Arhitektura, Raziskave architecture, research
Ljubljana 2017 ISSN 1580-5573
AR Arhitektura, Raziskave architecture, research
Ljubljana 2017 ISSN 1580-5573
AR1 AR 2017.1 Ljubljana
Arhitektura, raziskave / Architecture, Research Univerza v Ljubljani, Fakulteta za arhitekturo
ISSN 1581-6974 (www)
Urednik / Editor doc. dr. Domen Zupančič, UL FA
Vabljeni urednik / Guest Editor prof. dr. Rifat Alihodžić Tematska številka revije je nastala v okviru bilateralnega projekta Slovenija Črna Gora (ARRS BI-ME/16-17-011 Arhitektura zahodne, srednje in južne Evrope). This AR issue is a result of bilateral project (ARRS BI-ME/16-17-011).
Področni uredniki / Regional editors prof. dr. Grigor Doytchinov, Gradec, A prof. dr. Lenko Pleština, Zagreb, HR prof. dr. Mariana Correia, Vilanova de Cerveira, PT dr. Maddalena Achenza, Cagliari, IT prof. Fernando Vegas Manzanares, Valencia, ES
Uredniški odbor / Editorial Board urednik doc. dr. Domen Zupančič, UL FA prof. dr. Petra Čeferin, UL FA prof. dr. Jaka Bonča, UL FA prof. dr. Martina Zbašnik Senegačnik, UL FA prof. dr. Tadeja Zupančič, UL FA prof. dr. Vojko Kilar, UL FA prof. dr. Matej Blenkuš, UL FA doc. dr. Matevž Juvančič, UL FA doc. dr. Beatriz Tomšič Čerkez, UL PeF prof. Paul O. Robinson, UL FA
Znanstveni svet / Scientific Council prof. dr. Paul Oliver, Oxford, UK prof. Christian Lassure, Paris, FR akademik prof. dr. Andrej Kranjc, Ljubljana, SLO prof. dr. Marc Vanlangendonck, Leuven, B prof. dr. Borut Juvanec, Ljubljana, SLO prof. Miloš Florijančič, Ljubljana, SLO
Recenzentski svet / Supervising Council prof. dr. Kaliopa Dimitrovska Andrews, Ljubljana, SLO akademik prof. dr. Igor Grabec, Ljubljana, SLO prof. dr. Hasso Hohmann, Ljubljana, SLO prof. mag. Peter Gabrijelčič, Ljubljana, SLO zaslužni profesor dr. Peter Fister, Ljubljana, SLO prof. dr. Vladimir Brezar, Ljubljana, SLO prof. dr. Denis De Lucca, Valletta, MT
Klasifikacija / Classification mag. Doris Dekleva-Smrekar, CTK UL
Uredništvo AR / AR Editing Univerza v Ljubljani Fakulteta za arhitekturo doc. dr. Domen Zupančič Zoisova 12 1000 Ljubljana Slovenija
Oblikovanje in prelom / Design and layout Stefani Berginc
Naročanje / Subscription cena številke / price per issue 15 EUR / non EU 25EUR za študente / student price 7 EUR [email protected] Revija je vpisana v razvid medijev pri MK pod številko 50 Revija je dosegljiva oz. indeksirana na naslednjih mestih: Cobiss, ICONDA, MIT digital library, Ulrich, DOAJ, CEEOL, DLib, UL FA AR
Za vsebino člankov odgovarjajo avtorji. / Authors are responsible for their papers. © AR, Arhitektura, raziskave, Architecture, Research Ljubljana 2017 Ljubljana AR 2017.1
Vsebina CONTENTS
ČLANKI Articles
Jelena Bajić Šestović TRAGANJE ZA IDENTITETOM PORTO MONTENEGRA Rasprodaja javnih prostora SEARCHING FOR THE IDENTITY OF PORTO MONTENEGRO Sale of public spaces...... 6
Svetislav G. Popović, Marta Vukotić Lazar KREATIVNI OPUS VUKOTE TUPE VUKOTIĆA (CETINJE, 1932 – PODGORICA, 2002) – SVET USAMLJENOG I AUTENTIČNOG GRADITELJA CREATIVE OPUS OF VUKOTA TUPA VUKOTIĆ (CETINJE, 1932 – PODGORICA, 2002) -THE WORLD OF A LONESOME AND AUTOCHTHON ARCHITEC...... 20
Ema Alihidžić Jašarović, Sanja Paunović Žarič, Veljko Radulović INSTORIJSKI URBANI KONTEKTS – INTERPOLACIJA KAO VID URBANE OBNOVE U PODGORICI HISTORICAL URBAN CONTEXT – INTERPOLATION AS A TYPE OF URBAN RENEWAL IN PODGORICA...... 26
Rifat Alihodžić TRI PROSTORNA AKCENTA U PODGORICI
THREE ARCHITECTURAL LANDMARKS OF PODGORICA...... 46
Slavica Stamatovic Vuckovic Post-industrijska Crna Gora: Transformacija_PORTO MONTENEGRO Post-Industrial Montenegro: Transformation_PORTO MONTENEGRO 54
Goran Radović TIPOLOGIJA TRADICIONALNIH KUĆA NA CETINJU SKRAJA XIX I POČETKA XX VIJEKA CTYPES OF TRADITIONAL HOUSES IN CETINJE AT THE END OF THE 19TH AND IN THE EARLY 20TH CENTURY...... 64
Borut Juvanec Črna gora in Montenegro Crna Gora and Montenegro...... 82
Mitja Guštin Gruda - poslednji dom prvih knezov v Črni Gori iz obdobja bakrene dobe GRUDA - last home of the first princes in Montenegro from Late Cooper Age...... 94
NAVODILA AVToRJEM AUTHORS GUIDELINES ...... 104 AR 2017.1 Uvodnik
Uvodnik
Biti gost a biti domaćin veća je sačuvamo ono što je preostalo, od različitim metoda interpolacije obaveza nego privelegija. Ovom kojih se posebno čini interesantnim kojima je moguće djelovati u prilikom meni je pripala takva predlog da se oformi digitalni muzej istorijskom urbanom kontektsu, sa uloga, da budem gostujući urednik uz pomoć mobilnih telefona što bi osvrtom na kontekst Podgorice. U ovog broja uvažene revije AR, doprinijelo boljem poznavanju našeg radu je dat pregled uloge interpolacije na čemu se zahvaljujem doc.dr kulturnog nasleđa. od osnova za najatraktivnije vrste Domenu Zupančiču,uredniku revije. Sa Arhitektonskog fakulteta u urbane obnove do "estetskog furnira" Sa odgovornošću, strepnjom a i sa Podgorici radovi kolega su fokusirani novoizgrađenih struktura. radošću sam prihvatio takvu ulogu na Crnu Goru sa željom da je što Prof.dr Goran Radović pod jer sam rano naučio da je znanje bolje predstavimo svima onima koji istraživačku lupu svoga rada Tipologija jedino bogatstvo koje se uvećava će u rukama imati ovu reviju. Drugi tradicionalnih kuća na Cetinju s kraja kada se dijeli. razlog opservacije lokalnih tema jeste XIX i početkom XX vijeka obrađuje Zato se na kraju radujem zbog taj da mi, na žalost, ne poznajemo i posmatra specifikume razvoja ovog proširenog znanja, većeg broja dovoljno Sloveniju kao što profesor grada. Jedna od posebnosti Cetinja, prijatelja koje smo stekli u Ljubljani Borut Juvanec poznaje Crnu Goru. što se u ovom radu podcrtava, jeste i sa njima još bolje upoznali Svijest o toj činjenici će sigurno činjenica da se ono još u XV vijeku Sloveniju, njenu vernakularnu i biti stimulans za naše istraživače pa počelo razvijati prema konceptu savremenu arhitekturu. Radovi koji se nadamo da ćemo moći, makar otvorenog grada, bez odbrambenih su prezentirani rezultat su bilateralne djelimično, da vratimo dug. utvrđenja. U drugoj polovini XIX saradnje između Arhitektonskog Doc.dr Slavica Stamatović- vijeka Cetinje se razvilo kao urbani fakulteta u Ljubljani i Arhitektonskog Vučković obrađuje aktuelnu grad sa jasnom ortogonalnom fakulteta Podgorici. Ona je ostvarena temu: Post-industrijska Crna urbanističkom matricom. u 2016/2017 godini. Saradnju su Gora: Transformacija_PORTO Mr Jelena Bajić-Šestović, saradnica u omogućila Ministarstva prosvjete MONTENEGRO. Kroz ovaj, dobar nastavi sa Arhitektonskog fakulteteta Slovenije i Crne Gore. i u praksi već dokazan primjer, u Podgorici, kroz rad Traganje za Od starne Arhitektonskog prikazana su moguća iskustva u identitetom Porto Montenegra. fakulteta u Ljublajni, u predmetnoj pristupu transformacije industrijskih Rasprodaja javnih prostora, obrađuje saradnji, učestvovali su prof.dr kapaciteta koji više nijesu u funkciji. problem Porto Montenegra kroz Borut Juvanec i doc.dr Domen Prof. dr sc. Svetislav G. Popović sa drugačiji aspekt smatrajući da Zupančič. Od strane fakulteta iz našeg fakulteta i doc.dr sc. Marta gradovi, na postupljeni način, polako Podgorice učestvovali su doc.dr Vukotić Lazar (Filozofski fakultet gube prepoznatljive siluete. Na takav Slavica Stamatović-Vučković, doc.dr Priština sa privremenim sjedištem način započeti su procesi mjenjanja Veljko Radulović i moja malenkost. u Kosovskoj Mitrovic, Department urbanog i kulturnog identiteta grada. Prof. dr Borut Juvanec je održao za Istoriju umjetnosti) obradili su Svoj rad sa temom Tri prostorna predavanja našim studentima u temu Kreativni opus Vukote-Tupe akcenta u Podgorici posvetio sam Podgorici, dok su studentima u Vukotića (Cetinje,1932 - Podgorica, opservaciji trima karakterističnim Ljubljani održana tri predavanja od 2002) - Svijet usamljenog i autentičnog prostornim akcentima u urbanom strane kolega Slavice, Veljka i mene. graditelja. Rad se na studiozan tkivu Podgorice. Radi se o Sahat-kuli Raznovrsna aktivnost kroz posjete, način bavi djelom crnogorskog (1667) koja se nalazi u dijelu grada predavanja i boravak na terenima arhitekte Vukote Tupe Vukotića poznatom kao Stara Varoš, spomen Slovenije i Crne Gore rezultirala je sa posebnim osvrtom na nedavno, obelježju posvećenom vojvodi i sa sedam naučnih radova koji su posthumno, objavljenu knjigu, Mirku Petroviću (1886) u novom predstavljeni ovdje. "Trodimenzionalna morfologija dijelu Podgorice, poznatom kao Naš dragi gost i domaćin, prof.dr Crne Gore" kao doprinos uvida u Mirkova Varoš i mostu Milenijum Borut Juvanec, udostojio nas je sa njegov cjelokupni stvaralački opus. (2005) na rijeci Morači. Razlog tekstom koji nosi naslov Crna Gora Saradnice u nastavi na percipiranja ove problematike jeste i Montenegro. Nije čudno da jedan Arhitektonskom fakultetu u činjenica da Podgorica, u svom doajen profesije, kada je vernakularna Podgorici, mr Ema Alihodžić- urbanom razvoju, nije imala veći broj i arhitektura transhumance u pitanju, Jašarović, mr Sanja Paunović-Žarić građenih, prostornih akcenata koji bi poznaje Crnu Goru u svim njenim i doc.dr Veljko Radulović kroz činili značajne elemente urbane slike. segmentima. U radu obrađuje temu Istorijski urbani kontekst dosta toga na detaljan način. Nudi -interpolacija kao vid urbane obnove nam kvalitetne predloge kako da u Podgorici, bave se pregledom Gost urednik, Prof. Dr. Rifat Alihodžić 2 Editorial AR 2017.1
Editorial
Being a guest and being a host are to preserve our remains. The most – Interpolation as a Kind of Urban both great privileges, whereas being a interesting proposition is creating a Renewal of Podgorica. This paper host is far more a responsibility than digital museum using mobile phones, summerizes interpolation role from the a privilege. This special occasion got which would contribute to better very basis for the most attractive sorts me the honour to be the guest editor knowing of our cultural heritage. of urban renewal up to contemporary of this particular issue of respected Colleagues from Faculty of structures’ "aesthetical veneer". magazine AR, thanks to Assoc.Prof. Architecture in Podgorica’s works are Prof.Dr. Goran Radovic, in his work Domen Zupancic, a magazine editor. focused on Montenegro with desire to Typology of Traditional Houses in I accepted this gladly, with both introduce this magazine’s readers with Cetinje from the End of 19th and responsibility and concern because our country. The second reason for Beginning of 20th Century, processes long time ago, I have learnt that observing local topics lies in the fact data and observes pecularities of knowledge is the only wealth that that we, unfortunately, are not familiar developing of this city as its major increases by sharing with someone. with Slovenia as well as Prof.Dr. Borut subject. One of the things that makes Therefore, I am thankful not only Juvanec is with Montenegro. Being Cetinje special, as this paper highlights, for achieving and sharing greater aware of that will surely stimulate our is the fact that even in 15th century, this knowledge, but also for making more town started developing by following friends and getting to know Slovenia academics to, hopefully, pay this debt, at least partially. the concept of an open city, with no better with them, its vernacular and defensive fortifications. In second half contemporary architecture. Papers Assoc.Prof. Slavica Stamatovic- of 19th century, Cetinje has already presented are the result of bilateral Vuckovic is actively working on established itself as an urban city with collaboration of The Faculty of topic Post-industrial Montenegro: clear orthogonal urban matrix. Architecture in Ljubljana and Faculty Transformation_Porto Montenegro. of Architecture in Podgorica. This This example, besides being a good M.Sci. Jelena Bajic-Sestovic, teaching was established in 2016/2017, and was one and practically approved, shows assistant at Faculty of Architecture enabled by Ministries of Education of possible experiences in approach to in Podgorica, prepared paper named both Slovenia and Montenegro. transformation of industrial capacities Quest for Porto Montenegro’s Identity. no longer functioning. Selling of Public Space. In it, she Representatives of The Faculty deals with another problem of Porto of Architecture in Ljubljana were Prof.Dr Sci. Svetislav G. Popovic Montenegro from another point of Prof.Dr. Borut Juvanec and Assoc. from our faculty and Assoc.Prof. view – she thinks that cities, gradually, Prof. Domen Zupancic in subject Sci. Marta Vukotic Lazar (Faculty of lose their distinctive silhouettes as collaboration. Podgorica’s Faculty Philososphy Pristina with temporarily time goes by. In such way, processes participants were Assoc.Prof. Slavica headquarters in Kososvska Mitrovica, of altering urban and cultural identity Stamatovic-Vuckovic, Assoc.Prof. History of Arts Department) of the city have started. Veljko Radulovic as well as myself. handled the topic Creative Opus Prof.Dr. Borut Juvanec presented of Vukota-Tupo Vukotic (Cetinje My paper, Three Architectural lectures for our students in Podgorica, 1932-Podgorica, 2002) – World of Landmarks of Podgorica, I have while Ljubljana’s students attended Lone and Authentic Mason. This dedicated to three distinctive three lectures by my respected paper attentively deals with work landmarks in urban core of Podgorica. colleagues Assoc.Prof. Stamatovic- of Montenegrin architect Vukota- They are Clock Tower (1667) situated Vuckovic, Assoc.Prof. Radulovic and Tupo Vukotic, with a special study in Old Town (originally named Stara me. Various activities such as visits, of recent post-humanly published Varos), memorial to Duke Mirko lectures and sojourns in both Slovenia book "Tridimensional Morphology Petrovic (1886) in new part of and Montenegro resulted in seven of Montenegro", as a contribution Podgorica, also known as Mirko’s scientific papers published here. to his complete creative opus. Town (Mirkova Varos), and bridge MIllenium (2005) over Moraca river. Our beloved guest and host Prof.Dr. Teaching assistants at Faculty of Reason for perception of this issue is Borut Juvanec treated us with a text Architecture in Podgorica, M.Sci. the fact that Podgorica, in its process named Crna Gora and Montenegro. Ema Alihodzic-Jasarovic, M.Sci. Sanja of urban developing, didn’t have There is nothing extraordinary with Paunovic-Zaric and Assoc.Prof. much of constructed architectural the fact that such doyen of vernacular Veljko Radulovic cover reviews of landmarks, which would be significant and transhumance architecture different interpolation methods, by parts of urban picture. is acquainted with pecularities of which historical urban context can be Montenegro. That paper of his deals acted upon, having the historic context with so many subjects thoroughly. He of Podgorica summary in their paper offers us valuable suggestions on how named Historical Urban Context Guest editor, Prof. Dr. Rifat Alihodžić 3 AR 2017.1 Ljubljana Ljubljana AR 2017.1
ČLANKI Articles
RECENZIJA Review
Workshops Workshops
KONGRESI Congresses AR 2017.1 Ljubljana
TRAGANJE ZA IDENTITETOM PORTO MONTENEGRA Rasprodaja javnih prostora SEARCHING FOR THE IDENTITY OF PORTO MONTENEGRO Sale of public spaces
Ključne reči Key words Crnogorsko primorje, Porto Montenegrin coastline; Porto Montenegro, elitni turizam, javni Montenegro, elite tourism, public prostori, kriza identiteta. spaces, identity crisis.
Sažetak Abstract Javni prostori jednog grada su značajni Public spaces of a town are significant elementi urbane strukture, mjesta elements of urban structure, places of svakodnevne komunikacije svih korisnika everyday communication among all users of urbanog prostora, ali i prostori formiranja the urban space, but also spaces for creation kulturnog identiteta grada. of the town’s cultural identity. Postojeći crnogorski društveni kontekst, načet The existing Montenegrin social context, procesima tranzicije u postsocijalističkoj fazi, affected by transition processes in the post- stvara polje specifične interakcije društvenih socialist phase, creates a field of specific aktera. Prostori doživljavaju značajne interaction among social actors. The spaces transformacije, kako u fizičkom, tako i u undergo significant transformations, in sociološkom i u identitetskom smislu. Javni physical, social and identity sense. Public prostori, u tim procesima, postaju posebno spaces, in these processes, become a UKD 711.41(497.16) COBISS 1.01 osjetljiva kategorija. particularly sensitive category. Prejeto 24.3.2017 Na napuštenim industrijskim ili vojnim Abandoned industrial or military locations lokacijama na crnogorskom primorju, on the Montenegrin coastline become formiraju se "vještačke strukture" koje, locations for construction of "artificial pod uticajem stranog kapitala, postaju structures" which influenced by foreign oaze elitnog turizma. Visoka atraktivnost capital become oases of elite tourism. High i ekskluzivnost prostora ne podržavaju attractiveness and exclusivity of the space osnovne identitetske odrednice lokaliteta, i oppose the locality’s main identity features, stvaraju se prostori prema zahtjevima stranih and thus, spaces tailored by requests of ulagača – nove elite. Gradovi polako gube foreign investors – new elite, are created. prepoznatljive siluete, započeti su procesi Towns start losing recognizable silhouettes, mjenjanja urbanog identiteta, ali i šireg while urban identity and even town’s cultural pojma, kulturnog identiteta grada. identity get transformed. Prenamjenom Vojnog Arsenala u Tivtu Transformation of Tivat Military Arsenal u nautičko-turističko naselje i luku into nautical – tourist village and marina "Portomontenegro" desile su se velike "Porto Montenegro" triggered big changes promjene u gradskoj strukturi obalnog in urban structure of Tivat’s coastline, pojasa Tivta, ali i brojne sociooške, but also numerous social, economic and Jelena Bajić Šestović, MsC ekonomske i demografske promjene. Cilj demographic changes. The objective of this Univerzitet Crne Gore, Arhitektonski fakultet, Podgorica rada je utvrditi uticaje tih promjena na paper is to determine how these changes [email protected] otvoreni javni prostor Tivta. affect open public space of Tivat. 6 Searching for the identity of porto Montenegro; Sale of public spaces AR 2017.1
1. Uvod 1. Introduction "Prostor, nekada sveto i gotovo "Once sacred and even inalienable neotuđivo patrimonijalno i kolektivno as a patrimonial and collective good, dobro, postao je roba kao i bilo šta space becomes a commodity like any drugo." [Lefebvre, 2009: 214] other, with no particular privilege." Tranziciona faza donijela je velike [Lefebvre, 2009: 214] promjene u fizičkim strukturama The transition phase has brought major gradova u Crnoj Gori. Ekonomske i changes in the physical structures socio-političke transformacije odrazile of cities in Montenegro. Economic su se na postojeće urbane strukture, ali and socio-political transformation i uticale na formiranje novih struktura influenced the existing urban fabric, u prostoru, naročito na crnogorskom but also influenced the formation of primorju, gdje gradovi "otvaraju new structures in the area, especially vrata"bogatim stranim investitorima. on the Montenegrin coast, where Za razliku od socijalističke faze, cities "open the door" to rich foreign kada je država bila najznačajniji akter investors. u društvu, u današnjem poretku, In contrast to the socialist period, when najvažniju ulogu imaju pojedinci the country was the most important i privatni kapital. Preuzimanjem actor in society, in today’s standings, dijela finansijskog ulaganja, privatni the most important role is played by investitori – novi akteri, u velikoj mjeri individuals and private capital. By učestvuju u procesima planiranja making financial investments, private i odlučivanja o budućem izgledu investors - new entrants are largely gradova. involved in the planning and decision- Strateškim planom razvoja, Crna making on the future appearance of Gora veliku šansu vidi u turizmu, cities. prije svega, u elitnom – nautičkom Strategic Development Plan offers turizmu. Zbog želje da privuče što Montenegro great possibilities in veći kapital, Vlada Crne Gore je tourism, primarily in the elite - nautical spremna da ponudi brojne "olakšice" tourism. Due to the desire to attract stranim investitorima, te postaje more capital, the Government is ready "oaza"stranim ulagačima različitih to offer a number of "allowances" for profila. Strateškim planom opštine foreign investors thus becoming an Tivat za period 2012.-2016. godine, "oasis" for foreign investors of various planirano je, između ostalog : profiles. The Strategic Plan of the - privlačenje investicija i stvaranje Municipality of Tivat, for the period stimulativnog ambijenta za dalji from 2012 to 2016. year , among other razvoj turizma i komplementarnih things, is planning the following: djelatnosti, - Attracting investments and creating an environment - repozicioniranje turističke ponude Tivta u pravcu stvaranja conducive to further development prepoznatljive turističke destinacije of tourism and complementary za nautički, kulturni i sportski activities, turizam, - Repositioning the tourist offer of - smanjenje biznis barijera i stvaranje Tivat with the goal of creating povoljnog poslovnog ambijenta recognizable tourist destinations za privlačenje investicija/ stranih i for nautical tourism, cultural and domaćih/ te unapređenje razvoja sports tourism, preduzetništva, malog i srednjeg - Reducing business barriers biznisa. and creating a favorable Porto Montenegro u Tivtu je primjer business environment to attract realizovane investicije na koju je investments, foreign and local, Vlada Crne Gore posebno ponosna. and improving the development Realizacija tivatskog nautičkog of entrepreneurship of small and centra Porto Montenegro smjestila medium businesses. je Tivat na prvo mjesto među novim Porto Montenegro in Tivat is an marinama u svijetu po mogućnosti example of the realized investment prihvata najnovijih ultraluksuznih of which the Government of velikih jahti. Montenegro is especially proud. 7 AR 2017.1 Jelena Bajić Šestović, MsC
Porto Montenegro je postao jedan od najatraktivnijih nautičkih centara u Evropi, a marina ima i profitabilne ekonomske prednosti jer se nalazi van EU poreskog i carinskog sistema. Prostor na kome se razvio Porto Montenegro je prostor bivšeg vojnog arsenala, koji je preko 100 godina bio fizički odvojen od ostalih gradskih struktura, sa potpunom kontrolom pristupa. Rušenjem dijela zidova, prenamjenom prostora i otvaranjem kapija svim posjetiocima, stvara se novi javni prostor. Kroz ovaj rad pokušaćemo da odgovorimo na pitanje da li je to javni ili pseudo javni prostor.
