovina. 13 http://www.nfo.hr/#/spomenik-gordanu-ledereru B. scale: scale of a park and a sculpture 14 Leach, 1999: 132 (scale of the city of Hrvatska Kostajnica is 15 Virilio, 2000: 1 2.700 people) 16 ”The way in which the past is honored as ”heritage” C. manipulation concept: is more disastrous than its simple disappearance could ever be” Walter Benjamin quoted in abstract by Krzysytof 1. elements of focus: sculpture Wodicyko [http://www.staff.amu.edu.pl/~ewa/Memori- 2. vista: on the town and riverscape als_in_the_Age_of_the_Anthropocene_abstracts.html] PROSTOR Scientific Papers | Znanstveni prilozi Design of Memorials… B. BOJANIÆ OBAD ŠÆITAROCI, T. ZANINOVIÆ, M. SARGOLINI 306-315 25[2017] 2[54] 313

Memorial to Gordan Lederer is almost hidden disastrous honored than disappeared, me- (not on an everyday route) and therefore it is morials need to be places of awareness, con- a destination of travel or recreation routes. templating and understanding so that new Vukovar Water Tower Memorial is public in public places become the heritage for future character but also if museum opens inside generations. This means that memorials are tower or the memorial area this would be at the same time remembering and oblivion more visitor oriented function with educa- reinterpreted in the new public space and as tional purpose intended to explore internal such the disaster becomes new attraction curiosity or grief. which enables healing process. The resulting criteria for design evaluation of Memorials are complex interdisciplinary sub- memorials from analyzing contemporary ject where social, artistic, architectural, ur- post-war case studies in Croatia are: first ban and political aspects are combined with the relation between accessibility and scale psychological issues. The design characteris- and second the relation between walkspace tics analyzed in this and previous research and walkscape which forms the concept of are introduction to phenomenological future manipulation. The ‘concept of manipulation’ research for comparing the typologies, mod- derived as a result of previous paper Memori- els and design concepts with the personal als as cultural landscapes, here we tried to and subjective experiences and opinions of prove it. Three elements of motion manipula- people touched by the events. Only by com- tion are compared on case studies: elements bining these types of data it is possible to of focus, vistas and walking choreography. analyze the consequences of a design and All three memorials have visible and clear confirm if the healing models successfully focus element according to which authors serve their purpose. design directions of walking. Free motion of [Authors] visitors or wandering is also planned in spe- cific area more connected to natural land- scape and vistas. Manipulation concept through choreography of motion (walkspace vs. walkscape) in the memorial space provides changing percep- tion of the event and awareness of the experi- ence in the memorial space.

CONCLUSION ZAKLJUÈAK „… the future is called the past” Luis Aragon15 As theoretical contribution of this research we point out the definition of memorials. Me- morials are subtype of monuments because they relate to specific way of remembering and commemorating related to negative events or emotions while monuments can be dedicated to various purposes, persons or topics. By analyzing the walking choreogra- phy in memorials, we have showed that mon- uments are also parts of the memorials and placed in them as focus elements. Therefore, monuments are static notions while memori- als imply dynamic use of space and therefore are a method of public space regeneration in urban and landscape environments. In addition to manipulation, results show the significance of location, accessibility and scale for defining public-private relations of post-war memorials - regardless if they are situated in landscape or in urban areas. On the contrary to negative interpretations of Walter Benjamin thoughts16 on past as more PROSTOR 314 2[54] 25[2017] 306-315 B. BOJANIÆ OBAD ŠÆITAROCI, T. ZANINOVIÆ, M. SARGOLINI Design of Memorials… Scientific Papers | Znanstveni prilozi Bibliography Sources Literatura Izvori

