SPATIUM UDC 728(497.521.2)"18/19" No. 44, December 2020, pp. 37-44 DOI: https://doi.org/10.2298/SPAT2044037C Scientific analysis or debate

ART NOUVEAU IN ZAGREB: THE NEW MOVEMENT'S SIGNIFICANCE TO THE PROFESSION OF ARCHITECTURE

Melita Čavlović1, University of Zagreb, Faculty of Architecture, Zagreb, Croatia Mojca Smode Cvitanović, University of Zagreb, Faculty of Architecture, Zagreb, Croatia Andrej Uchytil, University of Zagreb, Faculty of Architecture, Zagreb, Croatia

This paper traces the implications of Semper's Bekleidung theory on working processes in the field of architecture in Zagreb. The idiosyncrasies of the work of freshly graduated architects in a peripheral Austro-Hungarian city are analysed, both in the context of developing and spreading the city block system and the appearance of the new Art Nouveau style. Buildings in this new modern style, which appeared in 1897, were built sporadically throughout the city's urban fabric, which generally consisted of historicist residential buildings at the time. Parallel to historicism, the demand for Art Nouveau from clients grew, especially around the turn of the 20th century. At the time, typical migration processes resulted in the arrival of a well-educated populace that would commission Art Nouveau buildings in the coming years. The unique characteristics of Art Nouveau style, especially its ability to directly engage citizens and transmit messages of modern times, proved to be an important determinant in its increasing popularity in the city. Many professions and products were advertised on the façades and ornamentation of buildings, the main bearers of Art Nouveau style. Key words: Art Nouveau, Zagreb, architectural profession, Semper's Bekleidung theory.

INTRODUCTION stylistic canon affected the work of the small number of This paper provides an analysis of the development Nouveau buildings, and to reflect upon how changes to the and construction of the city of Zagreb and the work of general elaboration of the state of the construction industry andarchitectural the building firms principles that existed used in thein the city city, at the a time.relationship After a Hungarian city, in order to identify trends typical of the late- architectural firms in what was a peripheral Austro- theory of Gottfried Semper. Its determinants will then be sample from an area far smaller than Vienna. Zagreb, with will be established with the then-influential architectural 19th and early-20th century, using a significantly reduced typical Austro-Hungarian city, in which sporadic examples verified, and the organisation and work of one of the most its quickly growing urban fabric, has been recognised as a Deutsch, will be presented, in order to shed light on poorly of Art Nouveau buildings appeared at the turn of the 20th established architectural firms in Zagreb, Hönigsberg and worked. These differences came about with the introduction historicist canon (Witt-Dörring, 2015). The intent is not to ofknown Art Nouveau differences projects in the and way academically Zagreb's architectural trained architects firms analysecentury, the parallel detailed to morestylistic than determinants 60 years ofof firmly-rootedthe time, but into hitherto well-coordinated historicist practice. It will rather to observe the typology of buildings and the clients who commissioned them, as well as particular eminent Art of historicist buildings in well-situated, well-functioning then be further affirmed that the increase in production 1 of the speed with which their employees were prepared to [email protected] firms that were somewhat reluctant to change – in terms Kačićeva 26,10 000 Zagreb, Croatia

spatium 37 Čavlović M., Smode Cvitanović M., Uchytil A.

: Art Nouveau in Zagreb: The new movement's significance to the profession of architecture answer to the increase in commissions – opened the issue of authorship and made room for creative and autonomous professional practice. Finally, it is concluded that these invention in what had previously been routine, efficient art and to a change in the status of academically trained transformations led to a re-definition of architecture as