2. Javni prostori grada. Formiranje identiteta Javni prostori su najznačajniji elementi strukture grada, počev od njihove fizičnosti i pozicije u urbanoj matrici, pa sve do onih nematerijalnih, Slika 1: Pozicija Tivta u Bokokotorskom zalivu. nevidljivih vrijednosti. Urbani život Figure 1: Location of Tivat in the Bay of Kotor. koji se odvija na javnim gradskim površinama na najbolji način reprezentuje urbanu kulturu grada i sve njegove specifičnosti. Javni prostori su najznačajniji reprezenti urbanog života jednog grada. Pored morfoloških i funkcionalnih karakteristika javnih prostora, vrlo značajna je socijalna komponenta prostora, akumulacija različitih karaktera i obrazaca ponašanja, koja rezultuje posebnošću lokacije (identitetom mjesta). [Bajić – Šestović, 2016: 11] Značaj javnog prostora je prepoznat u svakoj od faza razvoja grada. To se ogleda, prije svega, kroz izbor pozicije javnih prostora u urbanom miljeu. Prilikom osnivanja gradova, pozicije i struktura javnih prostora su se pažljivo birali i, obično, definisali u početku, jer je bilo neophodno imati prostor za okupljanje. Transformacije javnih prostora kroz vrijeme su se mnogo rijeđe i sporije dešavale, u odnosu na transformacije svih drugih gradskih elemenata. Sa sociološkog aspekta, javni prostor u gradu je ključan element u socijalnom životu svakog građanina. Javni prostor je mjesto okupljanja, odvijanja komunikacije između ljudi, bliskih, neposrednih susreta i kontakata, mjesto razgovora i razmišljanja. Gradski prostor nastaje kao izraz odnosa u društvenoj proizvodnji i predstavlja materijalni i simbolički odraz datog društva. [Lefebvre, 1974]. 8 Searching for the identity of porto Montenegro; Sale of public spaces AR 2017.1
Implementation of the Tivat nautical people communicate, become close, center Porto Montenegro put Tivat direct meetings and contacts, it is a in the first place among the new place of conversation and reflection. marinas in the world for being able Urban space is an expression of social to hold ultra-luxurious large yachts. relations and represents the material and Porto Montenegro has become one symbolic reflection of a given society of the most attractive nautical centers [Lefebvre, 1974]. The public spaces of in Europe, has a marina which has the city are the strongest representative profitable economic advantages status in society (political and social because it is located outside the EU situation). (…) From an economic tax and customs system. The area in point of view, the position of the which Porto Montenegro developed public spaces depends on main routes is a place where a naval arsenal had of trade routes, squares are formed at been separated from the rest of the the intersection of important roads.1 city for over 100 years, with full access The movement of people, goods and control. The demolition of the walls, information, defined by the law of converted the space and opened the trafficking, initiates the formation of gates to all visitors, creating a new cities next to important land or water public space. Through this work we travel route (Port-city, city on a river...). will try to answer the question whether it is public or pseudo public space. From the aesthetic point of view, public spaces should provide a special atmosphere, highly aesthetic 2. Public spaces. Identity of public space. ("Mental" map of the city, spaces. visual perception and urban marks) Public spaces are the most significant Sitte looks upon open public spaces elements of urban structure, starting as works of art, emphasizing the from their physicality and position in aesthetic value of the squares because the urban matrix, to those intangible they, above all other art, influence the invisible values. Urban life, taking people in a positive way every hour place on urban public surfaces, of every day [Zite, 2006]. The public represents urban culture and all its spaces of the city can also become specific characteristics in the best informational centers, because they way possible. Public spaces are the are places of communication and primary spaces of a town, generators exchange of information. [Bajić – of all social processes and activators of Šestović, 2016:116-117] urban life. Urban shapes are created as a reflection of the urban society. The Public space is the most important social component of public space element of the city’s identity. Many undoubtedly affects forming of the theorists believe that the identity can town’s urban and cultural identity, be read the best through urban spaces. and it is inseparable from physical The character of the place can be so manifestation of the public space. expressive that it in fact determines all [Bajić – Šestović, 2016: 11] the basic forms of our environment, contributing to the fact that most The importance of public space has people who live there feel that they all been recognized in each of the stages belong to the same place [Norberg-Šulc, of development of the city. This 2006]. Vernacular architecture uses the is reflected, above all, through the principles of construction, influenced selection of the position of public by the nature and spirit of a place, in spaces in the urban structure. During accordance with the climate and the the founding of cities, position and site, in accordance with the basic needs structure of public spaces are carefully of residents. "Homes are built based chosen and usually defined at the on how people live. People believe, beginning, because it was necessary churches are built, the way nature is to have a space for gathering. felt is built in a stone or on a lake". Transformation of public space is [Radović, 2005:114] The identity is the becoming much less common and source of meaning and experience of slower compared to the transformation the people. As Calhoun writes: "We do of all the other elements of the city. not know nations with no names, no From a sociological point of view, languages or cultures, ones that there the public space in the city is a key is no way of distinguishing between element in the social life of every themselves and others, between us and citizen. Public space is a place where them" [Calhoun, 1994]. 9 AR 2017.1 Jelena Bajić Šestović, MsC
Javni prostori grada su najjači sve osnovne oblike naše okoline, reprezenti stanja u društvu (političko doprinoseći time da većina ljudi koji i društveno stanje). Sa ekonomskog tu žive, osjećaju da svi pripadaju aspekta, pozicije javnih prostora istom mjestu. [Norberg-Šulc, 2006] su bile generisane glavnim trasama trgovačkih puteva, te su se trgovi Vernakularna arhitektura koristi formirali na presjeku značajnih principe gradnje, u skladu sa prirodom puteva . Kretanje ljudi, roba i i duhom mjesta, u skladu sa klimom informacija definisano je zakonom i lokalitetom, u skladu sa osnovnim trgovine, te inicira formiranje gradova potrebama korisnika. "Kako se živi, uz značajan kopneni ili vodeni putni tako se prave kuće. Kako se veruje, pravac. (grad luka, grad na rijeci …) tako se prave crkve, kako se čulno Sa estetskog stanovišta, javni prostori oseća priroda, tako se gradi u kamenu moraju pruziti poseban ambijent, ili na jezeru. " [Radović, 2005:114]. visoko estetizovan prostor. (mentalni ldentitet je izvor smisla i iskustva prostor grada, vizuelna percepcija, naroda. Kao sto Calhoun pise: Ne reperi). Zite posmatra otvorene poznajemo narode bez imena, niti javne prostore kao umjetnička jezike ili kulture kod kojih ne postoji djela, potencirajući estetsku neki način razlikovanja između vrijednost trgova, jer oni, prije svih sebe i ostalih, izmedu "mi" i "oni" ostalih umjetnosti, svakodnevno [Calhoun, 1994]. i svakog časa djeluju vaspitno na 3. Porto Montenegro – novi velike mase stanovništva [Zite, koncept javnog prostora 2006]. Javni prostori grada postaju i informativni prostor grada, jer su to Formiranjem nautičkog centra Porto Montenegro, na prostoru prostori komunikacije, ali i razmjene bivšeg arsenala, izgrađena je urbana informacija. [Bajić – Šestović, 2016: struktura, koja se na planu grada čita 116-117] kao "grad u gradu" ili poseban urbani Javni prostor je najznačajniji element fragment, bez prirodnog kontiuiteta identiteta grada. Mnogi teoretičari u razvoju postojećeg gradskog smatraju da se identitet najbolje urbanog tkiva. U okviru navedene "čita"preko gradskih prostora. strukture, oblikovani su novi javni Karakter mjesta može da bude toliko prostori, specifičnih identitetskih izrazit, da on u stvari i određuje odrednica.
Slika 2: Izvod iz Generalnog urbanističkog plana Tivta (1987), Prilog organizacija grada – funkcionalna šema. Figure 2: Abstract from the General Urban Plan of Tivat (1987), Annex of the city organization - functional scheme.
10 Searching for the identity of porto Montenegro; Sale of public spaces AR 2017.1
3. Porto Montenegro – new In 1889, the Navy of Austro-Hungarian concept of public space monarchy began constructing a military shipyard which represented By forming the nautical center Porto one of the first industrialization Montenegro, in the area of the processes in Boka. Apart from that, former naval arsenal, urban structure the arsenal in Tivat is the oldest and was built, which is interpreted, most significant institution of the based on the urban plan, like a "city kind on our coast. What followed was within a city" or as a special urban the construction of buildings for the fragment, without natural continuity needs of arsenal as well as barracks, in the development of the existing apartments, schools and other objects urban fabric of the city. Within these which caused the creation of town structures, public spaces with specific structure and its linear expanding identity guidelines are developed. along the coastline. 3.1. History of Tivat’s development The town was predominantly developing into an industrial and Tivat is the youngest town on the military center. Apart from the Montenegrin coastline, situated in Arsenal, at the end of 19th and the central part of the Boka Bay. beginning of 20th century, several factories were opened, such as, There are several epochs throughout "Boka’s first clay industry"and clay the history of this part of industry "Račica". Thus in the wake BokaKotorska, which are important of the World War II, Tivat was a part for development of Tivat. Those of the economically most developed are: Illyrian, Roman-Byzantine, region of Montenegro. After 1945, Nemanjići, Venetian, Ottoman and local government began thinking Austro-Hungarian rule. Period under about Tivat’s tourism potential. Spatial Austro-Hungarian administration plan of the Municipality of Tivat was essential for the town’s urban and its General Urban Development development, since that was the Plan from 1987 intended to develop period (1814-1918) when the arsenal that potential of the coastal region. was built, which generated urban Urban development was conceived processes and was predominantly on the idea of rational use of the industry-oriented. space, protection and revitalization of In the Venetian period (1420-1797), spatial identity of certain town areas, Tivat had estates with summer especially ambience centers, through houses belonging to noble families protection of potentially valuable from Prčanj, Perast, Dobrota and tourist spaces from construction of Kotor. The fall of the Venetian residential buildings . Republic in 1797, was followed by a 3.2. Transformation of the former longer period of nearly twenty years Arsenal when different rulers occupied the territory of BokaKotorska, until the Economic development of Tivat can Austro-Hungarians imposed their be divided into two phases. The first administration. [Program of cultural phase is related to the establishment development of Tivat municipality of military naval port – the Arsenal 2015-2020: 2015]. and accelerated development of the town, when Tivat was awarded Austro-Hungarian Navy recognized the status of a significant industrial Tivat’s favorable strategic position for center with the accent on ship repair. the construction of a naval arsenal. The overall economy of Tivat was In 1888 the General Command of based on the arsenal. The second the Navy began purchasing the land phase began in 1990s when, due and preparing its leveling. In 1889, to transition processes and hard taking into consideration town’s best economic conditions, amount of interest in terms of development, work of industrial giants decreased the Municipality of Tivat decided to significantly, bringing about high concede the land between Seljanovo unemployment rate and general and Pakovo to the General Command stagnation of Tivat’s development. of Austro-Hungarian Navy free of charge to build a shipyard, where On the other hand, Tivat was not as Tivat citizens had primacy when it attractive to tourists as other towns on came to employment. Montenegrin coast. 11 AR 2017.1 Jelena Bajić Šestović, MsC
3.1. Istorijat razvoja Tivta Te je Tivat pred II svjetski rat pripadao najrazvijenijoj privrednoj Tivat je najmlađi grad na crnogorskom regiji Crne Gore. Nakon 1945.god., primorju, smješten u centralnom dijelu gradske vlasti počinju da razmišljaju Bokokotorskog zaliva. o turističkim potencijalima Tivta. Kroz istoriju ovog dijela Boke Kotorske, Prostornim planom opštine Tivat i prepoznajemo nekoliko epoha važnih Generalnim urbanističkim planom za razvoj grada. To su: ilirska, rimsko- Tivta iz 1987.god., priobalno područje vizantijska, nemanjićka, mletačka, se u velikoj mjeri predviđa za razvoj turska i austro-ugarska vladavina. turizma. Urbani razvoj je koncipiran Period pod austro-ugarskom vlašću je na racionalnom korišćenju prostori, za urbani razvoj Tivta bio najznačajniji, zaštiti i revitalizaciji prostornog jer je upravo u tom periodu formiran identiteta pojedinih gradskih arsenal (1814-1918.), koji je generisao područja, a naročito ambijentalnih urbane procese, sa dominantnom jezgara i poteza, uz čuvanje i zaštitu orijentisanošću ka industriji. potencijalno vrijednih turističkih Za vrijeme mletačke vladavine (1420- prostora od stambene izgradnje. 1797), na prostoru Tivta su postojala 3.2. Transformacija bivšeg Arsenala imanja sa ljetnjikovcima feudalne Privredni razvoj Tivta možemo da vlastele Prčnja, Perasta, Dobrote podjelimo u dvije faze. Prva faza i Kotora. Nakon pada Mletačke vezana je za osnivanje vojno pomorske republike 1797. godine, počinje jedan luke Arsenal, i ubrzani razvoj grada, duži period od skoro dvadeset godina u kada Tivat dobija status značajnog kome su se na teritoriji Boke Kotorske industrijskog centra, sa akcentom smjenjivale različite sile, dok 1814. vlast na remont brodova. Kompletna nad ovim prostorom nije preuzela ekonomija Tivta, bila je zasnovana na Austrougarska. [Program razvoja radu arsenala. Druga faza počinje 90.-ih kulture opštine Tivat 2015-2020: 2015]. godina XX vijeka, kada, zbog procesa Austrougarska mornarica je tranzicije i teških ekonomskih uslova, prepoznala stratešku povoljnost Tivta dolazi do gašenja ili do drastičnog za izgradnju pomorskog arsenala. smanjenja obima rada industrijskih Komanda mornarice Austrougarske je giganata, što se odražava na veliku 1888. godine otpočela otkup zemljišta nezaposlenost i opštu stagnaciju Tivta. i pripremne radove na njegovom nivelisanju. U interesu razvoja grada, Sa druge strane, Tivat nije bio turistički Tivatska opština je 1889. godine atraktivan kao ostali gradovi na donijela odluku da se Komandi crnogorskom primorju. austrougarske ratne mornarici Tokom 2006.god. počinju pregovori Slika 3: Arsenal 1926. god. besplatno ustupi zemljište između Vlade Crne Gore sa poznatim Figure 3: Arsenal in 1926. rtova Seljanovo i Pakovo za izgradnju kanadskim investitorom - bilionerom arsenala, u kojem su mještani trebali Peterom Munkom. Vlada Crne Gore imati prvenstvo zaposlenja. je prepoznala u tome veliku priliku za Ratna mornarica Austro-ugarske ekonomski razvoj Crne Gore, koji se, monarhije, 1889. godine započinje najvećim dijelom oslanja na turizam. gradnju vojnog remontnog Nautički turizam donosi najveći priliv brodogradilišta, koje predstavlja jednu novca, kako za samog investitora, tako od prvih pojava industrijalizacije na i za državu. području Boke Kotorske. Osim toga, Kroz elaborat "Nacionalna strategija pomorski arsenal u Tivtu je najstarija održivog razvoja Crne Gore", iz i najzačajnija institucija ove vrste na 2007. god., date su smjernice za Slika 4: Porto Montenegro. našoj obali. Pored objekata za potrebe unaprijeđenje strategije održivosti, koja Figure 4: Porto Montenegro. arsenala, grade se kasarne, stanovi, se, između ostalog, zalaže za ubrzanje škole i drugi objekti, što je iniciralo ekonomskog rasta i razvoja preko formiranje gradske strukture, i njeno međunarodnih prihoda od turizma, i linearno širenje uz obalu. efikasnu kontrolu gustine turizma na Grad se dominantno razvija u obali. industrijski i vojni centar. Osim Zemljište je na crnogorskom primorju Arsenala, krajem XIX i početkom XX prepoznato kao bogati resurs koji treba vijeka, otvoreno je nekoliko fabrika da se ustupi stranim investitorima., "Prva bokeška glinena industrija″ i radi "ekonomske" dobiti države. glinena industrija "Račica". 12 Searching for the identity of porto Montenegro; Sale of public spaces AR 2017.1
During 2006, the Government of The investor creates spaces of "urban Montenegro initiated negotiations glamour"[Sassen : 1996] and with it with a prominent Canadian investor attracts a wealthy layer of society and – a billionaire Peter Munk. The increases their capital. Government of Montenegro recognized in it a great opportunity Creation of new spaces is under for economic development influence and "management" of of Montenegro, which relies the upper class, an occasional user, predominantly on tourism. Nautical that generates spatial development tourism brings the biggest profit, both according to global flowsof spaces to the investor and the country. without identity and aimed at demonstrating and proving influence The study "National Strategy and power, luxury and wealth, without of Sustainable Development of tendency toward spatial harmonization Montenegro"from 2007, provided with the local characteristics and guidelines for promotion of identity features. sustainability strategy, which, among other things, advocates acceleration Main messages and logics in positioning of economic development through of grouped elements are not part profits generated through tourism, of Tivat’s identity. The buildings in and efficient control over "density"of groups form an open space, which is tourism on the coast. no longer at a promenade level, but it is elevated at the "capital pedestal", Land on the Montenegrin coastline and it does not communicate with the has been recognized as a valuable promenade – Lungo Mare. The open resource that should be conceded to space remains a semi-private space. foreign investors, for "economic" gain Good viewpoint, "manic" closeness of the country. Therefore, negotiations and control of approach, fear of with foreign investors run smoothly, "outer" world, intolerance, housing with numerous benefits for investors starting only at second floor level, and their significant involvement in presence of gates and "ramparts", all phases of decision-making and stimulate social segregation of the drafting of planning documents. space. Even restaurants within hotels are "divided" with water mirrors from 3.3. Characteristics of urban identity the promenade. Porto becomes an of new public spaces urban fragment of the town, a closed Transformation of the former unit which does not "communicate" Arsenal is perhaps a logical product with the rest of Tivat’s urban structure. of globalization, post-socialist It generated social segregation and transformation – transition, intolerance among members of specific historical and socio- different social groups. political conditions, and a particular Slika 5: Ekskluzivni prostori, reprezenti kapitala. Spatial shapes and relations are not Figure 5: Architectural as the syntax of the capital. natural context and position in the harmonized with the identity features Mediterranean. of the locality, but are created as a Space is not a "simple" reflection reflection of a desire toward maximum of society, but it represents one of increase of profit through growing the more significant social material urbanization of the space (spatial and dimensions. All spatial shapes and cultural distancing from history) and relations are products of human desire toward privacy. activity and serve to meet interests Traditional symbolism of a gate, as a of the predominant classing place of entrance/transit to a new life, compliance with a given method of in this interpretation represents a point production and a specific manner of of communication between different development. [Castells , 2003]. In this Slika 6: Ekskluzivni prostori, reprezenti kapitala. worlds of lower and upper class, thus Figure 6: Architectural as the syntax of the capital. case, "predominant class" in Porto adding significance to the moment of Montenegro, gathered around the entrance to a new structure. (figure 8) company owner, Peter Munk, defines spatial relations and creates identity. Bell tower as an erstwhile symbol of sublimity and communication between Desire toward material gain and sacred and profane, today becomes a economic power is one of the driving landmark of "artificial authenticity" forces in the modern world, and (symbol and confirmation of power). thus becomes a generator of urban transformations. 13 AR 2017.1 Jelena Bajić Šestović, MsC