1. Bojaniæ Obad Šæitaroci, B.; Mariæ, T. (2015), Internet Sources Memorials as Cultural Landscapes / Memorijali Internetski izvori - naèin stvaranja kulturnog krajolika, u: Inter- national Scientific Conference Cultural Heritage - Possibilities for Spatial and Economic Devel- 1. http://www.staff.amu.edu.pl/~ewa/Memorials opment, Proceedings / Meðunarodni znanstve- _in_the_Age_of_the_Anthropocene_abstracts. ni skup prostorne i razvojne moguæ nosti kul- html [8.11.2017.] turnog naslijeða, Zbornik radova [gl.ur. Obad Šæitaroci, M.], Arhitektonski fakultet: 244-249, 2. http://www.unisdr.org/we/inform/publications Zagreb /657 [8.11.2017.] 3. http://www.unisdr.org/we/coordinate/sendai- 2. Leach, N. (1999), Architecture and revolution, framework [8.11.2017.] Routledge, New York 4. http://www.3lhd.com/en/project/memorial- 3. Mariæ, T.; Bojaniæ Obad Šæitaroci, B. (2012), bridge [8.11.2017.] Walkspace, Linearno povezivanje prostora 5. https://www.radionica-arhitekture.hr/memori- na primjeru Splita, ”Prostor”, 1 (43): 119-131, jal-vodotoranj-1 [8.11.2017.] Zagreb 6. http://www.3lhd.com/en/project/memorial- 4. Sekuliæ, D. (2013), Nepodnošljiva težina ne- bridge [8.11.2017.] vidljivog, ”Zarez”, 440, http://www.zarez.hr/ 7. http://www.nfo.hr/#/spomenik-gordanu-lede- clanci/nepodnosljiva-tezina-nevidljivog reru [8.11.2017.] [8.11.2017.] 5. Virilio, P. (2000), Landscape of Events, Writing Illustration and Table Sources Architecture - A project of the Anyone Corpora- Izvori ilustracija i tablica tion, MIT Press Cambridge, Massachusetts, Lon- don, England 6. *** (2004), Living with Risk: A Global Review of Fig. 1 Ortophoto maps - Google Earth Pro base- Disaster Reduction Initiatives, Vol.1, UNISDR: map (Image © 2017 CNES / Air bus, Image © 17, New York and Geneva, http://www.unisdr. 2017 DigitalGlobe) + T. Zaninoviæ org/files/657_lwr1.pdf [8.11.2017.] Photos of Memorial Bridge in Rijeka - © 3LHD 2001, Authors: Damir Fabijaniæ (photo from air), Aljoša Brajdiæ Water Tower Memorial in Vukovar - © Ra- dionica Arhitekture Photos of Gordan Lederer Memorial in Hr- vat ska Kostajnica - © NFO + Petar Barišiæ, Authors: Bosniæ+Dorotiæ Tables I, II, III B. Bojaniæ Obad Šæitaroci and T. Zani noviæ PROSTOR Scientific Papers | Znanstveni prilozi Design of Memorials… B. BOJANIÆ OBAD ŠÆITAROCI, T. ZANINOVIÆ, M. SARGOLINI 306-315 25[2017] 2[54] 315 Summary Sažetak