CONSTRUCTIONarchitects, becoming – BUILDING equal to that OWNERS of artists. – ARCHITECTURAL FIRMS activity in Zagreb from 1870 to 1910 was caused by the constructionThe significant of a influx railway of line residents connecting and relatedZagreb with building the capitals of the Monarchy – Vienna and Budapest – on the one hand, and an unexpected natural disaster on the other Figure 1. Initiation of the orthogonal city grid in Zagreb in 1880, immediately creating opportunities for vigorous (Source: Digital collection of the National and University library in Zagreb, Zagreb city plan, Dragutin Albrecht, 1864) architectural– an earthquake renewal. (Domljan, Due to 1979). the urgency The earthquake of the situation struck and the increased number of commissions, architectural Although a certain number of representative buildings, buildings, which resulted in a standardisation of the most of which were residential buildings with or without urbanfirms workedfabric, allowing using pre-existing buildings to designs be built for with residential a short turnaround after the purchase of land (Laslo, 1984-85). remainder of the urban fabric that dominated the city rental flats, were built along main city thoroughfares, the After being connected with the centres of the Monarchy, consisted mostly of buildings constructed according to Zagreb began to grow from a city on the administrative and standardised, stereotypical projects. The aforementioned political periphery into an ever-stronger economic centre. wealthy class built these buildings; however, many members of poorer classes took advantage of the favourable of buildings comissioned by monetary institutions, as well construction situation and made use of the exceptional asThis the is appearanceconfirmed by of thean entirelyexceptional new growth type of in building the number that opportunity to become homeowners. This favourable would mark the entire period without precedent – the construction situation was fueled by a city order freeing new rental apartment house. Similar to the circumstances in buildings from taxation for 10 years, as well as by favourable Vienna (Blau, 1999a, Schubert, 2018), the construction short-term bank loan terms, which provided strong impetus of rental apartment houses and the property speculation for the construction of this new type of building (Timet, inherently connected with them became an important, if not 1961). Inspired by these favourable conditions, entire city vital, determinant in increased construction and the related blocks soon became open building sites. This increase in development of a street grid in Zagreb. As the modernisation of the city generated the need for the the number of buildings simultaneously put significant construction of this type of building, the city administration andpressure business on the methods few existing to meet architectural this increased firms, demand. and it wasThe used the legal tools of building codes and urban plans to modernisationcertainly in their of financial the city interest would toaccelerate reorganise even their further work after World War I, when the majority of the city's blocks plots as dictated by entrepreneurs. Plots were built upon were built upon within a span of ten years (Timet, 1961). arbitrarilycurb uncontrolled until the trade mid-19th in property century, and when the fillinga board of was city Due to insecurity and the cyclical appearance of crises, the founded to introduce a building permit procedure, which construction of housing would become one of the safest forms of investment in Zagreb, and thus the most sought- after kind of architectural project. Increased interest in whodefined invested the legal in frameworkprojects for for this the urbanisationnew type of of building. the city architectural projects did not come exclusively from clients The(Dobronić, city administration 1983). A new attemptedclass of wealthy to both citizens encourage appeared, and from the business community, but also from the owners of control the purchase, construction, and sale of city plots along the perimeter of city blocks in order to build rental good understanding of the business environment, as well as houses. The orthogonal city matrix proved fertile ground for ofarchitectural procedures firms and protocols themselves in the(Bagarić, creation 2018). of drafts They and had the a the city's expansion eastward and westward, while building issuing of building permits, and they saw participation in codes determined what could be built on a particular plot these building circumstances as an exceptional opportunity. (Figure 1). Precise regulations for residential buildings were not drafted in Zagreb until the 1930s, and these prescribed out numerous projects according to the plans of others, but in detail the dimensions of some types of rooms, residential alsoA few invested, architectural built, firms, and participatedthus, not only as drafted stakeholders and carried and hygiene standards, and the architectural elaboration of designers in the work of companies and organisations that buildings. Until this time, the design and construction of invested in the construction of residential buildings. This practice was a continuation of the work of the 19th-century that their development was partially left up to clients, architects,rental blocks and was master significantly builders less (Laslo, controlled, 1984-85). which meant executed projects regularly, meaning there was no border in builders' guild. The builders’ guild both designed and

38 spatium Čavlović M., Smode Cvitanović M., Uchytil A.