U skladu sa tim, dogovori sa stranim Čak se i restorani u sklopu hotela investitorom teku glatko, uz brojne "odvajaju" vodenim ogledalima olakšice i značajno učešće investitora od šetališta. Porto postaje urbani u svim fazama odlučivanja i izrade fragment grada, zatvorena cjelina koja planske dokumentacije. ne "komunicira" sa ostatkom gradske strukture Tivta. Proizvodi socijalnu 3.3. Karakteristike urbanog identiteta segregaciju i netrpeljivost između novih javnih prostora pripadnika socijalnih grupa. Transformacija bivšeg Arsenala je Prostorni oblici i odnosi nisu u skladu možda i logičan proizvod globalizacije, sa identitetskim obilježjima lokaliteta, post-socijalističke transformacije već nastaju kao odraz želje za – tranzicije, specifičnih istorijskih i maksimalnim povećanjem profita kroz socio-političkh uslova, ali i posebnog veću izgrađenost prostora (prostorno prirodnog konteksta i pozicije na i kulturološko odvajanje od istorije) i Mediteranu. željom za privatnošću. Prostor nije "banalni" odraz društva, Tradicionalna simbolika kapije, kao već predstavlja jednu od značajnijih mjesto ulaska/prelaska u novi život, društvenih materijalnih dimenzija. Svi u ovoj interpretaciji predstavlja tačku prostorni oblici i odnosi proizvedeni komunikacije različitih svjetova nižeg su ljudskim djelovanjem i predstavljaju i višeg staleža, te daje na značaju ispunjavanje interesovanja moment ulaska unutar nove strukture. dominantnog staleža u skladu sa datim Zvonik kao nekadašnji simbol načinom proizvodnje i specifičnim uzvišenosti i komunikacije između načinom razvoja. [Castells, 2003]. U svetog i profanog, danas postaje reper ovom slučaju, "dominantni stalež" "vještačke autentičnosti"(simbol i Porto Montenegra, formiran oko potvrda moći). vlasnika kompanije Petera Munka definiše prostorne odnose i formira Ograđenost strukture Porta koja identitet. asocira na bedeme starih gradova, dodatno doprinosi raslojavanju Želja za materijalnom dobiti i urbanog života grada na dešavanja ekonomskom moći je jedna od vodećih unutar Porta i dešavanja u gradu. Porto u današnjem svijetu, te postaje generator postaje grad, a tivatske Pine (gradski trg urbo-transformacija. Investitor stvara i šetalište) postaju podgradje, sa jasnim prostore "urbanog glamura" [Sassen : socijalnim razlikama i hijerarhijskom 1996] kojim privlači bogati društveni postavkom. sloj ljudi, i uvećava svoj kapital. Koja je dobra granica između turizma Novi prostori su formirani pod uticajem i gostoprimstva? Pitanje koje je Derida i "upravljanjem" bogatijeg staleža, postavio, a koje je primjenljivo i u povremenog korisnika, koji prostorni našem slučaju. To je nažalost, granica razvoj generiše globalnim tokovima, između želje za profitom i želje za identitetski nedefinisanih prostora očuvanjem svog kulturnog identiteta. kojima je jedan od ciljeva da pokažu i dokažu bogatstvo i moć, luksuz, raskoš, Prostor "nije proizveden samo od bez tendencije prostornog usklađivanja strane snaga i odnosa proizvodnje sa lokalnim karakteristikama i i svojine; on je takođe i politički identitetskim obilježjima. Osnovne proizvod, proizvod administrativne i poruke i logika pozicioniranja elemenata represivne kontrole, proizvod odnosa grupne forme nisu dio identiteta Tivta. dominacije i strategija određenih u Objekti se grupišu formirajući jedan državnom vrhu."[Lefebvre, 2009: 189]. otvoreni prostor, ali taj prostor nije više Identitet je usko povezan sa osjećajem na nivou šetališta, već je podignut, na pripadnosti mjestu, ali one primarnme, "pijedastal kapitala", i ne komunicira egzistencijalne. Postavlja se pitanje da li sa šetalištem – lungo mare. Otvoreni povremeni stanovnik/ korisnik Porto prostor postaje poluprivatni prostor. Montenegra, koji posjeduje jednu Dobra vizura,"manična" zatvorenost stambenu jedinicu može da osjeti tu i kontrolisanost pristupa, strah od pripadnost i učestvuje u stvaranju "spoljnog" svijeta, netrpeljivost, identiteta? stanovanje koje se javlja tek od druge etaže, postojanje kapije i "bedema", Hajdeger smatra da ljudski identitet podržavaju socijalnu segregaciju pretpostavlja identitet mjesta [Bojanić, prostora. Đokić: 2009]. 14 Searching for the identity of porto Montenegro; Sale of public spaces AR 2017.1
Limitedness of Porto’s structure, which reminds of the old towns’ ramparts, furthermore contributes to the division of the town’s urban life to activities taking place inside Porto and activities in the town. Porto becomes the town, and Tivat’s Pine (town square and promenade) becomes suburbs, with distinctive social differences and hierarchical setting. Where is the"good" line between tourism and hospitality? The question posed by Derrida, applicable in our case as well. The answer is sadly, the line between the desire for profit and desire for preservation of one’s culture identity. A space is not "created only through forces and relations between production and ownership; it is a political product as well, product of administrative and repressive control, product of relations between domination and strategies determined by the governing structures." [Lefebvre, 2009: 189]. Identity is closely tied to the sense of belonging to a place, the primary, existential one. The question is whether an occasional inhabitant/user of Porto Montenegro who owns a residential unit, is capable of feeling the belonging as well as participating in creation of identity? Heidegger deems that human identity and place identity are inseparably connected [Bojanić, Đokić, 2009], therefore we gather that a change in social structure of the population Slika 7: Porto Montenegro- programska sema, (permanent and temporary) has a Studija lokacije Arsenal 2008. significant effect on the place identity. Figure 7: Porto Montenegro- program scheme, Belonging to a place means having an Location study Arsenal 2008. existential support in a tangible and everyday sense. [Schulz, 2006]. Former Arsenal workers clearly identified themselves with the space (place of work and residence), while new Porto inhabitants achieve the connection to the place in question through fun and recreation. Private users occupying public spaces, isolation, creation of closed structures in space, turn the town into an antisocial space which is not its primary feature. Consequently, pseudo public spaces are created which are the spaces of consumerism and not the spaces of everyday urban life. The one who "possesses" public space or makes decisions regarding its use, possesses the user as well whom they can manipulate (public space branding). 15 AR 2017.1 Jelena Bajić Šestović, MsC
Te možemo da zaključimo da promjena socijalne strukture stanovništva (stalnih i povremenih) ima značajne implikacije na identitet mjesta. Pripadanje mjestu znači imati egzistencijalni oslonac, u konkretnom, svakodnevnom smislu. [Šulc, 2006]. Bivši radnici Arsenala su se jasno identifikovali sa prostorom (mjesto rada i stanovanja), dok novi stanovnici Porta, "konekciju" sa navedenim prostorom ostvaruju kroz zabavu i odmor . Okupiranje javnih prostora od strane privatnih korisnika, izolovanje, formiranje zatvorenih struktura u prostoru, pretvaraju grad u nedruštveni prostor koji nije njegova izvorna karakteristika. Stvaraju se pseudo javni prostori, koji su prostor konzumerizma, a ne odvijanja urbanog života. Onaj ko "posjeduje" javni prostor, ili odlučuje o njegovom načinu korišćenja, posjeduje i korisnika kojim može da upravlja. (brendiranje javnog prostora). I pored obećanja investitora i države, da će otvoreni javni prostori u okviru turističko-nautičko-rezidencijalnog kompleksa biti otvoreni za sve građane, u realnosti nisu se desile željene transformacije. Iako su javni prostori Porta povezani sa centrom Tivta (preko glavnog obalnog šetališta Lungo Mare), jasna je i čitljiva granica između nove strukture namjenjene socio ekonomskoj eliti i ostatka grada – običnih građana. Zid kompleksa u svojoj fizičkoj manifestaciji, označava početak nove strukture i novog društva. Pored fizičke prisutnosti, Slika 8: Kapija. Urbana simbolika. osjeća se psihički/nevidljivi zid, koji Figure 8: Gate tower in the context out of urban odvaja dvije društvene grupe, ali i dva content. identiteta. Globalizacija i modernizacija uticali su na transformaciju koncepta mjesta,koja obuhvata i proizvodnju i značenje mjesta. Mjesto je izgubilo prijašnje vrijednosti, te je u isti mah postalo samo prostor pružanja usluga. Javni prostori Porto Montenegra namjenjeni su građaninu – potrošaču! Potrebno je postati "dobar konzument" kako bi ravnopravno učestvovao u urbanom životu takvog javnog prostora. Globalizacijski javni prostori njeguju konzumerizam (socijalno- kulturna dominanta u Americi i zapadnoj Evropi) kao neodvojivi dio doživljavanja javnog prostora i bivanja na njemu. 16 Searching for the identity of porto Montenegro; Sale of public spaces AR 2017.1
Despite all the promises investors and aiming to attract capital, subordinating the government made, stating that to economy imperatives, neglecting public open spaces within the tourist- public spaces’ identity and culture. nautical-residential complex would be Collective/ public interest has been open to all the citizens, in reality the overshadowed by individual interest of desired transformation has not taken those who bring money and therefore place. Even though the public spaces decide on the future of the space, being of Porto are connected to Tivat town allowed to change identity specificities center (via main promenade Lungo of the place. Mare), the border between the new structure, made for socio-economic Porto Montenegro is a significant elite, and the rest of the town – ordinary investment realized in the place of the citizens, is clear and transparent. The former Tivat Arsenal. The complex wall of the complex in its physical has already been recognized as one of manifestation, marks the beginning the most significant nautical centers of the new structure and new society. in Europe. Public open spaces within Apart from physical presence of the the nautical complex are connected wall, an invisible/psychological wall to Tivat town center via main Tivat which separates not only two social promenade. However, the border groups but two identities is felt. between the new structures, made for socio-economic elite, and the rest of Globalization and modernization had the town – ordinary citizens, is clear and an impact on the transformation of transparent. The wall in its physical and the very notion of the place which psychological manifestation divides includes production and meaning of two different urban structures and two the place. The place lost its former different social groups. Treating space values, and became a mere place for in such a manner leads to major social providing services. Public spaces transformations which have negative of Porto Montenegro are made for effects on the society. Porto Montenegro a citizen – a user! It is necessary to becomes only one fragment in the become a "good consumer" in order town, an independent structure which is to participate equally in an urban life enclosed like a fortress (wall in physical of such a public space. Globalization and psychological manifestation). public spaces nurture consumerism (main socio-cultural element in America The essential change is the one and Western Europe) as an inseparable regarding identity. The very character component of experiencing public of the town has been changed – from space and existing within it. former identity of an industrial center in Boka (ship repair) to the identity of a 4. Conclusion nautical center, one of the leading of its type in Europe and in the world. In modern world public spaces are seen through the prism of neo-liberal system Specificity of architectural shapes of and capitalism. Land privatization and newly formed structures does not show reduction of public spaces as well as the identity of the place – of Tivat. their different use, have an effect on all The identity was created by a foreign the social actors. investor and his capital. Predominant users are foreigners which impose their Existing social context, affected by own "culture" (lifestyle, manner of transition processes in the post-socialist creating public space and life, habits phase, creates a field of specific and customs). interaction among social actors. New social changes (introducing private Tivat’s image has been changed ownership and marketplace) influence completely. Economic gain is the very behavior and actions of all significant, but the urban symbolism participants in the society (both new of the town has been redefined and old ones). Spaces underwent major (pseudo public spaces, street, gate transformations in morphological, and bell tower). Porto has become an social and cultural sense, i.e. in the oasis for elite consumerism, highly overall identity sense. The state of a aestheticized image of "town" space society is best seen through its public which represents concentration of spaces. In the past several years capital and goods. The town sends a Montenegro has been facing a "sale" of "new message" of a distorted image public spaces, offering land to foreign of artificial authenticity and mutated investors at favorable conditions, uniqueness. 17 AR 2017.1 Ljubljana
4. Zaključak povezani su sa centrom Tivta glavnom tivatskom rivom. Međutim, i pored Javni prostori se u savremenom toga, jasna je i čitljiva granica između svijetu posmatraju kroz prizmu nove strukture namjenjene socio neoliberalnog sistema i kapitalizma. ekonomskoj eliti i ostatka grada – Privatizacija zemljišta i smanjivanje običnih građana. Zid, u svojoj fizičkoj javnih površina, kao i njihovo i psihološkoj manifestaciji, razdvaja drugačije korišćenja, imaju uticaja na dvije različite urbane strukture i dvije sve društvene aktere. različite društvene grupe. Takvim Postojeći društveni kontekst, načinom tretiranja prostora dolazi načet procesima tranzicije u do velikih socijalnih transformacija postsocijalističkoj fazi, stvara polje sa negativnim efektima na društvo. specifične interakcije društvenih Porto Montenegro postaje samo aktera. Novonastale društvene jedan fragment u gradu, nezavisna promjene (uvođenje privatne struktura koja je ograđena kao svojine i tržišta ), utiču na konkretna tvrđava (zid u fizičkoj i psihološkoj ponašanja i djelovanje svih učesnika manifestaciji). društva (novih i starih). Prostori su Suštinska promjena je identitetska. doživjeli značajne transformacije, Promjenjen je čak i karakter samog kako u morfološkom, tako i u grada, od nekadašnjeg identiteta sociološkom i kulturološkom smislu, industrijskog centra u Boki (remont odnosno, ukupnom, identitetskom brodova) do identiteta nautičkog smislu. centra, jednog od vodećih na Stanje jednog društva najbolje se evropskoj i svjetskoj mapi. čita kroz njegove javne prostore. Crna Gora se zadnjih godina Specifičnost arhitektonskih oblika suočava sa "rasporodajom" javnih novoformiranih struktura ne otkriva prostora, nudeći zemljište stranim identitet mjesta – Tivta. Identitet je investitorima, po povoljnim formirao strani investitor i njegov uslovima, u želji da se privuče kapital. Dominantni korisnici su kapital, podređujući se imperativima stranci, koji nameću svoju "kulturu" ekonomije, zanemarivajući identitet (način života, način oblikovanja javnih prostora i kulturu. Kolektivni javnog prostora i javnog života, / javni interes ostaje u sijenci navike, običaji). individualnog interesa pojedinca koji Slika Tivta je potpuno promjenja. donosi novac, a samim tim odlučuje Ekonomska dobit je značajna, ali je o budućnosti prostora, te mjenja redefinisana urbana simbolika grada. identitetske specifičnosti mjesta. (pseudo javni prostori, ulica, kapija i Porto Montenegro je značajna zvonik). Porto postaje oaza elitnog investicija realizovana na prostoru konzumerizma, visoko estetizovana bivšeg tivatskog arsenala. Kompleks slika "gradskog" prostora, koja je već prepoznat kao jedan od predstavlja koncentraciju kapitala značajnijih nautičkih centara u i robe. Grad šalje "novu poruku" Evropi. Otvoreni javni prostori iskrivljene slike vještačke autentičnosti u okviru nautičkog kompleksa, i mutirane jedinstvenosti. 18 Searching for the identity of porto Montenegro; Sale of public spaces AR 2017.1
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KREATIVNI OPUS VUKOTE TUPE VUKOTIĆA (CETINJE, 1932 – PODGORICA, 2002) – SVET USAMLJENOG I AUTENTIČNOG GRADITELJA CREATIVE OPUS OF VUKOTA TUPA VUKOTIĆ (CETINJE, 1932 – PODGORICA, 2002) -THE WORLD OF A LONESOME AND AUTOCHTHON ARCHITECT
Ključne reči Key words Crna Gora, Vukota Tupa Vukotić, Montenegro, Vukota Tupa Vukotić, arhitektura, urbanizam, održivi razvoj. architecture, urban design, sustainable development.
Sažetak Abstract Rad se bavi delom crnogorskog arhitekte The paper present the architectural works Vukote Tupe Vukotića (Cetinje, 1932 – of Vukota Tupa Vuković ( Cetinje, 1932 – Podgorica, 2002) sa posebnim osvrtom Podgorica, 2002) with the focus on his last na nedavno posthumno objavljenu book "Three-dimensional Morphology knjigu, "Trodimenzionalna morfologija of the Montenegro". The book represent Crne Gore" kao doprinos uvida u njegov and overview of his lifetime quest in the celokupni stvaralački opus. architecture. O realizovanim radovima Vukote Tupe In the projects of V.T. Vukotić: Labud Vukotića, kao što su : Labud Plaža na Plaža at Morača (1960), Chapel at the Morači (1960), Kapela na groblju Čepurci cemetery Čepurci in Podgorica (1960), u Podgorici (1960), Detaljni urbanistički Detailed urban plan Blok V in Podgorica plan Bloka V u Podgorici (1976), Prostorni (1976), Master and Spatial plan of Cetinje UKD 72.071.1(497.16) plan Cetinja (1986) i Generalni urbanistički (1986; 1967 and 1987), Spatial plan of COBISS 1.01 Prejeto 24.3.2017 plan Cetinja (1967 i 1987), Prostorni plan the Park of Skadar Lake (1999), Detailed Parka Skadarsko jezero (1999), Detaljni urban plan of the tourist settlement of urbanistički plan turističkog naselja Jaz Jaz (1969), Urban development plans (1969), Urbanistički projekti revitalizacije of Historic Centre of Ulcinj (1983), starih gradskih jezgara Ulcinj (1983), Cetinje Cetinje (1984), Drač (1988), Stara varoš (1984), Drač (1988), Stara varoš (1993) itd. (1993) and several others were vividly mnogo više se govorilo u sredinama gde su discussed at the places where were applied ta dela nastajala ili se objavljivalo samo kao and occasionally the urban plans were informacija u dnevnoj štampi, nego što se mentioned in the daily press as a plain o tome pisalo u nekom stručnom časopisu information (as part of obligatory PR). ili u nekoj knjizi, a gde bi ovaj opus dobio svoje pravo mesto. The book "Three-dimensional Morphology of the Montenegro" is Knjiga "Trodimenzionalna morfologija an independent printed source of his Crne Gore" u potpunosti je realizovana kao urban and architectural dialogue with autorski i samostalno izvedeni rad, sa svojom the landscapes of the Montenegro. The prof. dr. sc. Svetislav G. Popović naučnom utemeljenošću, preciznošću, ali content consists of precise scientific Arhitektonski fakultet Podgorica – Univerzitet Crne Gore [email protected] i neophodnom umetničkom slobodom, language using method of drawing and baš koliko je potrebno da se harmonija ne it is partly combined with his original doc. dr. sc. Marta Vukotić Lazar naruši, a osebujna umetnička originalnost artistic fluid expression. Combination of Filozofski fakultet Priština sa privremenim sjedištem u Kosovskoj Mitrovic, Department za Istoriju umjetnosti i naučna utemeljenost sačuvaju u svim both aspects point out the originality of [email protected] slojevima tih značenja. his works and thinking of V.T. Vukotić. 20 Creative opus of Vukota Tupa Vukotić (Cetinje, 1932 – Podgorica, 2002) -the world of a lonesome and autochthon architect AR 2017.1
1. Uvod i spontanost bez granica, to jest u Stručna javnost je jednoglasna u njegov urođeni ekspresionizam, oceni da je celokupni opus arhitekte ugradi elemente Korbizijeovog Vukote Tupe Vukotića od izuzetnog brutalizma. značaja za Crnu Goru, što nažalost Poseban uticaj tokom studija na još uvek nije, bar ne u dovoljnoj Vukotu Tupu Vukotića, Leonida Šejku meri, i potvrđeno u publikovanoj i Peđu Ristića, ostavili su profesor istoriografskoj i teorijskoj građi. matematike Radivoje Kašanin i Cilj ovog rada je da se skretanjem njegov asistent Gojko Vujaklija, koji pažnje stručne javnosti na opus su im "otkrili" pojmove o nizovima, arhitekte Vukote Tupe Vukotića tačkama nagomilavanja, koji će im ujedno ukaže i na potrebu za boljim kasnije poslužiti i u "pregrupisavanju razumevanjem ideje modernog otpadaka" iz Grada-Đubrišta, Grada- pokreta, a samim tim i razumevanja, Lavirinta, kao i pri klasifikaciji, kako merljivih, tako i nemerljivih kao istraživačkom postupku u kulturnih vrednosti toga pokreta. raspoređivanju podataka u sistemu Iz opštih pouka o savremenom pojmova, a po redu koji će ustanoviti graditeljstvu, i razvijanjem još tokom Šejka Klasifikator, kako je sam studija strasti prema urbanizmu, sebe nazivao u tom periodu svog Vukota Tupa Vukotić je izdvojio ono stvaralaštva [Ristić, 1977, 111; najbitnije za crnogorsku sredinu, što Šejka, 1982, 135-136]. Za tu tada još ga je zauvek vezalo za taj prostor, neimenovanu "Grupu" umetnika- a sa druge strane pozicioniralo na istraživača, matematika je bila duševna mesto kamena temeljca onoga što se hrana, a izvori sa kojih su se napajali danas naziva održivi razvoj područja i bile su ideje Nikolaja Berđajeva, kvalitetnog načina života na prostoru ruske religiozno-egzistencijalističke Crne Gore. misli, kao i tradicija prostora sa Vukota Tupa Vukotić je upisao koga su poticali i odakle su umeli Arhitektonski fakultet Univerziteta da izdvoje samo ono što im je bilo u Beogradu 1951. godine sa celom važno za koncept njihovog rada, a što plejadom kasnije uspešnih arhitekata je moralo imati prizvuk podsvesnog, i umetnika, kao što su bili Leonid fantastičnog, simboličkog, mitskog Trofimovič Šejka, Predrag Ristić, ili fantazmagoričnog. U svim tim Siniša Vuković, Mihailo Mika Čanak, istraživanjima u "moru večnih Milorad Mišo Vukotić, Milutin istina", uz Tupu, Šejku i Peđu uvek Trpković, Miša Mitić, Leon Lenarčić i su bili Dado Đurić i Uroš Tošković dr. Svi su nekako u isto vreme školske Tošo. – egzistencijalisti kako su ih Slika 1: Vukota Tupa Vukotić, lična fotografija. 1956/1957. godine i diplomirali, osim nazivali. Igra kao princip života, Figure 1: Vukota Tupa Vukotic, personal Šejke koji je diplomirao 1960. godine i kao izvor mašte, za Tupu je bila photography. to na nagovor oca, što nije pokolebalo nepresušni izvor inspiracija za sva njegovo konačno opredeljenje da buduća "planiranja i projektovanja". život posveti umetnosti. [Subotić, Gotovo po pravilu, ta i takva igra u 1972: 23; Subotić, 1977]. opusu Vukote Tupe Vukotića nalazila Tupa je bio u ateljeu profesora je svoje ostvarenje u metodu u kojem Stanka Kliske i tadašnjih asistenata, a je matematika igrala glavnu ulogu. kasnije legendarnih profesora Mihaila Poznato je da sredina nije imala Pantovića i Uroša Martinovića. Pored previše sluha za delatnosti ove Tupe u Kliskinom ateljeu su bili, "Grupe", a koje su se tumačile kao između ostalih, i Miahilo Čanak, Miša "vanrazumske aktivnosti". Za mnoge Mitić i Leon Lenarčić. Profesor Kliska, članove “Grupe” ovaj sukob je imao skroman, odmeren i formalan, kako ga začetke još u roditeljskom domu. Zna pamti Tupin kolega sa godine arhitekta se da - otac Leonida Šejke, Trofim Mihajlo Čanak [Čanak, 2002], nije se Vasiljevič, ruski emigrant, geodetski obazirao na "Tupinu razbarušenost u inženjer, oficir, kartograf, topograf, životu i projektovanju", ali je zato Uroš vrhunski poznavalac kartografije, Martinović, rođeni pedagog, uspeo da školovan u Carskoj Rusiji, nastanjen ustalasa skrivena čula za arhitekturu u Beogradu između dva svetska rata i i projektovanje kod svih studenata penzionisan nakon Drugog svetskog Kliskinog ateljea. Po rečima arhitekte rata kao pukovnik JNA - nikada nije Mihaila Čanka [Čanak, 2002] upravo mogao da razume svoga sina, čak ga je Martinović bio taj koji je uspeo se u nekom smislu i stideo. [Ristić, da u Tupinu urođenu kreativnost 1977: 111; Subotić, 1972: 22] 21 AR 2017.1 prof .dr sc. Svetislav G. Popović; doc.dr sc.vMarta Vukotić Lazar
Tupa je odrastao u kultu knjiga, slika i muzike, gde su "vanrazumske aktivnosti" odobravane kao raznorodni umetnički svetovi i Slika 2: Vukota Tupa Vukotić, Kapela Čepurci dragocene posledice slobodnog duha. groblje u Podgorici , 1960.g. Objavljeno u knjizi: Već u generaciji Tupinog oca, Petra Markuš, A. (2008). 50 neimara Crne Gore. Periše Vukotića (1899 – 1988) koji je Arhitektonski forum, Podgorica. Figure 2: Vukota Tupa Vukotic, Chapel Cepurci bio jedan od najuglednijih crnogorskih cemetery in Podgorica, 1960. Published in the arhitekata toga doba, stričeva i ujaka, book: Markus, A. (2008). 50 neimara Crne Gore. ostvaren je dijalog sa Tradicijom u Architectural Forum, Podgorica. oblasti običaja i moralnih normi, kao i nasleđa određenih predstava iz perioda plemenskog uređenja, a u smeru otvaranja polja rada ka novim saznanjima, na čemu su Tupa i Dado, kao mlađi predstavnici iste familije, a uz njenu podršku, mogli nesmetano da "istražuju" tokom celoga života. Udeo Vukote Tupe Vukotića, kao važne karike i nezaobilaznog protagoniste "Rane istorije Mediale" čeka na svoje istraživače, a čime bi se osvetlila i vrednovala njegova uloga vazana ne samo za grupu "Mediala", već i za istorije avangardi na prostoru bivše SFRJ, a posebno na prostoru Crne Gore.