Stvaranje memorijala - umijeæe sjeæanja Metoda obnove mjesta

Memorijali su prostori gdje se društveni, umjetniè- postaje metoda kolektivnog i individualnog oz- to namjerom obnove, naèinom smještaja u grad- ki, arhitektonski, urbanistièki i politièki èimbenici dravljenja. skom ili prirodnom pejsažu te simbolièkom identi- vežu za psihološke probleme. Karakteristike proje- Regeneracija kao proces obnove mjesta istražuje fikacijom znaka ili repera. kata, analiziranih u ovome i u prijašnjim istraživa- se pomoæu dva pojma: pojam oživljavanja, koji vra- Znak/peèat vezan je za memorijale koji su projek- njima autora ovoga èlanka, uvod su za buduæe æa izgubljeno i nevidljivo, te pojam rehabilitacije ili tirani kao novi element u prostoru. Reperi se pro- istraživanje usporedbe tipologija, modela i projekt- oporavka, koji obnavlja postojeæi karakter ili znak. matraju kao memorijal gdje postoji simbolièki ele- nih ideja s osobnim i subjektivnim iskustvima i miš- Rad je dio istraživaèkog projekta Urbanizam naslije- ment i on je integriran u projekt ili kao memorijal ljenjima ljudi povezanih s memorijalom, prostorom ða [HERU] i nastavlja istraživanje memorijala kao koji stvara novo javno mjesto s vrijednošæu koja i dogaðajima. Kombinacijom svih tih elemenata bit kulturnog pejsaža. HERU metoda koristi se za dalj- postaje novi identitet u gradu. æe moguæe istražiti posljedice intervencija i provje- nju analizu tako da su èimbenici identiteta (namjera Èimbenici identiteta istraženi su usporedbom raz- riti uspješnost modela ozdravljenja: ozdravljenje obnove, tip smještaja i koncept identifikacije) kori- lièitih memorijala domaæih i svjetskih primjera iz kulture (uspostavljanje novih meðuljudskih odno- šteni za utvrðivanje modela intervencije i kriterija za 20. i 21. stoljeæa. Na temelju usporedbe za detalj- sa), ozdravljenje povijesti (oporavak i ponovno ko- evaluaciju oblikovanja. Rezultati pokazuju znaèenje nije su istraživanje odabrani suvremeni memorijali rištenje pejsaža, struktura i graðevina) i ozdravlje- smještaja poslijeratnih memorijala, bez obzira jesu Domovinskom ratu u Hrvatskoj, i to: Most hrvat- nje prirode (oživljavanje iluzije pejsaža). li smješteni u pejsažu ili gradskom prostoru. Oda- skih branitelja u Rijeci, Memorijal Vodotoranj u Za razliku od spomenika, memorijali su javni pro- brani primjeri evaluirani su pomoæu kriterija pristup- Vukovaru i Memorijal Gordana Lederera u Hrvat- stori koji služe ne samo podsjeæanju veæ predstav- nosti, mjerila i ‘manipulacije’ kretanja. skoj Kostajnici. ljaju i naèin suoèavanja s negativnim emocijama Èlanak je takoðer dio istraživanja Urbana emanaci- Istraživanjem primjera stvorena je podloga za defi- prošlih dogaðaja i stvaraju viziju pozitivne buduæ- ja, gdje se ispituje dodavanje vremena i strukture niranje memorijala kao podtipa spomenika veza- nosti. U kontekstu zbivanja nakon katastrofa me- prostoru, te prelaska iz statièkih u dinamièke mo- nih za sjeæanje s negativnom konotacijom. Anali- morijali postaju novi javni prostori grada dodajuæi dele, što se postiže stvaranjem svjesnosti o mje- zom koreografije kretanja pokazujemo da su spo- mu nove urbane i društvene vrijednosti. To znaèi stu. Dinamièka karakteristika gradskoga pejsaža menici dio memorijala smješteni u njima kao da su projektirani kao antropogena mjesta u pejsa- proizlazi iz iskustva kretanja pa ovo istraživanje element fokusa. Zakljuèak je da su spomenici sta- žu ili gradu, uvijek asocijativnoga karaktera, služe- postavlja u meðuodnos pojmove memorijala i pro- tièni, a memorijali podrazumijevaju dinamièko ko- æi podsjeæanju i medijaciji te istovremeno služeæi stora kretanja. Glavni elementi projektiranja jesu: rištenje prostora i time postaju naèin obnove jav- zaboravu i potiskivanju negativnih emocija. Dono- 1. fokus, 2. vizure i 3. koreografija kretanja, a time noga prostora bilo u gradu ili pejsažu. se novi identitet i integritet mjestima te omoguæa- nastaje ‘koncept manipulacije’ kretanjem. Ne želi se koristiti interpretacija Waltera Benjami- vaju pomirenje ljudi i društva. Prethodna istraživanja memorijala u ranije objav- na koji pretpostavlja kako je bolje da sjeæanje na Ovaj rad istražuje memorijale u razdoblju nakon ljenom èlanku Memorijali - naèin stvaranja kultur- nesreæu nestane negoli da ju se slavi. Stajalište je 1995. godine, poslije Domovinskoga rata u Hrvat- nog krajolika [Bojaniæ, Mariæ, 2015.] donose ti- ovoga istraživanja da memorijali moraju postati skoj, i to metodom razrješenja s prošlošæu i stvara- pološki pregled i modele projektiranja. Primjeri mjesta svjesnosti, kontemplacije i razumijevanja, njem javnih prostora za buduænost. Pokazuje se korišteni za tipološku identifikaciju u ovome radu te na taj naèin postaju nova javna mjesta, naslijeðe važnost urbane regeneracije javnih prostora, što postavljeni su u meðuodnos s obnovom mjesta, i za buduæe naraštaje. [Autori]

Biographies Biografije

Prof. BOJANA BOJANIÆ OBAD ŠÆITAROCI, Ph.D., archi- Izv.prof. dr.sc. BOJANA BOJANIÆ OBAD ŠÆITAROCI, tect, is Head of the Department of Urban Planning, dipl.ing.arh., predstojnica je Katedre za urbani- Spatial Planning and Landscape Architecture at zam, prostorno planiranje i pejsažnu arhitekturu the Faculty of Architecture, University of Zagreb. Arhitektonskog fakulteta Sveuèilišta u Zagrebu. [www.scitaroci.hr] [www.scitaroci.hr] TAMARA ZANINOVIÆ, MArch, is a Research assistant TAMARA ZANINOVIÆ, mag.ing.arch., znanstvena je at the Faculty of Architecture in Zagreb and PhD novakinja na Arhitektonskom fakultetu u Zagrebu i student at Vienna Technical University. doktorandica na Tehnièkom sveuèilištu u Beèu. Prof. MASSIMO SARGOLINI is a full professor of Town Prof. mr.sc. MASSIMO SARGOLINI, redoviti je profe- and Regional Planning and Director of Master in sor pri Urbanizmu i prostornom planiranju, direk- ”Landscapes of innerland” at the University of tor diplomskog studija „Pejsaži unutrašnjosti” Camerino and a member of Technical-scientific Sveuèilišta u Camerinu i èlan je Tehnièkog-znan- council for reconstruction after the earthquake in stvenog vijeæa za rekonstrukciju nakon potresa u Italy 2016. Italiji 2016.