: Art Nouveau in Zagreb: The new movement's significance to the profession of architecture supported by the fact that the builders' guild was dominated bybetween master architectural builders (Baumeister firms and), whoconstruction often worked firms. together This is inmain a construction square, where plot he onlived the and central opened city a dentistrythoroughfare practice and (Fatović-Ferenčić, 1998). After six years of work, he invested master builders with that of architects. with entrepreneurs, while legislation equated the status of decidedbuilt a rental to construct apartment a commercial building exclusively and residential to profit building from ART NOUVEAU RENTAL APARTMENT HOUSES – rent (Bagarić, 2011). With the capital he earned, he soon AT THE CROSSROADS BETWEEN CLIENTS AND where he relocated his dental practice and lived with his ARCHITECTURAL FIRMS at a prestigious, central location – Ban Jelačić Square – The appearance of Art Nouveau style constituted a rent.entire There family. is Asideno need from to thestress dental that practice both of andthese his rental five- turning point in architectural practice, especially in the buildingsroom flat, were the built remaining in Art floorsNouveau were style. again The intended second one, for construction of new residential buildings amidst the city blocks, consisting almost entirely of historicist buildings. featured metal letters that advertised the dental practice, The change was marked visually with the construction of whilewith itsthe representativeselection of a prestigious elevation, facedcity location the square served and as representative Green Horseshoe Prospect by Atelier Fischer the first rented apartment house by Dr. Rado in 1898 on the an affirmation of Rado's reputation, his numerous clientele, affected the architectural profession (Figure 2). The usual and general success. The square-facing façade was richly & Hrubý, but it could also be claimed that the change equally protagonists in housing construction – master builders and ornamented: the first floor had two symmetrical loggias so-called entrepreneurial associations that both designed waswith covered glass elements in green within glazed a tiles, fine andmetal a sign sub-structure, advertising andthe and built buildings – had garnered great experience through dentalthe remainder practice was featured filled symbolswith organic of the motifs; medical the profession. sloped roof the mass reproduction of historicist rental houses according to the choice of a historicist style by their clients. Now, that employed architects educated at technical universities (Technischedemand was Hochschulen) increasing for or professional arts academies architectural (Akademie firms der bildinden Künste), the two types of institution that usually trained European architects at the time (Long, 2016). With the appearance of Art Nouveau, it became common for building designs from the imperial centre in Vienna to be copied, and this was also the case in Zagreb. Historicism was the initial stylistic choice of the local aristocracy, as well as of wealthy citizens who followed their trends. After freedom of movement was awarded to the rural population in 1848, large waves of migration took place throughout the Monarchy (Blau, 1999b), and Zagreb was no exception to this. Numerous highly educated doctors, dentists, pharmacists, lawyers, civil engineers, and many others moved to Zagreb; in addition to their primary professions and their professional activity in Zagreb, they also saw the opportunity to become entrepreneurs and property owners, as well as to invest in the construction of rental buildings. Within the context of the liberal economy and free market in which these individuals did business and competed, as well as their need to advertise and directly address society, Art Nouveau served as the architectural answer this class of Figure 2. Art Nouveau façades of the Rado rental apartment house citizens sought. (Source: Živković, 1977) Their need to communicate and represent the aspirations of modern times became especially apparent in one The entrepreneurial spirit of Rado was shared by the newly architectural element – the façade, for which Art Nouveau arrived and well-educated citizenry who, by the end of the offered a formal innovation. Street-facing façades took 1890s, counted for 69% of the registered citizenry (Laslo, A. on an important role in representing the educated, 1984-85). The arrival of new inhabitants from many cities entrepreneurial-oriented bourgeoisie; their shallow and towns throughout the Monarchy increased, especially and freely-used ornamental decorations were used to in the decades prior to the turn of the 20th century, which advertise their numerous businesses, professions, and coincided with the boom in the presence of Art Nouveau style on building façades. One of the symbols of Art Nouveau Eugen Rado, and the aforementioned Dr. Rado building, is in Zagreb, the Kallina apartment house, was commissioned oneproducts representative (Fatović-Ferenčić of this phenomenon. and Ferber Rado, Bogdan, a dentist 2018). of by Josip Kallina, who arrived from Prague; after studying Hungarian descent, moved to Zagreb after completing his engineering in Prague and serving as an administrative clerk in Vienna, he relocated to Zagreb, where he became a schooling in Vienna. He rented a flat in a building on Zagreb’s

spatium 39 Čavlović M., Smode Cvitanović M., Uchytil A.