2. O radu na Arhitektonskom fakultetu u Beogradu (1962-1964). Slika 3: Vukota Tupa Vukotić, Vukota Tupa Vukota Tupa Vukotić kao asistent Vukotić, Objekat Galeb na rijeci Morača, sa Bogdanu Bogdanoviću Podgorica, 1960. Legacija. Figure 3: Vukota Tupa Vukotić, Vukota Tupa Nakon stečene diplome 1957. godine Vukotić, Galeb on the Morača River, Podgorica, Vukota Tupa Vukotić se vraća u 1960. Legation. Podgoricu (tadašnji Titograd) gde se zapošljava u Opštinskom odeljenju za komunalne poslove, u operative opšte- građevinskog preduzeća "Titograd" i kao predavač na Arhitektonskom odseku Srednje tehničke škole u Podgorici (Titogradu). Kombinacija pozne moderne i osebujne ekspresije svoj krešendo će dobiti u prvim Tupinim realizovanim delima "Labud-plaža na Morači" i "Kapela Čepurci na groblju u Podgorici" oba iz 1960. godine, kao i Spomeniku poginulim Kučima na Orljevu iz 1961. godine, što će ga "preporučiti" da 1962. godine bude izabran za asistenta na Katedri za urbanizam Arhitektonskog fakulteta u Univerziteta u Beogradu, kod profesora Bogdana Bogdanovića, gde će ostati do 1964. godine [Markuš, 2008: 43 – 48; Markuš, 2013: 105]. Po dolasku na Arhitektonski fakultet Univerziteta u Beogradu, kod profesora Bogdana Bogdanovića, Tupa se priključuje grupi mlađih arhitekata koji su rukovodili Centrom za mali urbanizam. 22 Creative opus of Vukota Tupa Vukotić (Cetinje, 1932 – Podgorica, 2002) -the world of a lonesome and autochthon architect AR 2017.1
Zašto se Bogdanović odlučio baš za Vukota Tupa Vukotić je 2002. godine Vukotu Tupu Vukotića na raspisanom završio izradu Trodimenzionalnog konkursu za mesto asistenta, kada se zna atlasa Crne Gore, projekta prvog ove koliko je izuzetnih arhitekata konkurisalo vrste kod nas. Radio ga je sa velikim na to mesto [Markuš, 2013: 105], kao i žarom i entuzijazmom, koji može ko je po Bogdanovićevom mišljenju samo veliki umjetnik da ima, umjetnik među arhitektima imao predispozicije koji poseduje univerzalnost. da se bavi malim urbanizmom, može se razumeti i iz zapisanog u njegovoj Koristeći metodu integralnog istoimenoj knjizi "Mali urbanizam", gde planerskog postupka, u radu na se navodi da to mogu raditi samo oni projektima obnove i revitalizacije koji imaju duha i mašte [Bogdanović, Starog grada Ulcinja, revitalizacije 1957: 11-13]. Vukota Tupa Vukotić je istorijskog jezgra Cetinja, kao i imao dara i umeća za sve navedeno, a revitalizacije Rijeke Crnojevića, dalo nadasve je umeo da razmišlja crtežom, mu je ideju da isti postupak primijeni o čemu svedoči između ostalog i kod izrade Trodimenzionalnog njegovo poslednje realizovano delo - morfološkog atlasa Crne Gore. Kako knjiga "Trodimenzionalna morfologija je i sam objašnjavao, postupak rada na Crne Gore". njemu je tekao na sljedeći način: "Preko prevrnutih profila vučem linije Pored Bogdanovića, čiji je bio sa mrežama koje se nalaze na tim asistent, glavni pokrovitelj i zaštitinik kotama od 25.000 i obaram profile. Vukote Tupe Vukotića na Fakultetu, Kada se ti profili obore po redu ispadne i to u raznim situacijama, bio je Uroš Lovćen ili Durmitor, dosta blizak Martinović, pedagog, veliki arhitekta onome kakav je taj masiv. Normalno, i veliki prijatelj mnogim studentima. tu ima i nekih malih deformacija. Tako Uticaj profesora Đurđa Boškovića na sam i nacrtao sve naše veće gradove: rad Vukote Tupe Vukotića, posebno Podgoricu, Bar, Ulcinj, Cetinje, Kotor, u metodologiji i u sistematičnosti Herceg Novi. Ponekad mi nedostaju istraživanja, više je nego očigledan neke fotografije jer je teško naći lijepu, [Jevtić, 2004, 61-63]. Boškovićeve preglednu fotografiju sa one strane sa Slika 4: Vukota Tupa, Vukotić, Aksonometrijski pouke o temeljnom i kompleksnom koje ja to posmatram. Karte su uvijek prikaz Stare Varoši i mosta na rijeci Ribnici. istraživanju celina (snimanje stanja, napravljene jug-sjever, a ja gledam Legacija. proučavanja i zaštite), arhitekta Vukota malo naopačke sa istoka, istok-zapad, Figure 4: Vukota Tupa, Vukotic, Axonometric Tupa Vukotić je "dopunio" jednom jer se Crna Gora tako najljepše otvara. view of Stara Varos and the bridge on the river posebnom dimenzijom "promišljanja Pokušavao sam da gledam sa mora, Ribnica. Legacy. crtežom", a koja se umetničkom ali onda taj metod ne može da pruži snagom odvojila od početne teme nekakav pravi efekat. ″[Popović, i zadatka i nastavila da živi kao 2016: 5]. samostalni umetnički svet za sebe. Rad na Atlasu je nastavio i po penzionisanju. Dolazio je u Zavod 3. O njegovom radu u svako jutro redovno, u kancelariju Republičkom zavodu za urbanizam koja se nalazila na prvom spratu starog i projektovanje Crne Gore (1964 - RZUP-ovskog zdanja, kao da je u 1997) i knjiga Trodimenzionalni obavezi. Od Zavoda, u koji je nastavio morfologiji Crne Gore da dolazi skoro svakodnevno, i radi Velika nostalgija i životne okolnosti "za svoju dušu", kako je voleo da kaže, naterale su Vukotu Tupu Vukotića odvojile su ga kratka bolest - i smrt. da napusti rad na Arhitektonskom Crtežima koji su rađeni na pausu, na fakultetu u Beogradu i da se 1964. kojima je predstavljena morfologija godine definitivno vrati u Crnu Goru. Crne Gore sa okruženjem, prijetila je Iste godine se zapošljava u Republičkom sudbina da ostanu skriveni od javnosti zavodu za urbanizam i projektovanje, i dožive sudbinu nerealizovanog gde će raditi u kontinuitetu do odlaska projekta. Njegovim najbližim u penziju 1997. godine. Nakon stečene saradnicima, je slijedio veliki posao. Cilj penzije nastavlja svakodnevno da je bio sačuvati Atlas od propadanja, jer dolazi u Zavod, neumorno radeći na je paus na kojem je rađen počeo već poslovima, kako je govorio "za sebe, za da trpi prve deformacije, a potom ga svoju dušu". U tom period je okončan objaviti. Trebalo je skinuti prašinu sa višegodišnji rad na svojeručnoj izradi tih listova velikog formata i pripremiti "Trodimenzionalne morfologije Crne ih za štampu. Ovo delo moralo je biti Gore". dostupno javnosti. [Popović, 2016: 5]. 23 AR 2017.1 Ljubljana
4. Zaključak kulturne geografije Crne Gore, tako i u sagledavanju uticaja koje su Cetinje, Ulcinj, Mojkovac, Jaz, Stara na Vukotu Tupu Vukotića ostavila Varoš, Drač, Gorica, Skadarsko jezero naučna tumačenja njegovih uzora (…) čini se niko nije umeo tako da za region Balkana, Jovana Cvijića "naslika", da crtežom opiše postojeće (antropogeografija), ali i Fernan stanje "dušu i telo" tih prostora, Brodela (Fernand Braudel) i Lisjen da predloži korake u uređenju i Fevra (Lucien Fabvre) pripadnika unapređenju onoga što je trebalo škole "Anala", osobito Brodela, koji unaprediti, a da se pri tome ne zaboravi je u knjizi o Mediteranu uspešno važnost očuvanja svega onoga što primenio regionalni koncept čini jedinstvenu lepotu tih prostora, objašnjenja istorije. svojstvenih samo ovom delu zemaljske Stvaralački opus arhitekte Vukote kugle, kako je znao da podseti svoje Tupe Vukotića je svet usamljenog i saradnike. autohtonog graditelja, koji nikoga nije Tokom rada na jednom od prvih hteo da oponaša, a njega prosto niko realizovanih projekata iz 1960. godine i nije ni mogao da oponaša [Čanak, jednom od retkih iz domena arhitekture, 2004: 50 – 52; Čanak 2002: 52]. na objektu "Labud Plaža" na Morači, Stručnost, profesionalna odvažnost, izborom materijala, neobrađenog doslednost i skromnost učinile su da betona i oblutaka uzetih sa plaže, stvaralaštvo Vukote Tupe Vukotića Vukota Tupa Vukotić je postigao ne bude dovoljno objašnjeno i organsku povezanost prirodnog i protumačeno u odnosu na graditeljstvo izgrađenog [Markuš, 2008: 43 – 48; "Modernog pokreta u Crnoj Gori", ali Bjelousov, 2009: 119; Alihodžić, 2015: ni u kontekstu njegovog delovanja i 34]. Naglašena konzola, jednostavni značenja za "Ranu istoriju Medijale", detalj i plitka horizontala zadržali su a koja se poklapa sa godinama odnos proporcija koji je u prirodi Tupinog školovanja, a potom i postojao. Lociran na slikovitoj obali rada na Arhitektonskom fakultetu reke Morače, na kontrastu između Univerziteta u Beogradu. vode, plaže i zelenila i kontrastu Iznete hipoteze imaju za cilj da materijala boje i forme, objekat je daju smisao i smer svim budućim svojim volumenom našao rešenje koje istraživanjima, a u cilju izrade ne remeti prirodan sklad zatečenog monografije o životu i delu Vukote ambijenta, već ga unapređuje. [Vukotić, Tupe Vukotića, čime bi se ovom opusu 1976, 22] dao nov život, zaštitio od nestanka, Atlas Vukote Tupe Vukotića, kao a samim tim i podstaklo njegovo jedinstveno autorsko delo na ovim pozicioniranje u antologijama svetske prostorima, a i šire, predstavlja doprinos arhitekture, gde bez sumnje pripada i kako u domenu prostornog planiranja, o čemu se u poslednje vreme sve više urbanizma, arhitekture, urbane i govori u širem okruženju.
Slika 5: Lijevo: Vukota Tupa Vukotić, Aksonometrijski prikaz Žabljak Crnojevića na Skadarskom jezeru Desno: Vukota Tupa Vukotić tokom plivanja na Skadarskom jezeru, 1976, Legacija. Figure 5: Left: Vukota Tupa Vukotić, Axonometric View Žabljak Crnojevića on Skadar Lake Right: Vukot Tupa Vukotić during swimming on Skadar Lake, 1976, Legation. 24 Creative opus of Vukota Tupa Vukotić (Cetinje, 1932 – Podgorica, 2002) -the world of a lonesome and autochthon architect AR 2017.1
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INSTORIJSKI URBANI KONTEKTS – INTERPOLACIJA KAO VID URBANE OBNOVE U PODGORICI HISTORICAL URBAN CONTEXT – INTERPOLATION AS A TYPE OF URBAN RENEWAL IN PODGORICA
Ključne rječi Key words Interpolacija, Fasada, Kolektivna Interpolation, Façade, Collective memorija, Bokeška ulica, Arhitektura u memory, Bokeška Street, Architecture kontekstu. within the context.
Sažetek Abstract Memorija grada koja leži u slojevitosti Town memory, situated in the stratification njegovog razvoja, predstavlja važan of its development, represents an essential faktor u određivanju ključnih generatora factor in determining key generators of identiteta i identifikovanju materijalnog i identity and identification of material nematerijalnog nasljeđa kao stub njegovog and non-material heritage as the pillar urbanog kontinuiteta. Polazeći od stava of its urban continuity. The uniqueness da se arhitektura može proučavati samo and authenticity of architecture, which u odnosu na kontekst njenog istorijskog represent the accumulation of everything razvoja, proizilazi i jedinstvenost i composing genius loci and zeitgeist in originalnost arhitekture, koja predstavlja which it occurs, stem from the viewpoint akumulaciju svega onog što čini genius that architecture may be examined only UKD 711.16(497.16) loci i zeitgeist u kome nastaje. Samim in relation to the context of its historical COBISS 1.02 tim gradska prošlost treba da predstavlja development. Therefore, urban past should Prejeto 24.3.2017 pripremu ulaska u budućnost. represent the preparation for entrance into the future. Ovim istraživanjem dat je pregled kako je različitim metodama interpolacije The study starts by giving an overview of kojima je moguće djelovati u istorijskom how different interpolation methods that is urbanom kontektsu, sa osvrtom na possible to act in historical urban context, kontekst Podgorice. U radu je dat with regard to the context of Podgorica. Ema Alihidžić Jašarović, MsC predled uloge interpolacije od osnova The work provides an overview of the role Univerzitet Crne Gore, Arhitektonski fakultet za najatraktivnije vrste urbane obnove of interpolation as the most active type Bul. Džordža Vašingtoba bb, 81000 Podgorica, Crna Gora do "estetskog furnira" novoizgrađenih of urban renewal or "aesthetic veneer" [email protected] struktura. Upravo iz tog razloga Bokeška of newly built structures. Thus, Bokeška ulica u današnjem kontekstu predstavlja Street today represents a newly activated Sanja Paunović Žarič novoaktivirani centar, što se često dešava gathering centre, and it usually happens Univerzitet Crne Gore, Arhitektonski fakultet da usljed krize identiteta, istorijski tokovi u that, due to identity crisis, historical trends Bul. Džordža Vašingtoba bb, 81000 Podgorica, Crna Gora razvoju grada, prikazuju povratak starom in town development present the return to [email protected] dijelu grada kao stjecištu identitetskih the old part of the town as the confluence vrijednosti i kolektivne memorije. of identity values and collective memory. doc. dr. Veljko Radulović Postavlja se pitanje konačnog stava kada There is a question of final viewpoint Univerzitet Crne Gore, Arhitektonski fakultet je riječ o intervencijama u Bokeškoj ulici. regarding interventions in Bokeška Street. Bul. Džordža Vašingtoba bb, 81000 Podgorica, Crna Gora Da li postoji uspješan model interpolacije Is there any successful interpolation model [email protected] [email protected] koji garantuje kvalitetan kompromis? which guarantees a quality compromise? 26 Historical urban context – interpolation as a type of urban renewal in Podgorica AR 2017.1
1. Uvod 1. Introduction Jedan od ključnih resursa grada koji One of the key resources of the je neophodno razumjeti i zaštititi town which needs to be understood kao fokalnu tačku grada su njihova and protected as its focal point are its istorijska jezgra, kao jedinstvena historical nucleuses, as unique places mjesta gradskog urbanog sklopa. U of urban town constitution. This paper ovom radu biće analizirano pitanje will analyse the question of spatial prostorne transformacije Bokeške transformation of Bokeška Street as ulice kao segmenta starog gradskog the segment of old town nucleus of jezgra Nove varoši u Podgorici i "New town" in Podgorica and provide dati moguća rješenja interpolacije possible solutions of interpolation novih objekata u već postojeću of new buildings in already existing strukturu. Dinamičke promjene u structure. Dynamic changes in the razvoju savremenog grada, bitno development of a modern town utiču na poziciju i značaj starog essentially influence the position and gradskog jezgra. Na taj način urbani importance of old town nucleus. Thus, rast, podstaknut snagom globalne urban growth, encouraged by the ekonomske sile, značajno utiče na strength of global economic power, promjenu urbanog identiteta, što u significantly influences the change mnogome uslovljava održivost grada of urban identity, which considerably i trasira njegove pravce razvoja u conditions the sustainability of the budućnosti. Većina gradova u regionu town and traces its future development dijeli slično iskustvo kada je u pitanju directions. The majority of towns of prostorna manifestacija tranzicionog the region have similar experience društva, pri čemu su usljed društveno regarding spatial manifestation of – političkih i ekonomskih uticaja transitional society, while, due to doživjeli značajne transformacije socio-political and economic impacts, iz jednog prostorno-semantičkog they have experienced significant stanja u drugo. Uočava se stepen transformations from one spatial- proizvoljnosti novonastale arhitekture, semantic state into another. The a što dovodi do arhitekture koja je level of randomness of a newly made izopštena iz konteksta i usmjerena na architecture has been noticed, leading destrukciju i negaciju istog. to the architecture outcast from the U tom smislu, ovo istraživanje će context and directed towards its istaći problem tretmana Bokeške ulice destruction and negation. u Podgorici (Crna Gora), posljednje In this sense, this research will point i jedine istorijske urbane cjeline out the issue of treatment of Bokeška u Novoj varoši, koja predstavlja Street in Podgorica (Montenegro), the paradigmu diskontinuiteta identiteta last and only historical urban unit in grada. Preispitujući temu principa the "New town", which represents the i uloge savremene interpolacije paradigm of discontinuity of town u Bokeškoj ulici u današnjem identity. Reviewing the topic of the kontekstu, kroz karakter novonastalih principle and role of contemporary intervencija, kao i konvencionalni stav interpolation in Bokeška Street in o arhitektonskom uzoru iz prošlosti, nowadays context, through the nature analizirana su najprije dva ključna of newly made interventions, as well stava na kojima će se bazirati dalje as conventional viewpoint regarding opservacije: architectural ideal from the past, first of all, two key viewpoints have been 1) onaj u kome se istorijski zasnovan analysed and they will be the bases for izraz smatra vrhunskim rezultatom future observations: koji je teško dostići, a gotovo nemoguće nadmašiti, i 1) the one in which historically based expression is considered as the top- 2) onaj u kome tradicionalni sistem line result difficult to achieve and značenja prolazi kroz vidne almost impossible to outreach, and promjene, u kome se preispituju popularne pretpostavke i izražavaju 2) the one in which traditional system vrijednost vremena u kome nastaju. of signification undergoes obvious changes, within which popular Iz tog razloga nije nimalo jednostavno assumptions have been examined, praviti arhitekturu u postojećem expressing the value of times in izgrađenom gradskom tkivu. which they are created. 27 AR 2017.1 Ema Alihidžić Jašarović, Sanja Paunović Žarič, doc. dr. Veljko Radulović
Ne uzimajući hermetičan stav prema Dvojnost unutra/spolja i anvelopa/ istoriji i istorijskom nasljeđu kao sadržaj bila je zahvalna za polazne dominantan, i uvažavajući potrebe zaključke i koncepte koji su opredjelili grada za njegovim razvojem i dalji razvoj projekata u oba programska širenjem, postavlja se pitanje kako okruženja. Kao konceptualna vodilja izvršiti novu artikulaciju prostora u nastavku njegove izrade definisana i riješiti stroge prostorne zahtjeve je potreba za kreiranjem identiteta, bazirane na očuvanju kompoziciono - identifikovanjem sa mjestom u kome likovnih kvaliteta, a koji predstavljaju se boravi, radi ili živi. sedimentaciju kulturno – istorijskih tokova. 2. Fizička struktura grada kao Jedna od zahvalnih tema za realizaciju izraz kontinuiteta identiteta; ove ideje jeste upravo zadatak Kolektivna memorija Interpolacije koji podrazumijeva "Forma grada jeste prije svega izraz… imperativ dogradnje urbanog i istorijskog i prostornog i fizičkog arhitektonskog identiteta lokacije, u kontinuiteta" [Radović, 2009] uslovima definisanog, ograničenog i Polazeći od definicije grada kao kulturno slojevitog konteksta. Ovakve neprekidnog procesa, ističe se okolnosti prepoznate su u Bokeškoj kontinuitet razvoja usklađen sa ulici u Podgorici gdje je i locirano istorijskim stanjem, kao imperativ istraživanje studijske godine 2012/13, u genezi grada. "Grad je organizam koje je rađeno u okviru predmeta koji nije imun od raznih bolesti, danas Enterijer 1 i 2, na Arhitektonskom su one gotovo neizlečive. Grad nije fakultetu – Univerziteta Crne Gore. nikada konačan i dovršen, već samo Ova ulica predstavlja živopisan gradski živ organizam podložan stalnim ambijent koji je svojom slojevitošću promjenama. Mi kao arhitekte i ambijetnalnim svojstvima bio moramo da nastojimo da prostori motivišući faktor za istraživanje života građana budu funkcionalni, i stvaranje. Rad se odvijao kroz ugodni, čovjekomerni i maštoviti. simuliranu interpolaciju novog objekta Tako bi se odužili prostorima našeg u ulični niz, ili interpolaciju prilikom življenja" [Kolacio, 1978]. Poznavanje rekonstrukcije postojećih struktura. istorijskog razvoja grada je od Porodično stanovanje i poslovni posebnog značaja za svako planiranje, - kreativni inkubator definisani su jer se svaka epoha kontinualno kao programski okvir za istraživanje nadovezuje na prethodnu. Polazeći i projektovanje. Reafirmacija od stava da se arhitektura može autentičnih i vitalnih ambijenata proučavati samo u odnosu na grada pokazala se kao zahvalan kontekst njenog istorijskog razvoja, projektantski izazov. Istraživanje je proizilazi i jedinstvenost i originalnost potvrdilo da se ista može ostvariti arhitekture, koja predstavlja i kroz istraživanje mogućnosti i akumulaciju svega onog što čini koncepata unutrašnje arhitekture i genius loci i zeitgeist u kome nastaje. njene relacije sa jasno definisanim Samim tim gradska prošlost treba fizičkim i kulturnim kontekstom. da predstavlja pripremu za ulaz u Zadatak je podrazumjevao i izradu budućnost. "Istoričnost jedne fizičke idejnog arhitektosnkog rješenje sredine nije samo u trajnosti i starosti čitavog objekta. Program stambenog objekata, nego i u fiksiranim ljudskim objekta trebalo je definisati prema impulsima i stanjima, željama i karakteru korisnika koji ga nastanjuju vjerovanju, imenima i tradicijama, ili poslovni - kreativni inkubator. sjećanjima i legendama, u mitovima i Rezultati jednosemestralnog rada na duhu što ih grad zadržava i prenosi predmetnom istraživanju ilustrovali kroz vrijeme i u datom prostoru" su raznovrsnost konceptualnih [Radović, 2009]. Iako su pristalice pristupa programima, kao i ove ideje veoma često proglašavani arhitektonskog tretmana zadatih tema. konzervativcima, gradsku sliku treba Afirmacija izučavanja unutrašnjih posmatrati kao kolaž i scenu sjećanja, kontradiktornosti ili polova discipline koja služi kao podloga za dalji bila je polazna platforma za definiciju razvoj grada. Istorija grada nužno konkretnog projektnog programa je opterećena uspomenama, stoga, i fizičkog konteksta istraživanja - sintetizujući ideju neprekidnosti u odabira konkretne lokacije u uličnom razvoju grada, fizička struktura ostaje nizu. ubilježena u urbanoj memoriji grada. 28 Historical urban context – interpolation as a type of urban renewal in Podgorica AR 2017.1