: Art Nouveau in Zagreb: The new movement's significance to the profession of architecture manufacturer, trader, and landowner. The Kallina apartment through the interpretation of the messages placed there (Mallgrave, 1988, Otto Wagner, 1993). Otto Wagner also a storefront for Kallina's factory, which sold and distributed ceramicshouse was products. built with As flats the for building's rent, however façade it also is covered contained in ideas in his professional activities (Topp, 2004). Not ceramic tiles, it has been called "Zagreb's Majolikahaus", relied significantly on the principles of Semper's theoretical however, while the Viennese Majolika is covered in tiles transcend the simple symbolic potential of the load-bearing structure,adhering completely as his numerous to Semper’s critics allowance have noted, for Wagner the façade often to the building in Zagreb is covered with tiles that served as anwith advertisement floral motifs for made the byKallina the Winerbergerfactory's locally company, made artistic freedom on façades. Wagner's formula of realism in products. Additionally, like the Wiener Werkstätte [Viennese architecturerelinquished and the his opportunity derivation to of achieve art from a highermere tectonics level of Workshops], Kallina also produced ceramic masonry heaters and material givens has been recognised as the only in Art Nouveau style, which corresponded to tendencies divergent point between him and Semper. Additionally, Wagner considered that the basic artistic talent necessary to practice architecture was drawing skill, which was not only artsin Vienna and the (Klobučar, applied arts 1960). would Viennese allow the Art style Nouveau to enter artists into an important criterion for enrolment in the Special School of thebelieved everyday that life abolishing of citizens the more hierarchy easily, which between would the lead fine Architecture at the Viennese Academy of Fine Arts, of which he was vice rector, but also for involvement in the Wagner man through the purchase of modern products that have Atelier. For this reason, Wagner's assistants were all highly undergoneto an affirmation an artistic of the transformation, belief that one which becomes was in a thismodern case in the Art Nouveau style. his architectural projects (Boyd White, 1989). Drawing skill trained in drawing, which was a prerequisite for work on GOTTFRIED SEMPER'S BEKLEIDUNG THEORY a trained hand was a crucial tool in communicating one's ideasaffirmed (Nierhaus, the perception 2015). ofWe architects shall now as analyse equal to the artists, working and style of modern times through his statement and practice ofOtto abandoning Wagner made the are-use key step of older towards architectural defining the styles. new foundedprocesses on of the Hönigsbergfree artistic and design Deutsch of the architectural façade and firm the This belief was founded in the utilitarian design of the distinctionthrough the between lens of thethe logicroles of of Semper’s the façade theory, and thewhich load- is new form (Nutzstil), and not its mere innovation, as bearing structure. well as in a consideration based on Gottfried Semper's 1860 material theory of evolution. Semper's Bekleidung THE UNIQUE IMPACT OF ART NOUVEAU ON ZAGREB'S theory was a radical answer to the practice of historicism, ARCHITECTURAL SCENE which blossomed in the 19th century; it claims that the architectural whole is based on four elements, only two of which will be key to our considerations here: the roof of Semper's aforementioned theory on the internal and load-bearing structure and, in contrast, the external This research is intended to highlight the direct influence non-load-bearing envelope (Semper, 1989). His theory This phenomenon became especially common in Zagreb is founded on a strong criticism of and opposition to aroundorganisation the turn and ofnature the 20th of the century work ofdue architectural to incentives firms. for the contemporaneous historicist practice of schematic the standardisation of the urban fabric and the imperative reproduction and the entirely arbitrary application of a wide range of different motifs on building façades. In his growth in the number of architectural commissions received to build as quickly as possible, accompanied by a strong he saw such eclectic tendencies as highly incorrect and number of employees increased along with the number of true search for the scientific foundations of architecture, by well-established firms in a relatively short time. The tendencies of the time. The task of these two elements is also changed, becoming fairly systematic and bureaucratic inappropriate solutions that did not reflect the true social commissions; the internal organisation of how firms worked interior, which is experienced directly and physically, while One of these was court architects Leo Hönigsberg and thetwofold: outer the envelope load-bearing refers structure to the exterior defines and and isprotects perceived the in the best-established firms. Julio Deutsch, who dominated the historicist landscape impersonally, exclusively visually, and transmits pictorial information to passers-by (Hvattum, 1995, Hvattum, 2001, Hvattum, 2004). The task of the envelope is not exclusively volumein the 1890s of his and“Einige 1900s. Skizzen, The firm Projekte was foundedund ausgeführte in 1889, to narrowly convey the structural truth of the building. Bauwerke”paradoxically [Sketches, the same Projects, year Wagnerand Executed published Buildings], the first in Instead, its task is much broader – to communicate much which he announced a break with the uncritical recycling of more than just the structure. Regardless of what happens previous styles. The domination of this duo in Zagreb was behind it, he claims that the façade is a separate, entirely aided by the fact that the established master builders, who independent theoretically elaborated element that follows were exclusively active until this point as the main driving its own logic and communicates with its own surroundings. force of construction, were gradually retiring, thus removing It takes on a symbolic role, conveying the deeply rooted themselves from competition with a new generation cultural conventions of the time, thus also becoming a of professionals, who found new ways of working and part of and truly participating in the social life of the communicating with clients. Hönigsberg and Deutsch city. Semper's theory thus deciphered the position and meaning of the outer envelope, also providing society as a Hungarian professional journals; they also entered selected whole with an understanding of its own historical position frequently published their works in Austrian, German, and

40 spatium Čavlović M., Smode Cvitanović M., Uchytil A.

: Art Nouveau in Zagreb: The new movement's significance to the profession of architecture works for presentation at domestic exhibitions alongside on the Management of Construction Firms", construction artistic associations. The sudden increase in architectural engineers could only deal in building construction in areas commissions in these years was so great that their opus that "do not demand rich architectural decoration", while included nearly every tenth newly built building in Zagreb; the same order established the scope of work of authorised their total production was twice that of the next competitor (Laslo, 2003). With a few exceptions for wealthy clients on Regulations thus supported and provided a legal framework representative city thoroughfares, the majority of what they thatarchitects channelled as "all architecturalkinds of artistic expertise structures" towards (Jurić, only 2002). one does not exceed the limited commercial standard widely of the architect and which was in high demand from young acceptedbuilt, in termsfor residential of the architectural buildings built quality in historicist of the designs, styles. clients.specific Art kind Nouveau of design, façades which addressed required the the urban creative populace force By comparison, in 1863, a total of 9 two-storey buildings through ornamentation, which became a key determinant of and 20 one-storey buildings were built (Bedenko, 2000). the style. The total opus of Hönigsberg and Deutch numbers more Architectural practice during the historicist period was than 100 new buildings; if all additions, renovations, and internally organised, led by the principles of economy and courtyard structures were included in this number, it and Deutsch used a form of internal organisation in which, simultaneous increases in efficiency. According to schematic "inwould accordance be significantly with modern higher, principles, if not double. the owners Hönigsberg were wasresidential being built floor upon, plan only layouts, pre-prepared which had schemas to be adjusted of neo- to fit the dimensions of the plot of land a given building labour and teamwork with a large number of employees" changed depending on the client's preference. "Florence, (Laslo,the first 2003). of all Bearingbureaus this in Zagrebin mind, to it establishfollows that a division one of the of Rimini,Renaissance, Rome, neo-Baroque, and Venice; orBrunelleschi, neo-Rococo Bramante, façades wereand especially Michelangelo, Sansovino, and Palladio; Italy training for particular segments of project development. Thelargest practice firms inof thecreating city provided and drawing employees only some with segmentsspecialist of projects led to a separation between master builders, historicistin the fifteenth, architects and for especially inspiration the and 16th various century; elements all of ofthese composition. are an enormous These façade source" templates, (Dobronić, like 1983) the workingused by sectionseducated of technicians buildings madeand trained according architects. to existing The templates, first ones especially not for clients who expressed Art Nouveau as thusdid thea smaller majority number, of work or even involving just one floor academically plans or trained cross- theirregime, stylistic could preference. not be used Hönigsberg for unique and commissions, Deutsch, as many and architect was needed to design the non-standard parts of an architectural project. The majority of these non-standard Nouveau style and as practitoners were uninterested in parts of tasks related to the artistic aspect of façade designs designingresearchers projects have noted,in the Art had Nouveau no affinity canon. towards Very early the Arton, and supervising the coordination of the entire project. they hired Vjekoslav Bastl, a young architect who was still Creativity was needed for such tasks and they could not be studying at the Vocational School of Construction in Zagreb, conceptualised according to the templates circulating in and who was tasked with taking commissions exclusively for Art Nouveau clients. The working procedures within rental apartment buildings that were being commissioned the office. Thus, for wealthy clients and especially for the transmitted the messages of modern times, and behind the firm led to the difficult, uncertain attribution of a thesein abundance, were mostly unique, conventional creative façades residential were designed or business that aforementionedstring of projects, rental which blocks, were ultimately Dr. Rado signedand Kallina, by the havefirm beeninstead attributed of by individual to Vjekoslav architects Bastl, (Jurić, who designed 1995). Both them of as the a floor plans, which would long remain unchanged. They were Hönigsberg and Deutsch employee (Figure 3). Additionally, as a graduate of Otto Wagner's special programme at the thatcharacterised were oriented by a template-basedtowards the street, division and into a number enfilades, of Viennese Academy of Fine Arts, from the Construction servicewhich represented spaces positioned the residential facing theand interiorliving areas of the of flatscity School, Bastl obtained a good education and solid blocks. Whether built in Biedermeier, historicist, or Art knowledge, especially on the design of rental houses, which resistant to change, or as one renowned Croatian analyst has programme. His design for a residential and commercial noted,Nouveau "One style, applied the floor ornamental plans of system flats remained was replaced the same, with buildingwere taught with as a an photo architectural studio published type in the in "Derfirst yearArchitekt" of the another, but the principles of composition, the organisation of space, and the load-bearing structure remained the same" and understanding of Wagner's design guidelines, which (Bedenko, 1997). The same situation also held in the rest in 1900 displays a serious, rational floor plan and a mastery of the Monarchy, where Moravánszky noted that: “Because spacewere intendedin a growing to result city. We in mayan economic analyse the floor Kallina plan buildingand had traditional architectural decoration rather than spatial the end goal of finding a prototypical solution for residential organisationthe critique of(symmetries, historicism axial in architecture compositions, meant hierarchies, rejecting famous façade ornamentation, is somewhat awkward. Not etc.), the search for alternatives started as the renewal of design in this light; its floor plan design, as opposed to its ornament” (Moravánszky, 1998). courtyard-facingonly is access to façade, the floors thus through obstructing a surprising light and layout air followed or were extensions of legal regulations for particular of flights of stairs, these wings are situated along the The aforementioned division of some tasks within firms flow to the flats. Additionally, shared walls between two fields of technical professions. According to an 1886 "Order apartments with an otherwise standard floor plan are also