This is the reason why it is not easy Affirmation of study of internal at all to develop architecture within contradictions or opposite side of the existing developed urban fabric. the discipline was a starting platform Disregarding hermetic viewpoint for the definition of a specific design related to history and historical programme and physical research heritage as dominant, and appreciating context – the choice of a specific the needs of the town for further location in the street array. Dichotomy development and extension, there of inside/outside and envelope/ is a question of how to perform content was useful for starting new articulation of space and solve conclusions and concepts which strict spatial requests based on the determined further development preservation of compositional – of projects in both programme artistic qualities, which represent the environments. The need for creating sedimentation of cultural – historical identity, identification with the place trends. of stay, work or living was defined as conceptual guide in the follow-up of One of helpful topics for the its development. implementation of this idea is the task of Interpolation which entails the 2. Physical structure of the imperative of upgrading urban and town as expression of identity architectural identity of a location, continuity; Collective memory under the conditions of defined, limited and layered context. Such "The form of a town is first of all circumstances have been recognized the expression of … historical and also in Bokeška Street in Podgorica, the physical continuity" [Radović, 2009] location of the research of academic Starting from the definition of a town year 2012/13, which was carried out as incessant process, development within the course Interior design 1 continuity harmonized with historical and 2, at the Faculty of Architecture condition has been pointed out as - University of Montenegro.. This imperative in town genesis. "Town is street represents a picturesque town an organism not resistant to various setting which was a motivational diseases and today they are almost factor for the research and creation, incurable. Town is never final and due to its stratification and ambience completed, but an active organism nature. The work was carried out susceptible to permanent alterations. through simulated interpolation We architects have to do our best so of a new building along the street that the spaces of life of citizens be array, or interpolation during the functional, cosy, human-oriented and reconstruction of existing structures. imaginative. In this way, we would Family dwelling and business-creative return the depts to the spaces of our incubator are defined as programme living" [Kolacio, 1978]. The knowledge framework for research and design. of historical town development is of Reaffirmation of authentic and vital special importance for each planning, environment of the town has proved as each epoch is continually linked to be a favourable designer challenge. to the previous one. The uniqueness The research has confirmed that and authenticity of architecture, it may also be achieved via the which represent the accumulation of research of possibilities and concepts everything composing genius loci and of interior architecture and its zeitgeist in which it occurs, stem from relationship with clearly defined the viewpoint that architecture may physical and cultural context. The be examined only in relation to the task entailed the development of context of its historical development. conceptual architecture design of the Therefore, urban past should whole building. Residential building represent the preparation for entrance programme should have been defined into the future. "Historicity of one in line with the nature of beneficiaries physical environment is not only in who inhabit it or by contents for durability and antiquity of buildings, business-creative incubator. The but also in fixed human impulses and results of a semester work on this conditions, wishes and beliefs, names research have illustrated diversity and traditions, memories and legends, of conceptual approaches to the myths and spirit retained by the town programmes, as well as architectural and transferred through time and treatment of assigned topics. within certain space" [Radović, 2009]. 29 AR 2017.1 Ema Alihidžić Jašarović, Sanja Paunović Žarič, doc. dr. Veljko Radulović
Memorija grada koja leži u slojevitosti Takva sjećanja nisu izolovana jer njegovog razvoja, predstavlja važan su usko vezana za prostor i vrijeme faktor u određivanju ključnih u kome nastaju. U skladu sa ovim, generatora identiteta i identifikovanju prostor se može formulisati i materijalnog i nematerijalnog kao istorijsko ukorijenjeni skup nasljeđa kao stub njegovog urbanog tradicija i vrijednosti koje se prenose kontinuiteta. Žak Derida sagledava generacijama, određujući mu karakter grad kao kontinualan proces, ističući i specifičnosti [Bauman,1996]. nepotpunost (a ne nedovršenost) Upravo iz tog razloga Bokeška ulica i nezasićenost urbanog prostora: u današnjem kontekstu predstavlja "Ta nezasićenost ne znači da ćemo novoaktivirani centar okupljanja ostavljati netaknute ili neuređene velikog broja ljudi, što se često dešava prostore. Treba graditi tako da nove da usljed krize identiteta, istorijski funkcionalne i estetske kombinacije tokovi u razvoju grada, prikazuju mogu beskrajno obogaćivati povratak starom dijelu grada kao konzervirajući, zasnivati štiteći, čuvati stjecištu identitetskih vrijednosti i nasljeđe na životu ne svodeći grad kolektivne memorije. na muzej ili spomeničko groblje, što grad uvijek u sebe uključuje, ali što on 3. Osvrt na Brenta Brolina i nikad neće biti" [Derrida, 1992]. "Arhitekturu u kontekstu" Polazeći od definicije konteksta koji U svojoj knjizi "Arhitektura u je determinisan prema prirodnim kontekstu", Brent Brolin na velikom i kulturološkim (istorijskim i broju primjera iz prakse pokušava da graditeljskim) karakteristikama mjesta, nađe odgovor koja je to formula koja ovdje će biti analizirani aspekti i uticaji daje uspješan rezultat u interpolaciji, na kreiranje identiteta i karaktera akcentujući važnost promatranja novih objekata i interpolacija u okruženja u kome novi objekat Bokeškoj ulici. Fuzija prostora, nastaje. On smatra da je interpolacija vremena i ljudskog faktora definišu najjosjetljiviji projektantski zadatak, prostorno iskustvo koje određuje i da u tom smislu stvaranje u duhu kontekst i kvalitet jednog mjesta. vremena, je manje značajno nego Pojam konteksta je veoma složen u postojanje karaktera ambijenta (duh konceptu i podrazumijeva sve ono što mjesta). Zbog toga se on zalaže za potiče iz unutrašnjih osobina prostora, veoma kompleksnu analizu konteksta, vidljivo i nevidljivo, materijalno i ne podržavajući proizvoljan nematerijalno, a što formuliše njegovo eklekticizam, niti ignorantski – značenje. Arhitektura u prostoru akontekstualni pristup koji ne tretira je uvijek u dijalogu sa istorijom, ambijent u kome nastaje. Brolin odnosno prostorom u kome se nalazi usmjerava projektanta na izbor u datom vremenu. Jedan prostor rješenja zavisno od međusobne odlikuje sve ono što su njegove ranije vizuelne saglasnosti objekata, jer bi funkcije i istorijski tragovi. Mnogi na taj način inspiracija proistekla iz teoretičari proučavali su specifičnosti duha mjesta doprinoseći isticanju mjesta i faktore koji utiču na njegovo karaktera postojećeg ambijenta. stvaranje, pa tako Kristijan Norberg U toku istraživanja on kritikuje Šulc piše o ,,koncentraciji mjesta" modernu, smatrajući da je ona najviše [Existence, Space and Architecture, uticala na buduće generacije arhitekata 1971], a Simon Unwin o "identifikaciji koji su stvarali u nadmenom ubjeđenju mjesta"[Analysing Architecture, i potrebi da svoj rad ne prilagode 1997], Feld i Basso o "osjećaju mjesta" starijoj arhitekturi koja okružuje [Senses of Place, 1996]. Uspjeh jednog njihova ostvarenja. Modernisti su društva u velikoj mjeri uslovljen je od samog početka pokušavali da iz kvalitetnim kontekstom, a kontekst teorije i prakse izbrišu arhitektonsku je usko vezan sa sedimentiranim istoriju, što je rezultiralo identitetom, kao polaznom tačkom nepostajanjem kontinuuma u strategije njegovog razvoja. Jedan od modernim gradovima izražavajući glavnih zadataka svakog grada je da destruktivni individualizam ega i definiše urbani identitet, koji se a priori straha od monotonije. On navodi da zasniva na kolektivnom sjećanju ljudi je arhitektonski ego veoma opasan koje proizilazi iz prirodnih i kulturnih uticajni faktor, jer arhitekti osjećaju da (materijalnih i nematerijalnih) nije dovoljno originalno ono djelo koje karakteristika kulturnog nasljeđa. nije jedinstveno po formi i konceptu. 30 Historical urban context – interpolation as a type of urban renewal in Podgorica AR 2017.1
Although the supporters of this idea The success of a society has been were very frequently pronounced as greatly conditioned by a quality conservatives, town image should be context, while the context is closely regarded as the patchwork and scene related to sedimentary identity, as of memories, serving as the basis for the starting point of its development further town development. Town strategy. One of the main history is inevitably burdened by assignments of each town is to have memories, therefore, by synthesizing its urban identity defined, which is the idea of permanence in town a priori based on collective memory development, physical structure of people resulting from natural and remains noted in urban memory of cultural (material and non-material) the town. Town memory, situated in characteristics of cultural heritage. the stratification of its development, These memories are not isolated as represents an essential factor in they are closely related to the space determining key generators of identity and time at which they are created. and identification of material and Accordingly, the space may be non-material heritage as the pillar of formulated also as historically rooted its urban continuity. Jacques Derrida set of traditions and values transferred observes the town as continuing to generations, determining its process, emphasizing imperfection (not character and specificities [Bauman, incompleteness) and desaturation of 1996]. Thus, Bokeška Street today urban space: "Such desaturation does represents a newly activated gathering not mean that we will leave intangible or centre of a large number of people, unordered spaces. Building should be and it usually happens that, due to carried out so that new functional and identity crisis, historical trends in aesthetic combinations may endlessly town development present the return enrich by conserving, establish by to the old part of the town as the preserving, protect life heritage by confluence of identity values and not reducing the town to a museum collective memory. or monumental cemetery, what has always been included in the town, but 3. Review of Brent Brolin and what it will never be" [Derrida, 1992]. "Architecture in Context" Starting from the definition of context determined against natural and cultural In his book "Architecture within the (historical and building) characteristics Context", in a number of examples, of a place, aspects and impacts on the Brent Brolin tries to find the answer creation of identity and characters of about the formula which gives new buildings will be analysed, as well successful result in interpolation, as the interpolation in Bokeška Street. emphasising the importance of The fusion of space, time and human observing environment wherein the factor define spatial experience which new building emerges. He considers determines the context and quality of a that interpolation is a most sensitive place. The term context is very complex design task, and to that end, creation in in its concept and it entails everything the spirit of the time is less important which originates from internal features than existence of the character of of a space, visible and invisible, material ambience (genius loci). That is why he and non-material, but which formulates advocates for a very complex context its meaning. Architecture in space has analysis, not supporting either always been in dialogue with history, i.e. arbitrary eclecticism or a neglecting the space in which it is found at certain – non-contextual approach, which time. One space is characterized by its does not address the environment in prior functions and historical traces. which it emerges. Brolin instructs the Numerous theoreticians have studied designer to select solutions depending specificities of place and factors on mutual visual concord of objects, influencing its creation, so Christian since in that manner inspirations Norberg-Schulz writes about the would arise from the genius loci, "concentration of a place" [Existence, contributing to the distinction of Space and Architecture, 1971], while character of the existing ambience. Simon Unwin writes about the In the course of the research, he "identification of a place [Analysing criticises modern architecture, Architecture, 1997], Feld and Basso considering that it had the most about the "feeling of a place" [Senses significant influence on the following of Place, 1996]. generations of architects who 31 AR 2017.1 Ema Alihidžić Jašarović, Sanja Paunović Žarič, doc. dr. Veljko Radulović
Oni su veoma često projektovali svoje Uzimajući za osnov složenost kuće kao da će da egzistiraju u nekoj vrsti vizuelnog okruženja u odnosu na koji vizuelnog vakuma, ne uspostavljajući interpoliramo nove strukture, Brolin odnos sa okolinom, stvarajući postavlja i veoma važno pitanje, šta se estetski prihvatljivu alternativu. Oni dešava ukoliko nema prepoznatljivog se pozivaju na originalnost koju je i dovoljno izraženog okruženja. trebalo da obezbijede nekim novim Kroz dugi niz goodina ustanovljen ostvarenjem, dok Brolin smatra da je je standard: "ukoliko određeno upravo ta mjera umjetničkog uspjeha okruženje nije apsolutno homogeno, nanijela najveću štetu vizuelnom onda to okruženje i ne postoji". kontinuitetu u našim sredinama. Opravdane su interpolacije nastale Prihvatajući takav stav u traganju unošenjem različitosti i inventivnosti, za veličanstvenom arhitekturom, koje ostaju u okvirima konzistentne ignorisali su vizuelno naslaganje i koherentne vizuelne tradicije, jer zatečenog konteksta. Za razliku od ustanovljavanje osjećanja vizuelnog ovog koncepta nekadašnji gradovi kontinuiteta ne znači istovremeno i ukazuju na pažljivo komponovanje balzamovanje susjedstva. prostornih odnosa, koji nastaje poštovanjem estetskih principa uz Ponekad je objekat koji odudara od uvažavanje postojećeg ambijenta. Ako svog okruženja poželjan u vizuelnom je novi objekat tijesno povezan sa smislu, pa se tada postavlja pitanje susjedom, pozajmice arhitektonskih mjere u kojoj neki objekat (ne) formi i motiva su ipak neizbježne, a pripada vizuelnom kontinuitetu. stepen do koga su originalne forme Konzervativizam ne predstavlja prevedene u apstraktno, očigledno uvijek pozitivan arhitektonski akt, ako proizilazi iz najpovršnijeg utiču na njegovu prepoznatljivost. ukazivanja, koje ne uspijeva da nađe Postmodernisti su uvidjeli da je istorija odgovarajući odnos sa okruženjem. opravdan izvor inspiracije, premda Ovakav pristup kontrasta nasuprot ovakav pristup takođe ne bi smio da harmonije oduvijek je jako privlačan ograničava projektantsku kreativnost i za arhitekte. Brolin takođe prihvata originalnost. mogućnost da se može uspostaviti Artur Tristan Edvards u svojoj knjizi kvalitetan odnos starog i novog "Dobri i loši maniri u arhitekturi", upravo stvaranjem kontrasta. navodi da je ključna stvar u percipiranju Analizirajući brojne primjere, on interpolacije, da arhitekti moraju da dolazi do zaključka, da su arhitekti shvate kako je svaki objekat uvijek kako bi se uhvatili u koštac sa najprije viđen kao dio šire urbane naslijeđemom arhitekturom, a težeći cjeline. Time se podržavaju svi pristupi za čistinom i jednostavnošću koja ne interpolaciji koji imaju u osnovi svijest pripada istom stilu, uveli elegantno da će njihov red biti ocjenjivan kao dio rješenje praznine – spone. Spona šireg prostornog okruženja. Robert veoma često može spriječiti vizuelni Stern (Robert Stern) daje tri predloga konflikt između starog i novog. Brolin koja mogu da rezultiraju uspješnom navodi nekoliko tipova spona, a koji se interpolacijom: 1. Povezivanje odnose na povlačenje novog objekta sa neposrednim okruženjem – u odnosu na postojeći ulični front, kontekstualizam; 2. Aludiranje: uvođenje novog uskog elementa koji pozivanje na istoriju arhitekture ali ublažava prelaz sa starog na novo, a koja prevazilazi "eklekticizam"; 3. što je neutralna površina koja stvara Ornamentalizam: koje se postiže kroz iluziju da dva objekta u stvari i nisu zadovoljstvo uljepšavanja arhitekture. spojena. Brolin se nadovezuje na ideju da Da je interpolacija veoma složen arhitektonsko djelo ne možemo projektantski problem ukazuje i posmatrati nezavisno od svog činjenica da nekada vizuelna doslednost okruženja, već oko percipira po svim kriterijumima za uspješnom arhitektonski ansambl u cjelini. On interpolacijom, rezultira dosadom. smatra da je ukras na fasadi najmanje Zato kao ključni pojam i odgovor važan element, a da će utvrđivanje Brolin uvodi pojam mjera harmonije opšte sličnosti između starog i novog koja za uspješan pristup predlaže da (sličnost po visini materijalima, masi, se ustanovi vizuelni kvorum, tako proporciji otvora...), samo po sebi što će se zadovoljiti dovoljan broj obezbijediti njihov skladan vizuelni kriterijuma za preuzimanje "teme" odnos. susjednih objekata. 32 Historical urban context – interpolation as a type of urban renewal in Podgorica AR 2017.1
created in their proud persuasion and If the new building is closely need to avoid adjustment of their work related to the neighbouring one, to the old architecture surrounding borrowings of architectural forms their achievements. Since the very and motives are unavoidable, and beginning, the modernists have tried the extent to which original forms to erase architectural history from both are translated into abstract ones, theory and practice, which resulted obviously influence its recognition. in the lack of continuum in modern Postmodernists have seen that towns, expressing destructive ego history is a justified source of individualism and a fear from monotony. inspiration, although this approach He states that the architectural ego must not limit designers’ creativity is very dangerous influential factor, and originality. as architects think that a work is not original enough, if it is not unique In his book "Good and Bad Manners by its shape and concept. Very often in Architecture", Arthur Trystan they designed their houses as if they Edwards states that architects must existed in a kind of a visual vacuum, realise, and this is the key thing in without establishing any relation with perceiving interpolation, that each environment, thus creating aesthetically building is primarily seen as a part of acceptable alternative. They refer to wider urban entirety. This supports all the originality they were supposed to approaches to interpolation, which provide in some new creation, while are based on the fact that their order Brolin thinks that exactly the measure will be assessed as a part of wider of artistic success made the greatest spatial environment. Robert Stern harm to the visual continuity in our gives three proposals which may environments. By accepting that result in successful interpolation: opinion in searching for a dignified 1. Relation with an immediate architecture, they have ignored visual environment – contextualism; 2. disarrangement with existing context. Insinuation: reference to the history Unlike this concept, old towns indicate of architecture, which exceeds careful composition of spatial relations, "eclecticism"; 3. Ornamentalism: which implies observance of aesthetic achieved through the pleasure of principles and existing ambience. beautifying architecture.
Slika 1: Boris Podrecca - Piran, 1990. Obnova crkve Sv. Donata u galeriju i papirnicu - "Spona"kao element uspješnog uklapanja sa arhitektrom prošlosti. [Izvor: http:// www.rightmove.co.uk/overseas-property/ property-43288080.html] Figure 1: Boris Podrecca – Piran, 1990. Reconstruction of the church St. Donat in to gallery and the paper shop. "Spona" the missing link from the past.
33 AR 2017.1 Ema Alihidžić Jašarović, Sanja Paunović Žarič, doc. dr. Veljko Radulović
4. Bokeška ulica - analiza Socijalistički koncept "izjednačavanja" konteksta takođe je doprinio osjećaju gubitka identiteta, gubitku memorije, što Vratimo se na ključne faze u istoriji dovodi do jednog sasvim novog stanja podgoričkog urbanizma i arhitekture, u kome se danas nalaze naši gradovi i kako bismo bolje razumjeli današnje naše društvo. Takva klima zahvatila je tokove i status u kome se danas nalazi i podgorički urbanizam, koji se odmah Bokeška ulica. Podgorički urbanizam odrazio na najosjetljiviji dio starog je bio veoma promjenljiv u konceptu, gradskog tkiva. Grad se razvijao sa druge a na to ukazuju potpuno suprotni strane Morače (Novi grad), prelazeći iz pristupi u različitim periodima klasicističkog grada (s kraja XIX vijeka razvoja grada, ali kao takav nije do 1958. godine) u funkcionalistički imao karakter obnove. U odnosu na grad sa jasnim obilježjima onovremenog tu činjenicu, nije se u svijesti ljudi trenda urbanizacije. Nova varoš je u tom formiralo zaštitnički odnos prema smislu emitovala sukob između potrebe onom što je naslijeđeno, a što se za modernim urbanim razvojem i želi sačuvati. Ovdašnji dokaz za potrebe za očuvanjem istorijskog takav pristup su Stara varoš i Nova nasljeđa grada, dok je Novi grad težio (Mirkova) varoš u Podgorici, koje da postane modernistički kontrapunkt su izobličene do neprepoznavanja. starovaroškom tradicionalizmu. Nova U prilog takvoj (ne)zaštitničkoj varoš, izgrađena veoma heterogeom filozofiji nasljeđa jeste period kada arhitekturom i disparitetnim sadržajima, su progresisitičke ideje 50ih godina, danas odiše protivurečnošću i pri čemu je modernistički kontekst napetošću. Arhitektura je u tom bitno uticao na redefinisanje pojma smislu odraz i predstava realnosti. tim istorijskog konteksta, zasnovan na i cjelokupne slike grada. Upravo takav negaciji tradicije i njenih vrijednosti. odnos prema nasljeđu, ovu velikim Takav stav koji nije tretirao čovjekovu dijelom sačuvanu ambijentalnu cjelinu identifikaciju sa prostorom, čini dodatno važnom u kontekstu odvajajući objekat od mjesta, danas promatranja tendencija u daljem je u mnogome zaslužan za naše razvoju njenog uličnog fronta, a samim otuđenje od urbanog prostora. tim i cjelokupne slike grada.
Slika 2: Nekadašnji izgled, Nova (Mirkova) Varoš, Podgorica [Izvor: Dokumentarni film "Mirkova Nova varoš 1886 - 1941" autora Mitra Miranovića]. Figure 2: Nova Varoš (Mirkova) in the past. [Source: Documentary "Mirkova Nova varoš 1886 – 1941)", M. Miranović].
Slika 3: Prikaz uničnog niza Bokeške ulice u Podgorici. Figure 3: Houses in the Bokeška Street in Podgorica.