spatium 41 Čavlović M., Smode Cvitanović M., Uchytil A.

: Art Nouveau in Zagreb: The new movement's significance to the profession of architecture poorly designed; bathrooms and service spaces are located along the street-facing façade, with windows identical result, the Kallina house's street-facing rooms could not to the representative enfilade of residential rooms. As a the main features of this particular scheme of organisation (Figurebe redistributed 4). This flexibly,analysis severely allows forlimiting the possibility what was onethat ofa with Bastl allowed the opportunity to direct his creative energyless skilled exclusively employee towards may have the Artmade Nouveau the floor façade. plan design,Bastl's creative details, and the relationship between the façade andwork the in load-bearing the office mainly structure centred through on façades, the cross-section. particular The fact that Bastl was prepared to stand behind a mere two Hönigsberg and Deutch buildings as their author at a 1906 exhibition of the "Croatian Society of Arts", as recent research has shown, may confirm the previous assumption. journalsAnother in significant 1895 seeking piece "an of academically information intrained this regardarchitect is an advertisement run by the firm in Austrian professional shows that the advertisement seeks exclusively one educatedwith work architect experience" with experience, (Pavković, 2007).not multiple Deeper architects. analysis Due to the nature of work in one of the city's busiest of experienced architects. Likewise, the advert sought an academicallyfirms, one would trained expect architect the need – not for an a architect greater numberwith a diploma from e.g. a polytechnic – one who had not only academic training in art, but who could also innovate and provide original solutions to commissions from individual clients. A particular distinction has also been noted in the work of Wagner's practice, where the difference between drawings and the execution of ornamentation on residential buildings at the time provide indications that Wagner Figure 4. Floor plan and section of the Kallina Rental apartment house (Source: State Archives in Zagreb) usually allowed his students and artists to handle façade decoration projects, while he himself directed his attention CONCLUSION This attempt to link the brief appearance of Art Nouveau whileto other attaining design the aspects, maximum finding possible creative usage solutionsof a particular and plotrational (Schubert, floor plans 2018). in accordance with building regulations in Zagreb with the work of architectural firms places in tothe note limelight that Art the Nouveau specific buildings position were of academically built in Zagreb trained even beforearchitects the withinarrival professionalof architects schooledorganisations. in Vienna, It is significant the centre of the Art Nouveau movement at the time. As researchers have already noted, this phenomenon is attributed to a

Vocational Construction School, as well as those that were rich influx of architectural periodicals to the library of the

deliveredIn the technological to practices ofsense, a few itarchitectural is worth mentioning firms in the thatcity. rental apartment houses were not advanced and demanding structures. In fact, the entire burden of building rental houses fell upon well-trained local craft businesses and construction

historicist buildings, for which they had designed a series offirms statues that hadand garnered various experiencetypes of sculptural with the constructionornaments. As of rental blocks were not representative of the state – this was the task of cultural or educational institutions, designed by

– they were mostly designed and built by well-trained Figure 3. Zagreb’s Majolikahaus (Kallina Rental apartment house) experienced arhitects from the Monarchy’s urban centres (Source: Private collection) local firms. The increase in the number of commissions

42 spatium Čavlović M., Smode Cvitanović M., Uchytil A.

: Art Nouveau in Zagreb: The new movement's significance to the profession of architecture

the Cultures of Central Europe. In E. Blau, M. Platzer (Eds.), at Hönigsberg and Deutsch, resulting in a redistribution of Shaping the Great City, Modern Architecture in Central Europe, routinefor residential tasks according buildings to influenced pre-existing the templates division of to labour less- 1890-1937. Munich, London, New York: Prestel, pp. 11-23. educated staff, while they sought academically trained Bedenko, V. (1997). Secesija u Hrvatskoj arhitekturi. In J. architects for their façades. As the main determinant of Secesija u Hrvatskoj. Art Nouveau was the ornamentation on the façade, and no Osijek: Hrvatska akademija znanosti i umjetnosti – Zavod za legislation existed allowing academically trained architects Martinčić, D. Hackenberger (Eds.), to work independently, these highly-educated architects znanstveni i umjetnički rad u Osijeku, pp. 17-28. Historicizam u few actors who dealt in the production of Art Nouveau Bedenko,Hrvatskoj V.. Zagreb: (2000). Muzej Franjo za umjetnost Klein i i razvojobrt, pp. historicističke 87-99. arhitekture u Zagrebu. In V. Maleković (Ed.), buildings,were put toVjekoslav work on Bastl this specificis given architecturala prominent placetask. Ofin the Boyd White, I. (1898). Three Architects from the Master Class of Otto Wagner, Emil Hoppe, Marcel Kammerer, Otto Schönthal. which had long been attributed only to the Hönigsberg Cambridge: The MIT Press. literature due to the number and quality of his projects, Digital collection of the National and University library in Zagreb. buildingsand Deutsch to Hönigsberg, architectural one firm. of the In partners, the literature while Deutsch to date, researchers generally attribute the design of the firm’s Graditelji i izgradnja Zagreba u doba historijskih stilova. Dobronić,SR Hrvatske. L. (1983). workis known and numberas the firm's of commissions, office manager as opposed and dealmaker. to at the turnThe Zagreb: Društvo povjesničara umjetnosti Hugo Ehrlich. offirm's the century, numerous when employees master builders became worked tied to alone the since scope the of umjetnosti Hrvatske. demand for construction work was low. Domljan, Ž. (1979). Zagreb: Društvo povjesničara This boom in the number of commissions came at the turn usta”, Acta stomatologia Croatica, Vol 32, No. 3, pp. 475-488. of the century, when buildings attributed to particular Fatović-Ferenčić, S. (1998). Eugen Rado - “Liečnik za zube i of architects did not support the fact that this professional Fatović-Ferenčić,oglašavanja u Hrvatskoj, S., Ferber Acta Bogdan, medico-historica J. (2018). OtacAdriatica i sinovi:, Vol. titlearchitects could asalso well be asattained firms beganby those to appear.who had The no autonomyscholastic 16,članovi No. 1, obitelji pp. 49-74. 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Received June 2020; accepted in revised form October 2020.

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