34 Historical urban context – interpolation as a type of urban renewal in Podgorica AR 2017.1
Brolin adds upon the idea that transition from the old to the new, architectural work cannot be and this is the neutral surface which observed outside its environment, makes an illusion that two objects are but the eyes perceive architectural not linked in fact. ensemble as a whole. He thinks that the façade ornament is the That interpolation is a very least important element and that complex design problem was also establishment of general similarity pointed out by the fact that former between old and new (similarity in visual consistency for successful heights, materials, masses, proportion interpolation by all criteria, results of openings ...), will provide their in boredom. That is the reason why balanced visual relation. Taking as as the key term and reply, Brolin a basis the complexity of visual has introduced the term of concord environment in relation to which we measure, which as a successful interpolate new structures, Brolin approach offers to establish visual raises very important question quorum, in a way that it satisfies about what happens if there is no sufficient number of criteria to take recognisable and sufficiently distinct over the “topic” of nearby buildings. environment. Through series of 4. Bokeška street – context years a standard has been established: analysis "if certain environment is not absolutely homogenous, then it does Let’s go back to key phases in not exist". Justified interpolations the history of urbanism and have been made by the introduction architecture of Podgorica, so as to of differences and innovations which better understand today’s trends remain in the framework of consistent and status of the present Bokeška and coherent visual tradition, since Street. The concept of urbanism the impression of visual continuity of Podgorica was very variable, and does not mean at the same time this is indicated by totally different embalming neighbourhood. approaches in various periods of town development, but as such it did Sometimes, the building which not have the nature of renovation. contrasts its environment is desirable With regard to this fact, people have in visual sense, and then the question not developed a protective attitude is raised about the extent to which towards the heritage, which they a building belongs (or not) to the wantto preserve. Present evidence visual continuity. Conservativism is for such approach are "old town and not always positive architectural act, new (Mirko’s) town" in Podgorica, if it derives from the most superficial which have been deformed up to indication, which does not manage the level of non-recognition. The to find appropriate relation with the period of progress ideas, dominant environment. Such an approach of in fifties, is in favour of such (non) contrast opposite to the harmony has protective philosophy of heritage, always been attractive for architects. while modernist context significantly Brolin also accepts the possibility that influenced the redefinition of the the quality relationship between the term of historical context, based old and the new may be established on the negation of tradition and its exactly by creating contrasts. values. Today, such viewpoint, which Having analysed numerous examples, did not treat human identification he has come to a conclusion that, with the space, separating the in order to cope with the inherited building from the place, is mostly to architecture, while striving for purity be blamed for our alienation from and simplicity, which do not belong urban space. Socialist concept of to the same style, the architects "equalization" has also contributed have introduced elegant solution of to the feeling of identity loss and emptiness – link. The link very often memory loss, leading to a completely may prevent visual conflict between new condition of our towns and our the old and the new. Brolin mentions society today. several types of links, which are Such climate encompassed the related to withdrawal of a new object urbanism of Podgorica as well, object in relation to the existing which was immediately reflected in street frontage, , introduction of the the most sensitive part of old urban new narrow element, which mitigates fabric. 35 AR 2017.1 Ema Alihidžić Jašarović, Sanja Paunović Žarič, doc. dr. Veljko Radulović
Bokeška ulica je važan arhitektonski U radu je dat pregled uloge svjetlosti i likovni segment Mirkove (Nove) (kako dnevne tako i vještačke) u varoši, koja je građena prema tretmanu fasade na primjerima urbanističkom projektu ruskog savremenih interpolacija. Analizirana inženjera Vladimira Ivanoviča je upotreba klasičnih elemenata, Vormana. Formiranje Nove varoši i ukazano je transponovanje nosi sa sobom i obrise neoklasicizma tradicionalnih ili prirodnog jezika, XIX vijeka, uz umjetnički odraz kao univerzalnog bioklimatskog secesionizma i eklekticizma objekata odgovara na uslove lokaliteta, između dva rata. Takvi objekti u transformišući njihove formalne djelimično izmijenjenom obliku mogućnosti upotrebom novih koncentrisani su upravo u Bokeškoj tehnoloških dostignuća. Pokazano ulici, i kao takvi stekli su izvjestan je da se takva arhitektura može stepen istoričnosti i ambijentalnosti, interpolirati i vratiti mjestu i vezati pa ih danas prihvatamo kao autentične za odvijanja u prostoru, a može elemente gradskog tkiva. doprinijeti promjeni lika i ekološke slike naših gradova, uopšte. 4. Projektovanje fasadnog omotača kao element Razvojem savremenih tehnoloških interpolacije rješenja, anvelopa objekta tretira se Korijen riječi "fasada" vezan je za kao nezavisan element u odnosu na latinsku riječ facies (lice). Fasada strukturu objekta, pa je njena uloga predstavlja lice objekta i komponentu u savremenim interpolacijama od preko koje se najdirektnije identifikuje izuzetnog značaja. Projektovanje objekat. Savremena arhitektura se fasadnog omotača u odnosu na sve više okreće tretmanu fasadnnog karakteristike svjetlosti (prirodne i omotača kao nezavisnog elementa, vještačke) kreće se od odgovora na pridodajući mu višeslojnost u prirodne elemente konteksta, preko značenju i funkcijama. Fasada više tretmana svjetlosti kao materije, ne predstavlja "granicu" koja zatvara uloge svjetlosti u konstruisanju i neki volumen, već predstavlja sponu transformisanju arhitekture, uloge između prirode, okruženja, objekta svjetlosti u privlačenju pažnje, do i unutrašnjeg volumena. Brojnost komunikativne i interaktivne uloge i višeslojnost funkcija koje fasada svjetlosti u media gradovima. Nasuprot preuzima, tehnička svojstva koja brojnim primjerima mega skulptura, uključuje, dodatno usložnjavanje primjeri fetišizirane apstrakcije, značenja i tumačenja isprepletani sa raskidanja sa kontinuitetom mjesta, ovim procesima, zahtijevaju da se pravilan tretman fasadnog omotača kritički sagledaju fizičke, funkcionalne može doprinijeti da se prostor i simboličke granice fasade, i otvora doživljava kroz sva čula, akcentujući uopšte. "Nove tehnologije, materijali emotivni karakter objekta i sklad i njihove mogućnosti u korišćenju između fasadnog omotača i doživljaja dale su arhitekturi ohrabrujući izgrađenog prostora, posredstvom motiv, jer bi idejni programi mogli svjetlosti. osigurati njihovu egzistenciju u Tehnološke uslovljenosti budućnosti" [Ugljen Ademović, tradiconalne arhitekture, skup 2012]. Uz tehnološka rješenja se često prirodnih karakteristika jednog mjesta nameće i pojam "održiv", aludirajući (morfologija, klima i sl.) mogu poslužiti na arhitekturu koja uvažava svoje kao ideja u oblikovanju i odgovor ka prirodno okruženje, a tehnološka energetski racionalnom građenju. rješenja služe da doprinesu očuvanju Upotrebom svjetlosti (prirodne i prirodnih vrijednosti i resursa, čuvajući vještačke), igra masa zatvorenih, identitet i obezbjeđujući komfor polu otvorenih i otvorenih prostora svojom – tektonikom, proporcijama u unutrašnjosti volumena, ohrabriće i harmonijom. Posmatrajući omotač rad sa složenim elementima, koji objekta kao element interakcije podstiču i savremeno interpretiranje enterijera objekta sa okruženjem, "kako tradicionalnih elemenata na sa tehničkog, tako i u semantičkom pojedinačnim objektima, čvrsto smislu, kao svojevrsnu anvelopu koja uklopljenih u urbanu matricu, sa u savremenoj arhitekturi predstavlja jakim akcentom na kulturni identitet. kompleksni sistem koji slojevito Era tehnologije i primjene novih definiše i artikuliše navedene teme" materijala vrlo često radikalno raskida [Ugljen Ademović, 2012]. sa tradicijom, mjestom i identitetom. 36 Historical urban context – interpolation as a type of urban renewal in Podgorica AR 2017.1
The town was developing from the intertwined with these processes, other side of Morača River (New require critical view of physical, town), transcending from classicist functional and symbolic border of town (from the end of 19th century to the façade, and aperture in general. 1958) into a functionalist town with "New technologies, materials and clear features the then urbanization their possibilities in use provided trend. In this sense, New town caused encouraging motive to architecture, as the conflict between the need for conceptual programmes may ensure preservation of historical heritage of their existence in future" [Ugljen the town, while the New town strived Ademović, 2012]. to become modernist counterpoint to old town traditionalism. Today, the Term "sustainable" is frequently New town, built by very heterogeneous imposed along with technological architecture and disparity contents, has solutions, by hinting the architecture been characterized by contradiction and which appreciates its natural tension. Architecture in this sense is the environment, while technological reflection and presentation of reality. solutions serve to contribute to the preservation of natural values and Exactly this attitude towards the resources, by preserving identity and heritage makes such mostly preserved ensuring the comfort by its tectonics, ambience unit additionally important proportions and harmony. in the context of observation of tendencies in further development Observing the sheath of the building of its street array, and thus the whole as the element of building interior town image. Bokeška Street is an with the environment "both in important architectural and artistic technical and semantic terms, as segment of Mirko’s (New) town, one-of-a-kind envelope which, in built according to town project of contemporary architecture, represents Russian engineer Vladimir Ivanovič a complex system which defines and Vorman. New town creation brings articulates the mentioned topics in the contours of neoclassicism of the layers" [Ugljen Ademović, 2012]. The 19th century, along with artistic image work provides an overview of the role of secessionism and eclecticism of of light (both daily and artificial) in buildings between two wars. These façade treatment on the examples of buildings in partially altered shape are contemporary interpolations. The use actually concentrated in Bokeška Street, of classical elements has been analysed and as such, they have acquired certain and transposition of traditional or level of historicity and ambience, natural language has been indicated, as therefore, today we accept them as universal bioclimatic response to the authentic elements of the urban fabric. conditions of locality, by transforming their formal possibilities using new 4. Design of façade sheath as technological achievements. It has interpolation element been shown that such architecture may be interpoled and returned to the place The root of the word "façade" is and related to the events in space and related to Latin word facies (face). it may contribute to the change of face Façade represents the face of the and ecological image of our towns, in building and the component by general. The envelope of the building, which the building is most directly by development of contemporary identified. Contemporary architecture technological solutions, has been is increasingly oriented towards treated as independent element with the treatment of façade sheath as regard to the building structure, so its independent element, by adding multi- role is of paramount importance in layer element into the meaning and contemporary interpolations. Design functions. of façade sheath with regard to the Façade does not represent the "border" characteristics of light (natural and anymore, which closes certain volume, artificial) ranges from the response but it represents the tie between the to natural elements of the context, nature, environment, building and via treatment of light as substance, interior volume. The number and multi- the role of light in constructing and layer element of functions undertaken transforming architecture, the role by the façade, technical characteristics of light in attracting attention, to the it encompasses, additional complex communicative and interactive role of meanings and interpretations light in media towns. 37 AR 2017.1 Ema Alihidžić Jašarović, Sanja Paunović Žarič, doc. dr. Veljko Radulović
Arhitektura je radikalno Prema Bernardu Tschumiju, da bi transformisala svoje formalne se realizovao harmoničan i estetski mogućnosti, tehnološkim napretkom prikladan objekat u istorijskom i dizajnom novih programa koji ambijentu, neophodno je istražiti odnos omogućavaju kalkulacije složenih između: koncepta, konteksta i sadržaja struktura i oblika. Sredinom 90- [Tschumi, 2005]. Ovaj odnos se može tih godina novi načini digitalne kretati od ravnodušnosti, reciprociteta obrade slika i simulacije objekata do potpunog sukoba, pa se sugeriše uticali su i na način izražavanja arhitektama da više usmjeravaju svoju u arhitekturi, koji transformiše aktivnost ka istraživanju i materijalizaciji arhitektonsku sliku u događaj. Kao koncepta, nego ka oblikovanju. takva, arhitektura počinje da raskida sa duhom mjesta, a slojevitost i Slojevitost i kompleksnost istorijskog kompleksnost istorijskog konteksta urbanog konteksta treba da bude biva zanemarena. Tehnologija jedan od ključnih faktora koji se uzima nastoji da standardizuje arhitekturu, u razmatranje prilikom savremenih učini je uniformnom, što rezultira interpolacija u prostoru. Parametri globalizacijom arhitektonske misli. kvaliteta i zakonitosti interpolacije koji U skladu sa tim, prirodi savremene utiču na urbanu formu i tipologiju arhitekture nije svojstveno da se nasljeđa kao i pouke za savremeno prilagođava istorijskom urbanom projektovanje razmatraju se kroz kontektsu, pa su kao takvi novi [Idrizbegović-Zgonić, 2009]: objekti/strukture često u oprečnom 5.1. Valorizaciju postojećeg, na sve odnosu sa kontekstom, ignorišu ga i načine i to: konfrontiraju mu se. - objektivnu valorizaciju – ona koju Sudar između staroga i novoga, je naše vrijeme izreklo ili naznačilo tradicionalnih materijala i kao svoj odnos prema naslijeđenom savremenih tehnoloških rješenja prostornom oblikovanju nekog dovodi do "hibridizacije" istorijskog ambijenta ili cjeline. Objekat/struktura urbanog konteksta, pa je na mora imati racionalan odnos prema primjeru dogradnje Janus muzeja prirodnim, klimatskim i morfološkim (Slike 10-13), napetost koja nastaje uslovima (što se odražava i na u pokušaju da se premosti raspon energetsku efikasnost i racionalnost), stoljeća, postignuta povlačenjem te stvarati funkcionalno racionalan i nove strukture u odnosu na ulični upotrebljiv prostor, aktivirati okolni niz, postavljanjem novog objekta prostor kao sastavnog dijela objekta. u indiferentan položaj u odnosu na - zatečene strukture. Na taj način autor subjektivnu valorizaciju – ona je svoju likovnost i estetiku uspio da valorizuje valorizovano i utvrđuje usaglasi sa istorijskim kontekstom i autorov lični afinitet prema ublaži morfološki raspon, koji se nije određenom ambijentu. mogao potpuno izbjeći. 5.2. Identifikovanje sa prostorom - pokušaj autora da pronikne u srž 5. Principi i uloga savremenih prostornih odnosa u ambijentu. interpolacija u istorijskom Objekat/struktura vizuelno estetski urbanom kontekstu na primjeru moraju stvarati kvalitetne odnose Bokeške ulice sa okolinom u mjerilu, proporciji, "Gradotvornosti jednakovremeno volumenima, materijalima stvarajući doprinosi proces interpolacije ili kontinuitet, akcentirati postojeće ugradbe urbanih događaja kao pozitivne karakteristike prostora. i uobičajeno definirana fizička Neposredni kontakt istorijskog arhitektonska interpolacija - radi se o konteksta i novoprojektovanog simultanim i paralelnim strategijama objekta vrlo često se rješava kroz: ustroja urbaniteta" [Mrduljaš, 2011]. usaglašavanje ritma otvora na fasadi, Interpolacija se javlja kao najjaktivniji materijala, masa, volumena, rastera, vid urbane obnove, a izvedena je od stilsko usaglašavanje, transponovanje francuske riječi interpoler, što bi i sl. značilo umetanje – unošenje novog 5.3. Vlastitost izražavanja objekta u već postojeće istorijsko - način izražavanja ili jezik oblika mora urbano tkivo, koje potom postaje biti u skladu sa vremenom u kome "estetski furnir" novih izgrađenih se gradi, jer je arhitektura odraz svog struktura. vremena. 38 Historical urban context – interpolation as a type of urban renewal in Podgorica AR 2017.1
Unlike numerous examples of so in the example of Janus museum mega sculptures, the examples (Images 10-13), the tension occurring of fetish abstraction, breaking in the attempt to bridge the span of ties with continuity of the place, the century has been achieved by correct treatment of façade sheath withdrawing new structure against the may contribute that the space be street array, by setting a new building experienced through all senses, into an indifferent position against the emphasizing emotional character of found structures. Thus the author the building and harmony between managed to harmonize his art and façade sheath and impression of aesthetics with historical context and built space, by the means of light. mitigate morphological range, which could not be fully avoided. Technological dependencies of traditional architecture, the set of 5. Principles and role of natural characteristics of a place contemporary interpolations in (morphology, climate, etc.) may historical urban context serve as an idea in shaping and response towards energy efficient "Interpolation process or the process construction. The use of light (natural of integration of urban events, as well as and artificial), the play of masses of regularly defined physical architectural closed, half-open and open spaces interpolation – simultaneous and in interior of volume will encourage parallel strategies of urbanism system, the work with complex elements, simultaneously contribute to the which also encourage contemporary construction of a town" [Mrduljaš, interpretation of traditional elements 2011]. Interpolation appears as the on individual buildings, firmly most active type of urban recovery, integrated in urban matrix, with and it has been made from French strong accent to cultural identity. word: interpoler, which means: to embed – insert a new building into The era of technology and application the already existing historical urban of new materials very frequently unit, which then becomes “aesthetic radically breaks ties with tradition, veneer” of newly built structures. place and identity. Architecture has According to Bernard Tschumi, in radically transformed its formal order to achieve harmonious and possibilities by technological progress aesthetically appropriate building in and design of new programmes historical surrounding, it is necessary which enable the calculations of to explore the relationship among: complex structures and forms. In concept, context and content the mid-nineties, new ways of digital [Tschumi, 2005]. This relationship production of images and simulation may move from indifference, of objects influenced also the manner reciprocity to absolute conflict, so it is of expression in architecture, which suggested to architects to direct their transforms architectural image into activity more towards research and event. As such, architecture has materialization of concept, rather than started to break ties with the spirit towards the shaping. Stratification of place, while stratification and and complexity of historical urban complexity of historical context context should be one of key factors have become neglected. Technology taken into consideration during tends to standardize architecture, contemporary interpolations in space. make it uniform, which results Quality parameters and legitimacy of in globalization of architectural interpolation which influence urban thought. Accordingly, the nature form and typology of heritage, as of contemporary architecture is well as the lessons for contemporary not characterized by adapting to design have been considered through historical urban context, so such new the following [Idrizbegović-Zgonić, buildings/structures are frequently 2009]: in opposite relationship with context, ignoring and confronting it. 5.1. Valorization of the existing, in all manners: The collision between the old - and the new, traditional materials objective valorization the one and contemporary technological proclaimed or denoted by our time solutions, leads to "hybridization" as its relationship towards inherited of historical urban context, spatial shaping of certain ambience or unit. 39 AR 2017.1 Ema Alihidžić Jašarović, Sanja Paunović Žarič, doc. dr. Veljko Radulović
Mora predstavljati generator inovativnosti i pozitivnih univerzalnih karakteristika arhitekture. Interpolirani objekat/struktura mora poštovati metafizičke aspekte Slika 4: Izraz uvažavanja postojećeg istorijskog konteksta (memorije mjesta, ambijent konteksta uz minimalne savremene intervencije ...) i koristiti se fenomenologijom Aneksandra Novićević – stambena jedinica u prilikom projektovanja prostora. Bokeškoj ulici. Figure 4: The role of contemporary interpolations U istorijskom urbanom kontekstu in historical context, A. Novićević, residential unit moguće je djelovati kroz in Bokeška Street in Podgorica. [Idrizbegović-Zgonić, 2009]: Metodu imitacije – predstavlja oponašanje postojećeg ambijenta ponavljanjem one arhitekture koja je na određenom mjestu stajala i doprinosila cjelovitosti ambijenta, ili postupak kojim novi objekat unosimo u već postojeću istorijsku cjelinu i oblikujemo ga identično susjednom, istorijskom objektu. Ova metoda se graniči sa principom konzervativne restauracije kulturnih dobara. Na Slikama 3 i 4 pokazano je da je kohabitacija istorijskog urbanog kontektsa, rekonstruisanog objekta i novih otvora uokvirenih u metalni ram koji funkcioniše kao ispust na fasadi i kontroliše upad dnevnog osvjetljaja, uspjela da ojača strukturnu snagu kompleksa i ponudi novi, izuzetno snažan urbani ambijent. Slika 5: Metodom ignorisanja postojećeg novim teži se uspostavljanja ravnopravnijeg odnosa kada Komplementarni dijalog sa arhitekta smatra da je potrebno naglasiti neki postojećim – dijalog se može postići element / Andrea Pajković – poslovni inkubator u pomoću dva naizgled suprotna stava: Bokeškoj ulici. isticanje ili ignorisanje. Metodom Figure 5: Methods of complementary contrast in isticanja – naglašavanja teži se design within the context historical urban pattern, uspostavljanjem ravnopravnog A. Pajković, Bussines Centre in Bokeška Street in Podgorica. odnosa naglasiti neki element vlastite arhitekture kako bi se uspostavio ravnopravniji odnos zatečenog i novoprojektovanog. Može se smatrati i prilagođavanjem novog objekta sa zatečenim istorijskim urbanim kontektsom. Na Slici 5 i Slici 6 prikazana su oba principa komplementarnog dijaloga sa postojećim, na dvije različite fasade istog objekta. „Suvremena arhitektura se treba izvoditi kroz odnose volumena, mjerila, ritma i morfološkog izgleda i da bude prikladna u povijesnim cjelinama, jer je svaka arhitektura naposljetku odraz svog vremena“ [Uskoković, 2014]. Komplementarni kontrast – ima zadatak da nadjača izraz postojećih struktra, kreiranjem osjećaja "napetosti" između volumena.
40 Historical urban context – interpolation as a type of urban renewal in Podgorica AR 2017.1
- Building/structure has to have restoration of cultural heritage. rational relationship towards Images 3 and 4 present that natural, climate and morphological cohabitation of historical urban conditions (which is reflected context, reconstructed building and also on energy efficiency and new apertures framed into a metal rationality), create functionally frame functioning as the outlet on the rational and useful space and façade and controlling the inflow of activate surrounding space as daily light, has managed to strengthen integral part of the building. structural strength of the block and offer a new, exceptionally strong - subjective valorization – it urban ambience. estimates the value of the valued and defines author’s personal Complementary dialogue with the affinity towards certain ambience. existing one – dialogue may be achieved by two apparently different 5.2. Identification with space attitudes: accentuating or neglecting. - attempt of an author to reach the By establishing equal relationship, core of spatial relationships in accentuating – emphasizing method the ambience. Building/structure tends to emphasize certain element of visually and aesthetically has own architecture in order to establish to create quality relationships equal relation between the found with environment in measures, and newly designed. It can be also proportion, volumes and materials regarded as the adaptation of the new by creating continuity, emphasizing building to the found urban context. the existing characteristics of Images 5 and 6 display both principles the space. Immediate contact of complementary dialogue with the of historical context and existing one, on two different façades newly designed building has of the same building. "Contemporary been frequently solved via: architecture should be carried out harmonization of rhythm of through the relationships of volume, façade apertures, materials, masses, measures, rhythm and morphological volumes, structural grids, style outlook and be suitable in historical harmonization, transposition and units, as each architecture is finally the like. the reflection of its time" [Uskoković, 5.3. Ownership of expression 2014]. - manner of expression or the Complementary contrast – is assigned language of shapes has to be in to overpower the expression of line with the time of building, as the existing structures, by creating architecture is the reflection of its the feeling of "tension" among time. It has to represent generator of volumes. The contrast is treated as innovativeness and positive universal aspiration for the opposite, non- characteristics of architecture. harmonious. As this as the most Interpolated building/structure delicate method which is frequently has to comply with metaphysical on the edge of decreasing the value aspects of the context (memories of the context, affirming entirely new of a place, ambience …) and use creative ideas which are frequently phenomenology during the design the demonstration of power and of a space. technological achievements, it was not frequently applied and it did not In historical urban context it is Slika 6: Metodom isticanja teži se provide results which can be regarded uspostavljanju ravnopravnog odnos postojećeg possible to act through the following as successful. It is favourite method [Idrizbegović-Zgonić, 2009]: i novoprojektovanog objekta / Marija Ćaćić – of the so-called "star" architects. stambeni objekat u Bokeškoj ulici. Imitation method – represents Dialectical provocation – represents Figure 6: Methods of contrast used as balancing imitation of the existing ambience a highly innovated concept, which element between new and existing architecture, by repeating the architecture which "provokes" on several levels – from M. Ćaćić, Bokeška Street in Podgorica. was present at certain place and visual, functional, programme which contributed to the entirety of is able to retain provocation blade, ambience, or a procedure by which social critique during the long period we insert a new building into the of time, etc. It moves the limits existing historical unit and shape it of our perception, feelings and identically with the neighbouring contemplations related to the space, historical building. This method so it may be turned into permanent adjoins the principle of conservative values. 41 AR 2017.1 Ema Alihidžić Jašarović, Sanja Paunović Žarič, doc. dr. Veljko Radulović
Kontrast se tretira kao težnja za Kao što je rečeno na početku, jedna suprotnim, neharmoničnim. Kako ideja je da se fenomen tradicije prihvata se radi o najdelikatnijoj metodi koja kao nepromjenljiva datost, a sadržaj je često na granici da devalorizuje koji nastaje metodom repliciranja, kontekst, afirmiše potpuno nove citiranja i prepisivanja se jedini kreativne ideje koje su često i prihvata i cijeni kao uspješan. Obično demonstracija moći i tehnoloških tragajući za vanvremenskim rješenjima, dostignuća, nije se često primjenjivala, posežemo za prošlošću, tražeći rješenja niti dala rezultate za koje bi se moglo u "oprobanim" istorijskim slikama. reći da su uspješni. Omiljen je kod Ovakav pristup reflektuje teret prošlosti arhitekata zvijezda ("star" arhitekti). i veoma lako može da dovede do dvojake nepovoljnosti: "ili se prošlost i tradicija Nevena Mijušković - stambena tretiraju kao statični fenomeni lišeni jedinica u Bokeškoj ulici razvojnosti i zamrznuti u određenom Dijalektičku provokaciju – trenutku, ili se formira proizvoljno predstavlja visoko inovativan tumačenje nasljeđa prepušteno krajnje koncept, koji "provocira" na više subjektivnom stavu autora koji često nivoa - od vizuelnog, funkcionalnog, svodi na nerazumijevanje" [Petrović, programskog koji ima sposobnost da Rašković, 2011]. zadrži oštricu provokacije, društvene kritike u toku dugog vremenskog Sa druge strane, ideja je da potpuno perioda itd. Pomjera granice našeg novi prostorni sadržaji i vizuelni percipiranja, osjećanja i razmišljanja oblici, uspostavljeni prvi put u o prostoru, pa se može pretvoriti u jednom vizuelnom okruženju, treba trajne vrijednosti. da izražavaju vrijednosti u vremenu u kome nastaju, kao i da budu njihov trag budućnosti. Raznorodnost izgrađenih 6. Zaključak sklopova koji čine cjelinu, ilustruju Postavlja se pitanje konačnog stava situaciju koju Benington opisuje kada je riječ o intervencijama u kao „paradoks budućnosti prošlog” Bokeškoj ulici. Da li postoji uspješan po kome se pravila stvaranja cjeline model koji garantuje kvalitetan uspostavljaju tokom njenog nastajanja, Slika 7: Dijalekička provokacija – izraziti kontrast kompromis? tako da djelo ima karakter događaja. nove membrane i svijetleće forme sa kubičnim strukturama. Funkcioniše kao spona između prošlosti i budućnosti.. "Koža" objekta predstavlja i njegov nervni centar sa svjetlosnim efektma koje pokazuju jedinstvene arhitektonske karakteristike / Ena Mihailović – Poslovni incubator u Bokeškoj ulici. Figure 7: Architecture as a dialectic provocation; diametrical contrast between historical structured street and the new façade uses flat membrane, lights and clear cubic forms. This missing link ties past and future. The skin of the new building introduces new dialogue in the architecture of the street, E. Mihalović, Bussines Centre in Bokeška Street in Podgorica.
42 Historical urban context – interpolation as a type of urban renewal in Podgorica AR 2017.1
6. Conclusion breached. There is no metaphoric end, only uneasiness and misbalance There is a question of final of expectations. It denies everything viewpoint regarding interventions – typologies, morphologies, spatial in Bokeška Street. Is there any compressions, logical constructions" successful model which guarantees [Tschumi, 2005]. a quality compromise? As stated at the beginning, the only idea is that Therefore, this paper points to the tradition phenomenon be accepted stratification and complexity of as unchangeable situation, while historical urban context that should the content made by the method of be one of key factors taken into replication, citation and transcription consideration during contemporary is the only one considered as interpolations in space. successful. Usually in pursuit for timeless solutions, we turn to past, Because of that, interpolation as the seeking for the solutions in "tested" most sensitive design task, and to historical images. Such approach that end, creation in the spirit of the reflects the burden of the past, time is less important than existence and it may rather easily lead to dual of the character of ambience adversity: "either the past and tradition (genius loci). By advocating for are treated as static phenomena a very complex context analysis, deprived of development and frozen not supporting either arbitrary in certain moment, or provisional eclecticism or a neglecting – non- interpretation of heritage is created, contextual approach, which does not indulged to utterly subjective attitude address the environment in which it of the author, which frequently leads emerges. to misunderstanding" [Petrović, Derrida writes: "Heritage is not Rašković, 2011]. something provided as a whole. On the other hand, the idea is that It is something that requires completely new spatial and visual interpretations, selections, reactions, forms, established for the first time in response and responsibility. When a visual environment, should express as a successor, you undertake the values in time they occur, as well as responsibility, you are not simply be their trace of future. Diversity of subordinated to heritage, and you built contents which make the whole are not invited to simply maintain or illustrates the situation described by preserve such heritage intact. You Benington as the "paradox of the have to force it live and survive, and future of the past" by which the rules this is the process – selective and of creating a unit are established interpretive process" [Padgaonkar, during its creation, so that the work 1997]. has a character of event. Bernard The acceptance of such concept Slika 8: Potpuno ignorisanje istorijskog urbanog Tschumi in his text Architecture and requests the appreciation of mutual kontektsa. Dizajn je prkosno utisnut sa svojim Transgression says the following: relations through their differences, for prepoznatljivim stilom, kompjuterski generisan "Architecture of pleasure is found what it is necessary to establish new … dopunjen u kontrastu sa susjednim objektima jer radikalno "lomi" klasičnu simetriju na koju where concept and experience of way of thinking, suitable to today’s "naslanja" svoju estetiku / Nevena Mijušković space abruptly coincide, where cultural moment. We find codes in - stambena jedinica u Bokeškoj ulici. architectural fragments collide spatial experience, which represent Figure 8: Ignoring as suspension method and merge into ecstasy, where nothing else by spatialization of time, promote computer generated architecture architectural culture is endlessly which are exactly the old historical language with detached relationship with deconstructed, and all the rules are town centres. surrounding buildings, N. Mijušković, Residential unit in Bokeška Street in Podgorica.
43 AR 2017.1 Ljubljana
Bernard Tschumi u svom tekstu Arhitektura i transgresija piše: "Arhitektura užitka počiva tamo gdje naglo koincidiraju koncept i iskustvo prostora, gdje se arhitektonski fragmenti sudaraju i stapaju u ushitu, gdje je arhitektonska kultura beskonačno dekonstruirana, a sva su pravila prekršena. Nema metaforičnog kraja, samo nelagoda i neuravnoteženost očekivanja. Poništava sve – tipologije, morfologije, prostorne kompresije, logičke konstrukcije" [Tschumi, 2005]. Derida piše: "Nasljeđe nije nešto što je dato u celini. To je nešto što zahtijeva tumačenja, odabire, reakcije, odgovor i odgovornost. Kada kao naslednik preuzimate odgovornost, vi niste jednostavno potčinjeni nasljedstvu, niste pozvani da prosto održavate ili čuvate ovo nasljeđe netaknutim. Morate ga natjerati da živi i preživi, a to je proces - selektivan i interpretativan proces" [Padgaonkar, 1997]. Stoga, ovo istraživanje ukazuje na slojevitost i kompleksnost istorijskog urbanog konteksta koji treba da bude jedan od ključnih faktora koji se uzima u razmatranje prilikom savremenih interpolacija u prostoru. Interpolacija je tog razloga najjosjetljiviji projektantski zadatak, i da u tom smislu stvaranje u duhu vremena proizilazi iz veoma kompleksne analize konteksta, ne podržavajući proizvoljan eklekticizam, niti ignorantski – akontekstualni pristup koji ne tretira ambijent u kome nastaje. Prihvatanje takvog koncepta traži uvažavanje međusobnih odnosa kroz njihove razlike, za šta je potrebno uspostaviti i novi način mišljenja, koji odgovara današnjem kulturološkom trenutku. Kodove nalazimo u prostornom iskustvu koji predstavljaju ništa drugo nego spacijalizaciju vremena, što upravo i jesu stari istorijski gradski centri.
44 Historical urban context – interpolation as a type of urban renewal in Podgorica AR 2017.1
4. Idrizbegović-Zgonić, A. (2009): Challenge of set frames. University of Trieste, Trieste
5. Kolacio, Z. (1978): Vizije i ostvarenja. Zagreb.
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7. Mrduljaš, M. (2008): Singularni objekti – athitektura i filozofija. Birotisak doo, Zagreb.
8. Mumford, L. (1961): The City in History. Harcourt, Brace & World, New York.
9. Norberg-Schultz, C. (1980): Genius Loci: Toward a Phenomenology in Architecture. Rizzoli, New York.
10. Padgaonkar,N. (1997): An Interview with Jacques Derrida. Web Archive.
11. Petrović, B., Rašković, I. (2011): Tradicija – tranzicija, upotreba nasleđa u arhitekturi. Cicero, Beograd.
12. Radovic, R. (2009): Forma grada. Osnove, teorija i praksa. Građevinska knjiga, Beograd.
13. Relph, E. (2008): Place and Placelessnes, Key Texts in Human Geography. Sage, London.
14. Rogić, I. (1991): Periferijski puls u srcu od grada. Zamke revitalizacije. Sociološko društvo Hrvatske, Zagreb.
15. Schumacher, T. (1971): Kontekstualizam: Urbanistički ideali i transformacije. Antologija arhitekture XX vijeka. Građevinska knjiga, Beograd.
16. Shulz, C. (1980): Genius loci towards phenomenology architecture. College of Art library, Edinburg.
Bibliography 17. Švob – Đokić, N., Primorac, J., Jurlin, K. (2008): Kultura zaborava. Hrvatsko sociološko društvo, Zagreb. 1. Bauman, Z. (1996): From pilgrim to tourist - or a short history of identity. 18. Tschumi, B. (2005): Event - Cities 3 New York University, New York. (Concept vs. Context vs. Content). MIT Press, Boston. 2. Brolin, B. (1985): Arhitektura u kontekstu. Gradjevinska knjiga, 19. Ugljen Ademović, N. (2012): Kritika – Beograd. stimulans arhitektonskoj ideji. Dobra knjiga, Sarajevo. 3. Derrida, J. (1992): Générations d’une ville: mémoire, prophétie, 20. Uskoković, S. (2014): Suvremena responsabilité . Éditions de l’Aube, arhitektura u povijesnom ambijentu. Paris. Antibarbarus, Zagreb. 45 AR 2017.1 Ljubljana
tri prOstOrnA AkcentA u pOdGOrici three ArchitecturAl lAndMArks OF pOdGOricA
Ključne reči Key words Podgorica, prostorni akcenti, Sahat kula, Podgorica, landmarks, Clock Tower, spomenik vojvodi Mirku Petroviću, Duke Mirko Petrovic Memorial, most Milenijum. Millennium Bridge.
Sažetak Abstract Rad se bavi analizom tri, karakteristična, This work deals with three distinctive prostorna akcenta u urbanom tkivu landmarks in urban core of Podgorica. Podgorice. Radi se o Sahat kuli (1667) They are: Clock Tower (Sahat Kula, koja se nalazi u dijelu grada poznatom 1667), situated in old town of Podgorica kao Stara varoš, spomen obelježju (1886), (Stara Varoš); Memorial (1886) dedicated posvećenom vojvodi Mirku Petroviću u to Duke Mirko Petrović in new part of novom dijelu Podgorice, poznatom kao Podgorica, also known as Mirko's town; and Mirkova varoš i mostu Milenijum (2005) Millennium Bridge (2005) on Moraca. The na rijeci Morači. Razlog percipiranja ove reason for perceiving this issue is the fact problematike jeste činjenica da Podgorica, that Podgorica, in its urban development, u svom urbanom razvoju, nije imala veći didn't have many facilities representing broj građenih, prostornih akcenata koji bi landmarks, which could be significant parts činili značajne elemente urbane slike. Na of greater urban picture. Having in mind
UKD 711.16(497.16) osnovu godina njihove izgradnje , jasno je a period of construction of these sites, it COBISS 1.01 da se radi o značajnoj vremenskoj distanci is clear that a significant temporal distance Prejeto 27.3.2017 u nastajanju navedena tri objekta. Ova in building of these objects is to be dealt činjenica predstavlja dodatnu mogućnost with. This fact represents an additional sagledavanja urbanog razvoja Podgorice. possibility of reviewing Podgorica's urban Po svojoj tipologiji i namjeni Sahat kula i development. According to their typology spomenik vojvodi Mirku Petroviću građeni and purpose, both Clock Tower and su sa namjerom da postanu dominatni Memorial are built in order to be dominant prostorni i simbolički znaci. Most landmarks and symbolic signs. Millennium Milenijum, sobzirom na funkciju, takvu Bridge, considering its function, didn't poziciju nije nosio kao primarni cilj. Svojom have such purpose primarily. However, arhitekturom i dinamičkim osobinama, za it gained such reputation and position kratko vrijeme, on se izborio za poziciju with its architecture and dynamic dominantnog prostornog akcenta u features. Clock Tower, before Millennium Podgorici . Sahat kula je, do izgradnje mosta bridge has been built, represented main Milenijum, predstavljala glavni prostorni landmark of Podgorica. Duke Mirko akcent Podgorice. Spomenik vojvodi Petrovic ‘s Memorial couldn't have such Mirku Petroviću nije mogao ostvariti svoju function, in the first place, because of funkciju, prvenstveno, iz razloga njegovog its short existence (1886-1918). Also, its kratkog trajanja (1886-1918). Takođe objective of a landmark has never been dr. Rifat Alihodžić, vanredni profesor njegova pozicija prostornog akcenta nije accomplished partially because of citizens’ Univerzitet Crne Gore, Arhitektonski fakultet, Podgorica zaživjela i zbog različitog stava žitelja prema divided opinions about this memorial, for [email protected] ovom spomeniku, iz političkih razloga. political reasons. 46 Three architectural landmarks of Podgorica AR 2017.1
1. Značaj prostornih akcenata u je utvrđenje zidano materujalom sa 1. The importance of architectural urbanom kontekstu rimske Duklje (Doclea) koja se nalazi landmarks in urban context uzvodno, na ušću Zete u Moraču, što Prostorni akcenti predstavljaju je dokazano analizom fragmenata u Architectural landmarks present karakteristična obelježja u prostoru. zidovima. Prema drugim podacima distinctive points in space. Facilities, Čine ih različiti objekti koji se, , godina 1474 se uzima za pad representing landmarks, can be uspješno, izdvajaju od mnoštva dotadašnjeg naselja Ribnica i ona od created for various purposes, but they drugih u izgrađenoj cjelini. Mogu tada dobija naziv Podgorica [Brajović, are striking out of surrounding. They nastati ciljano kao što su muzej 2007]. Utvrđena varoš je imala can be created to reach that particular Guggenheim u Bilbau (F.Gehry) sve odlike orijentalnog, urbanog, objective, like Guggenheim museum ili opera u Sidneju (I.Udson) ili se karaktera . Na utvrđenimo zidovima in Bilbao (F. Gehry) or Sydney Opera spontano izboriti za takvu poziciju su se nalazila četiri ulaza: Zetski, House (I. Udson), or they can establish kao što je slučaj sa krivim tornjem u Kučki, Malisorski i Osmanagića kroz such reputation spontaneously, like Pzi ili Ajfelovomm kulom u Parizu koju su vodili glavni putevi u grad. Leaning Tower in Pisa, or Eiffel (Gustave Eiffel). Njihovo izdvajanje Ispred ulaza Zetskog puta u utvrđeni Tower in Paris (Gustave Eiffel). Their može biti proizvedeno nizom grad sazidana je Sahat kula oko koje impressiveness can be achieved by a različitih faktora. Vizuelno izdvojeni, se nalazila tržnica koja je, samim tim, sequence of various factors. Visually nameću se posmatraču i zbog poprimila i ulogu mjesta susreta. eye-catching, imposing to a beholder, svojih karakteristika lako se pamte, they are easily recognized and postajući ishodišne tačke i orijentiri. 2.2. Drugi period urbanog razvoja remembered because of their features, Sa tako obezbijeđenom pozicijom, Podgorice počinje nakon nekoliko so they also have a purpose of starting postaju bitni elementi prostornog godina pošto je, 1879 godine, points and markers. Having such identiteta i urbane strukture na koje crnogorska vojska ušla u tadašnju position, they become important parts se ljudi oslanjaju u shvatanju suštine Podgoricu [Ivanović, 1974]. Po of spatial identity and urban structure urbanog prostora [Lynch, 1972]. naređenju Knjaza 1885 godine, na that people lean upon in order to Prostorni akcenti igraju ulogu nosioca desnoj strani rijeke Ribnice u polju comprehend the core of urban space informacije koja potvrđuje "pravo "Livade" sa Urbanističkog plana, na [Lynch, 1972]. Landmarks often mjesto" i cilj kojom se kristalizuje teren, preneseni su glavni elementi have a role of carrying information prostorna situacija [Cullen, 1971]. novog dijela grada nazvanog Mirkova to confirm "right place" and the Veoma često prostorni akcenti, pored Varoš. Centralni dio Mirkove varoši purpose of crystallizing spatial svoje pozicije i vizuelnih osobenosti bio je prostor današnjeg Trga situation [Cullen, 1971]. Very often, nose elemente vezane za istorijske republike. On je prema urbanističkom landmarks, beside their position and događaje. U tom slučaju takvi objekti planu projektovan kao trg koji je visual qualities, have some elements dobijaju i karakter javnog simbola, što ujedno korišten i kao pijaca jer su se of historical events incorporated. dopunjuje njihov značaj [Schulc, 1963]. nalazili "sa istočne strane betonski In that case, such objects are also Prenoseći određenu informaciju stolovi". U samom njegovom središtu characterized as public symbols, in posmatraču , kroz svoja simbolička i se nalazio spomenik vojvodi Mirku addition to their importance [Schulc, direktna značenja, prostorni akcenti Petroviću koji je izgrađen 1886 godine 1963]. Carrying certain information to profilišu arhitektur kao svojevrstan [Ivanović, 1974 ]. Urbanistički plan je the observer, through their symbolic jezik komunikacije [Joedicke, 2009] . izradio inženjer Vorman,na površini and direct meanings, landmarks 60 ha [Mijović, 1964]. Osnovnu profile architecture as a sort of 2. Kratki istorijat urbanog razvoja koncepciju Vormanovog plana communication system, such as Podgorice činio je središnji trg-pijaca površine language [Joedicke, 2009]. Sa aspekta shvatanja prostornog i 1ha, dok je ostali prostor uslovljen društvenog konteksta, koji su uticali unakrsnim rasporedom pet paralelnih 2. Short history of urban na izgradnju pomenuta tri prostorna ulica sjever-jug i sedam u pravcu istok- development of Podgorica akcenta, neophodno je dati uvid u zapad [Ivanović, 1974]. Vezu između From the point of view of spatial and kratki istorijat razvoja urbane matrice Stare i Nove varoši, preko Ribnice, social context, that affected building Podgorice. Ovim prikazom se pravi činila su dva mosta iz osmanskog of three aforementioned landmarks, jasniji uvid uzročno-posledičnih veza perioda (jedan na ušću Ribnice u it is necessary to give a short review koji su produkovali objekte, predmete Moraču i drugi Tabački). Za vrijeme of development of urban matrix ovog rada. Kneginje Milene podignut je novi of Podgorica. This overview helps 2.1. Prvi predstavlja period vladavine kameni most koji predstavljao glavnu in making a clearer insight of cause Otomanske imperije. Zauzimanje vezu između dvije varoši [Raičević, and effect relations, which produced Podgorice se desilo 1445 godine 1971]. facilities, main subjects of this work. i osnivanje naselja, na današnjem Do drugog svjetskog rata Podgorica 2.1. The first one is a period of mjestu Stare varoši 1466 godine na se razvijala i živjela u logično sraslom Ottoman Empire reign. Podgorica temeljima predhodnih naseobina urbanom tkivu Stare i Mirkove occupation occurred in 1445 and Ribnice [Ivanović, 1974] . Tvrđava varoši gdje je stalno rasla ekonomsku establishing settlements occured in Podgorica (prema jednim podacima) premoć novog dijela grada. Podgorica 1466 in area currently known as Old formirana je 1466 pod nadzorom je teško stradala u drugom svjetskom Town, on the foundations of former Hasan-Paše [Jiriček, 1951]. Pomenuti ratu jer je bombardovana preko 70 settlements of Ribnica [Ivanović, autor je imao utemeljeno mišljenje da puta i potpuno je razorena. 1974]. 47 AR 2017.1 dr. Rifat Alihodžić
2.3. Treći period razvoja Podgorica doživljava nakon drugog svjetskog rata. Grad je nakon oslobođenja od okupatora, 1946 godine, dobio naziv Titograd. Novi urbani razvoj bazirao se na dva Generala plana. Jedan je otpočet sa radom 1950 godine . Njegovu koncepciju dao je arhitekta Ljuba Ilić sa saradnicima. Plan je bio baziran na kapacitet 60.000 stanovnika do 2000-te godine. Ovaj plan nije realizovan jer je bio neusklađen sa tadašnjim ekonomskim razvojem. Novi Generalni urbanistički plan je povjeren prof.arh. Milošu Somborskom čiji se koncept zasnivao na broju od 45.000 stanovnika do 1957 godine. Razvoj grada je podrazumijevao tri cjeline: Nova varoš (bivša Mirkova), Star varoš i novi dio grada na desnoj obali morače. Svakom od ovih djelova opredijeljen je razvoj oko sopstvenog jezgra–centra a sva tri bi bila međusobno povezana [Ivanović, 1974]. Sve intenzivnije širenje Podgorice na desnoj strani rijeke Morače značilo je potrebu za izgradnjom mostova u svrhu povezivanja svih segmenata grada. Pored predhodno izgrađenih mostova, most Milenijum predstavlja Slika 1: Pozicije: Sahat kule (1), Spoemnik Vojvode posledicu potreba za što boljim Mirka (2), most Milenijum (3). međusobnim vezama grada sa obje Figure 1: Locations in the City: Sahat Tower (1), strane Morače. Memorial of Duke Mirko (2), Millenium Bridge (3). Širenje grada , sljedećim urbanističkim planovima, intenzivirao je širenje grada na zapad, prema rijeci Marezi i na istok prema rijeci Cijevni, preko željezničke pruge, koja je predhodno predstavljala krajnju granicu urbanog razvoja
3. Tri prostorna akcenta u Podgorici 3.1. Sahat kula u Staroj varoši Sahat kula (1667) predstavlja prostorni akcenat koji je, ne samo u kolektivnoj memoriji, kod stanovnika Podgorice ostavio snažan pečat. O tome svjedoče mnogobrojne pjesme, priče i muzičke numere poznate u Crnoj Gori , tako da je ovaj objekat impregniran u mnogobrojne segmente lokalne kulture. Sahat kula Predstavlja najupečatljiviji prostorni akcenat Stare varoši. Sagradio ga je , kao poklon svom gradu, Hadži-paša Osmanagić [Zlatičanin, 1933]. Slobodnostojeći je objekat, kvadratnog oblika, izrađena od pritesanog kamena i tesanog na ćoškovima. Kubična forma kule završava se četvorovodnim krovom iz koga se diže osmougaona kamena forma koju prati istougaoni krov. 48 Three architectural landmarks of Podgorica AR 2017.1
Fortification Podgorica (according two towns [Raicevic, 1971]. Until to some data) was founded in 1466 WWII, Podgorica was developing under the surveillance of Hasan- and flourished in logically connected pasha [Jiricek, 1951]. This author urban core of Old and Mirko’s had his own reasons to believe that Towns, where economical superiority fortification was built using materials of new part of town constantly grew. from Roman Doclea, situated Podgorica was heavily damaged in upstream, on the confluence of Zeta WWII, because it was bombed over into Moraca, proved by fragment 70 times and the city was completely analysis in walls. According to some demolished. other information source, 1474 was taken as a year of falling of former 2.3. Third period of development of settlement Ribnica and then this Podgorica was after WWII. After its settlement got name Podgorica liberation from occupiers in 1946, it [Brajovic, 2007]. This established changed name into Titograd. New settlement had all features of oriental urban core had a base on two General Urban Designs. One of them started Slika 2: Sahat kula. Početak XX vijeka. urban core. There were four entrances th on fortification’s walls: Zeta’s, Kuci’s, in 1950. Its concept was given by Figure 2: Sahat Tower, Early 20 century. Malisori’s, and Osmanagic’s, through architect Ljuba Ilic with his coworkers. which lead main roads into the town. The plan was based on assumption In front of Zeta’s entrance into of 60 000 inhabitants until 2000. This fortification town, Clock Tower was plan was not realized because it wasn’t built, having a market in its vicinity, in concordance with economical which, thus, became a meeting point. growth at that particular moment. New General Urban Design was 2.2. The second period of urban entrusted to architecture professor development of Podgorica starts Milan Somborski, whose concept in 19th century. More precisely, it was based on 45 000 inhabitants until occurred a few years after 1879, 1957. Town development considered when Montenegrin military entered three units: New Town (former former Podgorica [Ivanovic, 1974]. Mirko’s Town), Old Town and new Following Prince’s orders from 1885, part of town on right bank of Moraca. It was decided for each of these units Slika 3: Sahat kula. Fragment gornjeg dijela. on the right bank of river Ribnica, Figure 3: Sahat Tower, upper part. on a terrain of field called "Livade" to develop around their inner core – in urban plan, there were carried center, and all three of them would over main elements of new part be mutually connected [Ivanovic, of the town called Mirko’s Town. 1974]. As time went by, Podgorica Central part of Mirko’s Town is the grew on the right bank of Moraca area of current Republic Square. It more and more intense, so it required was designed as a square but also building bridges for the purpose of used as a market because there were connecting all parts of the city. Beside "concrete tables on the east side" previously built bridges, Millennium according to urban design. In its Bridge represents a consequence of central part, there was a memorial requiring connections from both sides to Duke Mirko Petrovic [Ivanovic, of Moraca as good as possible. 1974]. Urban design was work by City growth, according to next urban engineer Vorman, on area of 60ha designs, intensified spreading the city [Mijovic, 1964]. The basic concept of towards west, to river Mareza, and Vorman design was middle square- towards east, to river Cijevna, over the market, occupying area of 1ha, while railway, which previously presented the remaining area was characterized final boundary of urban development. Slika 4: Sahat kula. Pogled prema zapadu. as crossed layout of five parallel Figure 4: Sahat Tower, Eastern view. north-south streets and seven 3. Three landmarks of Podgorica east-west streets [Ivanovic, 1974]. Connection between Old and New 3.1. Clock Tower in Old Town Town, over river Ribnica, consisted Clock Tower (1667) represents a of two bridges from the Ottoman landmark which, not only in collective period (one at the confluence of memory of Podgorica’s citizens, left Ribnica into Moraca and the other the strong impression. Numerous one was Tabacki). During the time poems, stories and songs widely of Princess Milena, there was a new known in Montenegro prove that, so stone bridge built which represented this facility is being impregnated into a main connection structure between numerous parts of local culture. 49 AR 2017.1 dr. Rifat Alihodžić
Na samom vrhu zida sa sve četiri Ovakav prostorni tretman potvrđuje, strane nalaze se otvori sa punim istorijski utemeljeno, postojanje lukom. Ispod njih se nalaze manji značajnog broja političkih protivnika otvori koji su imali višestruku ulogu što se dokazalo rušenjem spomenika (osvjetljenja, vizure ili su služili (1918 ), odmah nakon Podgoričke kao puškarnice). Unutrašnjost kule skupštine. Podgorička skupština 1918 je sadržala drveno stepenište sa - čiji je zvanični naziv: Velika narodna četiri podesta. U okruženju Sahat skupština - ustanovljena suprotno kule nalazila se pijaca i prostor za tada važećem Ustavu države Crne okuplanja pa je bio formiran i trg. Gore i njenom pravnom poretku Ono što predstavlja raritet u islamskoj - dana 26. novembra 1918. godine arhitekturi jeste da je visočija od (13. novembra po starom kalendaru) minareta obje džamije u Staroj varoši donijela je Odluku kojom je: ukinuta (Osmanagića i Starodoganjske ). Sahat država Crna Gora, njena teritorija kula je visoka oko 16m i kao takva unitaristički sjedinjena (pripojena) bila je najvisočiji objekat u Podgorici i teritoriji države Srbije i njen narod na kraju XX vijeka. inkorporiran u srpski [Šuković, 2005]. Sa takvom visinom, s obzirom na Ne ulazeći u estetske kavlitete manje vertikalne gabarite u okruženju, spomenika vojvodi Mirku Petroviću pored stečene simboličke uloge, već cijeneći vizuelne efekte na predsatvljala je orijentir u prostoru. osnovu raspoloživog foto materijala Realna je predpostavka da su nevelike , jasno je da se radi o prostornom visine Sahat kule i minareta pored akcentu koji je svojom pozicijom i džamija posledica svijesti graditelja dimenzijama opravdao očekivanja. o seizmičkom hazardu. Ulogu Formiranje jedinstvene kolektivne dominantnog gabarita nije izgubila memorije i zajedničkog stava o prema Staroj varoši dok je taj efekat, njegovim simboličkim porukama bilo nesmotrenom planskom gradnjom, je nemoguće s obzirom na podjele uništen tako da se prostorni akcent, u tadašnjem crnogorskom društvu iz nekih vizura, sve više svodi na i različitom viđenju istorijske uloge simboločko značenje i elemenat vojvode Mirka Petrovića. kolektivne memorije. 3.3. Most Milenijum na rijeci Morači 3.2. Spomenik vojvodi Mirku Petroviću Posmatrajući kontinuitet građenja Slika 5: Sahat kula. Pogled prema sjeveru. Podgorice poslije drugog svjetskog Figure 5: Sahat Tower, Southern view. Nakon oslobađanja Podgorice od rata, ne samo kroz personalnu turske okupacije (1879) otpočelo percepciju već i kroz sve segmente se sa izgradnjom Mirkove varoši kolektivne memorije , može se zaključiti (1885) godine. U centralnom dijelu da nije bilo pokušaja niti spontanog nove urbane cjeline izgrađeno je formiranja značajnog objekta, koji dominantno spomen obelježje bi naslijedio prostorne i simboličke vojvodi Mirku Petroviću. Radi atribute Sahat kule. Nesporna je se o dominantnom obelisku na činjenica da su arhitektonski objekti trostepenom, kaskadnom postamentu hotel "Podgorica" djelo Svetlane- nepoznatih dimenzija. U blizini Kane Radević, katolička crkva djelo spomenika bila su napravljena dva Zvonimira Vrkljana, zgrada "Stare bunara zvana "tulumbe" [Ivanović, vlade" djelo Radosava Zekovića, 1974]. Logičnom se čini potreba vojni soliteri djelo Stanka Fabrisa, da se u jednom sasvim novom, stambene zgrade "pet udovica" djelo horizontalno naglašenom, urbanom Miška Dmitrovića, blok V djelo Slika 6: Spomenik vojvodi Mirku Petroviću. tkivu postavi adekvatan prostorni Milete Bojovića, svojom arhitekturom Figure 6: Memorial of Duke Mirko Petrović. akcenat koji bi markirao fizičko i kvalitetno markirali urbanu matricu psihološko središete novog dijela Podgorice. Protokom vremna ipak grada. Iz rijetkih fotografija se može nijesu izdejstvovali poziciju prostornih zaključiti da je spomenik dominirao akcenata koje bi konkurisale za pozicju prostorom. "identifikacionog faktora" grada. Napravljen je kao prostorni akcenat Takvu je za sebe, bez sumnje, već memorijalnog karaktera. Iz preostale obezbijedio most Milenijum autorsko fotodokumentacije se vidi da je spomen djelo prof.dr Mladena Ulićevića. obelježje bilo ograđeno metalnom (Građevinski fakultet univerziteta u ogradom, što je bilo neuobičajeno za Podgorici). objekat postavljen na javnom mjestu. 50 Three architectural landmarks of Podgorica AR 2017.1
Clock Tower is the most significant obviously indicate that memorial was landmark of Old Town. It was built by surrounded by metal fence, which is Hadzi-pasha Osmanagic, as a present unusual for a monument on public to his town [Zlaticanin, 1933]. It’s a place. This kind of spatial treatment freestanding facility, square-shaped, confirms, historically established, made of rough-cut stone, brute on its existence of significant number of corners. Cubic form of a tower ends political opponents, which proved in in hipped, from which there is raising destruction of this memorial (1918), octagonal stone formation, followed by right after Podgorica Assembly. This octagonal roof. event from 1918 – having full name The Great National Assembly of the Serb There are openings with full arch on People in Podgorica – established in the top of the wall from all four parts. spite of valid Montenegrin Constitution Beneath them, there are smaller multi- of that time and its legal order – on function openings (illumination, view, 26 of November (13th of November or loophole). Inside the tower there according to old calendar) declared was a wooden staircase with four abolition of Montenegro as a state, its podia. In Clock Tower vicinity, there territory unitarily united with territory were a market and a gathering place, of Serbia and its people incorporated so they formed a square. What is rarely with Serbian people [Sukovic, 2005]. seen in Islamic architecture, is that this tower is higher than minarets of both Having in mind visual effects based on mosques in Old Town (Osmanagic and available photo material of Duke Mirko Staroganjska). Clock Tower’s height is Petrovic Memorial and not considering 16m, and as such, it was the highest its aesthetic qualities, it is clear that this facility in Podgorica even at the end of Memorial represents landmark which 20th century. fulfilled expectations in terms of its position and dimensions. Forming With such height, considering smaller of unique collective memory and vertical dimensions in vicinity, besides community attitude about its symbolic Slika 7: Spomenik vojvodi Mirku Petroviću u being a symbol, it is also a landmark. messages were impossible considering There is a real assumption that relatively širem kontekstu. divisions in former Montenegrin Figure 7: Wide view of the ambient of memorial small dimensions of Clock Tower and society and different vision of Duke of Duke Mirko Petrović. minarets next to the mosques express Mirko Petrovic’s historical role. creator’s conscience of seismic hazards. Role of domineering titan wasn’t 3.3. Millennium Bridge on Moraca lost when compared to Old Town, while that effect was destroyed by Observing continuous building of reckless urban planning and building. Podgorica after WWII, not only Landmark function, from some points through professional perspective, but also through every segment of collective of view, comes to symbolic meaning Slika 8: Most Milenijum u širem kontekstu. and element of collective memory. memory, there imposes a conclusion that there was neither an attempt nor Figure 8: Aerial view of Millenium Bridge. 3.2. Duke Mirko Petrovic Memorial spontaneous forming of a significant facility, inheriting landmark attributes After Podgorica’s liberation from of Clock Tower. Indisputable is the fact Turkish occupiers (1879), building that some architectural works, such as of Mirko’s Town started (1885). In hotel "Podgorica"(work of Svetlana- central part of the new urban unit, Kana Radevic), catholic church outstanding memorial to Duke Mirko (Zvonimir Vrkljan), Government Petrovic was built. It is a dominant Building and Office (Radosav Zekovic), obelisk on three-stage cascade plinth of military tower blocks (Stanko Fabris), unknown dimensions. Near Memorial, residential buildings "5 udovica" there were two wells, called "tulumbe" (Misko Dmitrovic), Blok V (Mileta [Ivanovic, 1974]. It seems logical to Slika 9: Most Milenijum u kontekstu dinamičke Bojovic), are facilities of a significant ravnože sa Hotelom Podgorica. require appropriate landmark to point high-degree quality on urban core of to physical and psychological center Figure 9: Hotel Podgorica with a dominant pilon Podgorica. As time passed by, they of Millenium Bridge. of new part of the city in a completely didn’t obtain a landmark position to new, horizontally emphasized urban apply for "identifying characteristics" core. Rare photographs confirm that of city. That position is, without any monument was dominant part of that doubts, granted for Millennium Bridge particular space. in Podgorica, a work by Prof. Mladen It was made as a landmark of memorial Ulicevic, Ph.D (Faculty of Civil purpose. Remaining photo documents Engineering, Podgorica). 51 AR 2017.1 Ljubljana
Za vrlo kratko vrijeme ovaj most Drugi period predstavlja vrijeme od je postao objekat koji je najviše 1879 do 1914 god. (do početka prvog fotografisan, kako sam tako i u svetskog rata). Tada crnogorska vlast panorami grada. Činjenica, da ga urbanizuje Podgoricu širenjem na je nekoliko privatnih i državnih desnu stranu rijeke Ribnice, formirajući preduzeća inkorporiralo u svoj Mirkovu varoš po nacrtu inženjera zaštitni znak takođe govori o ovom Vormana. Do kraja drugog svjetskog mostu kao identifikacionom faktoru rata Podgorica se razvijala u aktivnoj sa Podgoricom. simbiozi dva predhodno formirana urbana segmenta. Treći period koji Razlozi pozicije koju je ovaj most definiše razvoj današnje, savremene, izborio u urbanoj slici Podgorice su Podgorice počinje nakon drugog višestruki i utemeljeni. Savremenim svjetskog rata i karakteriše ga širenje, oblikovnim izrazom on pokazuje da prema zapadu, na desnu stranu rijeke nosi duh vremena što je jedan od Morače kao i prema istoku , preko obaveznih atributa arhitektonskog željezničke pruge. Analiza pojavnosti djela [Kadijević, 2010]. Njegov i karakteristika posmatranih urbanih odnos prema zatečenom prostoru je akcenata pokazala je izuzetnu snagu nesumnjivo kontekstualan i predstavlja trajanja Sahat kule u vremenu, klasičan primjer kvalifikativa "Genius prostoru i kolektivnoj meoriji građana loci" [Shulz, 1980]. Ističe se u prostoru Podgorice, koj je dosegla ulogu svojom veličinom i dominira na simbola, što je jedan od najbitnijih umjeren i optimalan način [Keler, elemenata vrednovanja ovih 1988]. prostornih akcenata. Suštinsku odliku njegove Spomenik vojvodi Mirku, rađen sa arhitektonske kompozicije čini ambicijom, ne samo da postane kosi pilon sa zategama, koji svoim prostorni reper već i da se apsorbuje učinkom obezbjeđuje brz perceptivni cijeli komleks značenja kao što proces i pamtljivost. Dinamika kosine su borba za državnost, viteštvo i je jedan od najefikasnijih elemenata rodoljublje. Rušenje ovog spomenika u opažajnim procesima forme pokazuje da je za takvu poziciju [Arnhajm, 1977] . Bijela boja pilona potreban adekvatan društveni i kablova su lako primjetljivi kao kontekst koji će obezbijediti konsezus dominantna slika na plavoj podlozi u shvatanju siboličkih značenja i neba, rijeke, zelenilu okolnih parkova njihovih vrednovanja. Komparacije i raznobojnih zgrada. Ovaj momenat radi, Sahat kula je preživjela predstavlja klasičan primjer relacije odlazak osmanske imperije i ako je "figure i podloge" u procesu dobrog predstavljala jedan od atributa njene opažanja [Arnhajm, 1987]. Kada je kulture i moći jer se, vremenom, most Milenijum u pitanju, može se reći uselila u kolektivnu memoriju svih da njegove predhodne karakteristike stanovnika. Postavljanje krsta, nakon predstavljaju atribute koji će pokazati oslobođenja Podgorice, na njenom otpornost na vrijeme (Timeless) vrhu ne poništava kontinuitet njenog [Paszkowski, 2011]. trajanja sa najboljim kvalitetima 4. Zaključak prostornog repera. Veća šteta nanijeta Ovo istraživanje posmatra fenomen je, ovom objektu, izgradnjom velikih nastanka i kvaliteta tri vizuelna gabarita loše arhitekture. akcenta u cjelokupnom urbanom Most Milenijum predstavlja fenomen tkivu Podgorice. Ukazano je na značaj spontano nastalog repera koji je prostornih akcenata, kao bitnog nadmašio očekivanja da je, ne elementa, svake urbane aglomeracije. isključujući mogućnost, projektovan i Ciljana analiza je napravljena kroz sa takvim ciljem. Za vrlo kratko vrijeme osvrt na tri bitna perioda koji su ostavili (2005-2016) postao je, nezvanični, traga na urbani razvoj i arhitekturu zaštitni znak savremene Podgorice Podgorice. U cilju razumijevanja što je u elaboraciji pokazano. Ovakva društvenog konteksta, percipirano njegova pozicija će, s obzirom na je vrijeme vladavine otomanske uočene atribute, biti sve čvršća sa imperije (1445-1879). Tada se formira protokom vremena. Razlozi koji dio grada poznat pod imenom Stara su doprinijeli takvoj poziciji mosta varoš. Realizovana je po orijentalnoj Milenijum, razmatrani su analitički i matrici i predstavlja embrion razvoja argumentovano utemeljeni sa aspekta današnje Podgorice. arhitektonske teorije. 52 Three architectural landmarks of Podgorica AR 2017.1
For a surprisingly short period of is 1879-1914 (until Great War started). Bibliography time, this bridge has become the most That was the time when Montenegrin photographed object, as a single unit authorities made Podgorica an urban as well as a part of city panorama. city by spreading it to the right bank The fact that a few companies (both of Ribnica, making Mirko’s Town 1. Arnhajm, R. ( 1977) : The Dynamics public and proprietary) incorporated it according to sketches of engineer of Architectural Form. University of into their trademarks, speaks volumes Vorman. Until the end of WWII, California Press. Berkeley, Los Angeles, about this bridge as Podgorica’s Podgorica was developing thanking London. landmark. Reasons for landmark to active symbioses of two previously position held by this bridge in urban formed urban parts. The third period, 2. Arnhajm, R (1987) : Umetnost i vizuelno picture of Podgorica are multiple and which also defines contemporary zapažanje. Psihologija stvaralačkog gledanja. Univerzitet umetnosi. well-established. Having contemporary Podgorica, has started after WWII, Beograd. shaped expression, it appears to have a and its main characteristic features are: temporal spirit of period of building, western spreading towards right part 3. Brajović, M. ( 2007) : Stara Podgorica II which is one of the mandatory attributes of Moraca, and eastern spreading over . Grafo Crna Gora. Podgorica of architectural work [Kadijevic, 2010]. railways. Analyses of incidence and Its relationship with the existing space features of reviewed urban landmarks 4. Cullen, G. (1971) : The Concise is, without any doubt, contextual showed an extraordinary strength of Townscape. Butterworth & Co and it represents a classic example Clock Tower duration over the time, (Publicher) Ltd,1971. of determiner "Genius loci" [Shulz, space and collective memories of 1980]. It emerges in area because Podgorica’s citizens. It has reached 5. Ivanović, Z. (1974) : Urbano-geografske its size and dominates in moderate status of a symbol, which is one promjene u razvitku Tiitograda. and optimal way [Keller, 1988]. The of the most important elements Skupština opštine Titograda. essential feature of its architectural o f e v a l u a t i n g t h e s e l a n d m a r k s . Odjeljenje za komunalne poslove i composition consists of slope pylon Duke Mirko’s Memorial, made urbanizam. with backstays, which provides quick ambitiously, not only to represent perception and remembering it. Slope landmark, but also to be absorbent of 6. Jiriček, K. (1951) : Trgovački drumovi dynamics is one of the most efficient many complex meanings, like struggle i rudnici Srbije i Bosne u srednej m elements of perceptional forms for statehood, chivalry and patriotism. vijeku. Svjetlost, Sarajevo. [Arnheim, 1977]. White coloured Demolishing of this memorial has pylons and cables can easily be noticed showed that such position requires 7. Joedicke, J. (2009) : Oblik i prostor u as an outstanding picture on blue bases a proper social context to provide arhitekturi. Orion art, Beograd. of sky and river, green base of parks consensus in comprehension of 8. Kadijević, A.( 2010) : Arhitektura i duh in vicinity and colourful buildings. This symbolic meanings and its evaluation. vremena. Građevinska knjiga. Beograd image represents classical example For comparison purposes only, Clock of "figure and base"relationship in Tower survived departure of Ottoman 9. Keler, V. (1985) : Geštalt psihologija. process of good perception [Arnheim, Empire even though it represented Nolit, Beograd. 1987]. Considering Millennium one of the landmarks of their culture Bridge, all its aforementioned and power, since it became part of 10. Lynch, K. (1972) : The Image of the features represent timeless collective memory of citizens of City. The M:I:T Press. Massachusettc characteristics [Paszkowski, 2011]. Podgorica during the time. Placing Insdtitut of Technology, Cambridge, a symbol of cross on its peak, after Massachusettc. 4. Conclusion Podgorica was liberated, did not void This research observes phenomenon of either its continuous duration either 11. Mijović, P. (1964) : Istorijske creation and quality of three landmarks its best qualities. This facility suffered aglomeracije u urbanizmu Titograda- in whole urban core of Podgorica. more damage by building large Starine Crne Gore. Godišnjak Zavoda The significance of landmarks is dimensions of improper architecture. za zaštitu spomenika kulture SR Crne Gore, Cetinje. being pointed out, as important Bridge represents phenomenon of element of each urban agglomeration. accidentally created landmark which 12. Paszkowski, Z. (2011): Timeless Objective analysis was made through exceeded expectations, but without the review of three important periods values in architecture. Repozytorium excluding the possibility that it was Politechniki. Krakowskie Poland. of time, which left their mark on designed for that specific purpose. urban development and architecture For a brief period of time (2005- of Podgorica. For the purpose of 13. Raičević, M.A. (1971) : Lijeva obala. 2016), it became unofficial trademark "Slobodna riječ", br.35. Titograd. understanding historical context, the of contemporary Podgorica, as this first period of time perceived was elaboration showed. This landmark, 14. Šuković, M. (2005): Podgorička period of Ottoman Empire ruling considering its qualities, would be skupština , http://www.montenegrina. (1445-1879). During that time, there persistent in a higher degree as time net/pages/pages1/istorija/ cg_ was formed part of city, now known goes by. Reasons for Millennium Bridge izmedju_1_i_2_svj_rata podgoricka_ as Old Town. It was realized using being a landmark were examined on skupstina.htm oriental matrix and it represented arguments foundations and analytically, embryo of development of modern from the points of architectural theory. 15. Shulz, K.N. (1980).: Genius Loci. Podgorica. Second significant period Rizzoli.. New York. 53 AR 2017.1 Ljubljana
Post-industrijska Crna Gora: Transformacija_PORTO MONTENEGRO Post-Industrial Montenegro: Transformation_PORTO MONTENEGRO
Ključne reči Key words Postindustrijski, turizam, prostor, Post-industrial, tourism, space, transformacija. transformation.
Sažetak Abstract Industrijski razvoj gradova u bivšoj Jugoslaviji The industrial development of cities in former (SFRJ), posebno karakterističan za prvih Yugoslavia (SFRY), especially typical for the trideset godina nakon II svjetskog rata, first three decades following World War II, was značajno je opadao osamdesetih a gotovo considerably declining during the 1980s and potpuno prekinut devedesetih godina XX almost totally came to a halt over the 1990s. The vijeka. Raspad SFRJ, ratni sukobi, sankcije dissolution of SFRY, armed conflicts, embargo i tranzicioni procesi su, izmedju ostalog, and transition processes shifted, among other promijenili i težište regionalne ekonomije. othings, the focus of regional economy. In Paralelno sa tim procesima, na globalnom parallel with those processes, the global rise of nivou, pojavom informatike i digitalnih IT and digital technologies resulted in boosting tehnologija dolazi do sve većeg razvoja development of tertiary activities, which has tercijarnih djelatnosti što za posljedicu ima derived different forms of deindustrialisation razne oblike deindustrijalizacije i početak tzv. and the beginning of the so-called information,
UKD 711.45(497.16) informacionog tj. post-industrijskog doba. i.e. post-industrial era. In Montenegro as well, COBISS 1.02 U Crnoj Gori je takodje došlo do gašenja most of the former industrial activities were Prejeto 27.3.2017 većine nekadašnjih industrijskih aktivnosti. suspended. There have been various strategies Prisutne su različite strategije prenamjene for repurposing that most frequently do not koje najčešće ne prepoznaju potencijal tih recognise the potential of those spaces as prostora kao industrijskog nasljedja, pa se industrial heritage, so industrial structures are industrijski objekti u najvećem broju slučajeva in most cases fully or partly removed and potpuno ili djelimično uklanjaju i zamjenjuju substituted by new facilities. This is the case novim sadržajima. To je slučaj u gotovo with nearly all the cities in the territory of svim gradovima na teritoriji Crne Gore, a Montenegro, while the characteristic spatial karakteristični prostorni scenariji se uočavaju scenarios are notable in Podgorica, Cetinje, u Podgorici, Cetinju, Beranama i Tivtu. Od Berane and Tivat. A special importance is posebnog je značaja prostorna transformacija attached to the spatial transformation of the bivšeg vojno-remontnog Arsenala u Tivtu previous naval base Arsenal in Tivat, which koja je otpočela 2007. godine nakon procesa commenced in 2007 following the process of privatizacije. Kada je ova obimna prostorna privatisation. When this large and significant transformacija kroz projekat pod nazivom spatial transformation was presented at the "Od Arsenala do Porto Montenegra" 11th International Architecture Exhibition in prikazana na XI Bijenalu arhitekture u Venice 2008 through the project named "From Slavica Stamatović Vučković, PhD, Veneciji 2008. godine, proces je bio u samom Arsenal to Porto Montenegro", the process začetku. Danas je Porto Montenegro u Tivtu only began. Nowadays, Porto Montenegro Assistant Professor uveliko prepoznat kao značajna mediteranska in Tivat is largely recognised as a significant University of Montenegro, Faculty of Architecture, Podgorica nautičko-turistička destinacija. Mediterranean nautical tourist destination. [email protected] 54 Post-Industrial Montenegro: Transformation porto Montenegro AR 2017.1
1. Post-industrijski scenariji 1. Post-industrial scenarios Sve do pedesetih godina XX vijeka Before World War II, Montenegro had Crna Gora je bila industrijski zaostalo been an industrially underdeveloped područje (1939. postojala su samo area (in 1939, there were only 24 24 industrijsko-zanatska preduzeća industrial businesses and craftsmen’s sa 1.355 radnika; u periodu 1947- workshops employing 1,355 workers; 1990. industrijska proizvodnja u in the period 1947-1990, industrial Jugoslaviji je povećana 27 puta, u production in Yugoslavia increased Crnoj Gori je to povećanje bilo 123 by 27 times, while the corresponding puta ili 11% godišnje)[Rastoder, increase in Montenegro was by 123 2012]. Nakon Drugog svjetskog rata times or 11.6% per year) [Rastoder, većina crnogorskih gradova je, u 2012]. After World War II, all skladu sa strategijom tadašnje SFRJ, Montenegrin cities were, according bila razvojno pokrenuta upravo to the SFRY development strategy nekim oblikom industrije. Devedesete of the time, driven to develop in godine XX vijeka donijele su značajne particular by some form of industry. promjene na balkanskim prostorima. The 1990s brought significant changes Ratni sukobi i raspad SFRJ rezultirali in the Balkans. Armed conflicts and su opštom društvenom i prostornom dissolution of SFRY resulted in devastacijom u gotovo svim djelovima overall social and spatial devastation bivše Jugoslavije, nakon čega je u in nearly all parts of former novoformiranim državama naglo Yugoslavia, followed by the process došlo do procesa privatizacije. To of privatisation in the newly formed se primarno odrazilo upravo na states. This was primarily reflected in industriji, usljed čega su proizvodni industry, as the fundamental branch procesi bili privremeno ili trajno of economy in the former joint blokirani. Neaktivne i napuštene country, and production processes industrijske zone, kompleksi i having been temporarily or, more zgrade su ubrzo postajali "prostori often, permanently blocked, which bez sadržaja" čekajući adekvatne soon caused industrial buildings and prostorne planove i investitore. complexes to become "spaces without Jedan od prisutnih razvojnih scenarija contents", waiting for adequate urban vezanih za bivše industrijske zone u planning and investors. Crnoj Gori je i totalna "re-urbanizacija prostora" tj. potpuno nestajanje One of the topical development industrijskih prostora i formiranje scenarios was a total "re-urbanisation nove urbane matrice, najčešće of space", i.e. complete disappearance stambene, komercijalne ili turističke of industrial complexes and structures namjene. Ovaj scenario karakterističan and formation of a new urban matrix, je za Podgoricu gdje zbog stalnih most frequently for residential, migracija iz svih djelova države u glavni commercial or tourist purposes. The grad raste potreba za stambenim i establishment of a completely new komercijalnim zonama (Shoping Mall urban matrix in the former industrial "Delta City" na prostoru nekadašnje areas was characteristic primarily fabrike namještaja „Marko Radović“ for Podgorica where the constant (2008); stambeno-poslovni blok migration from all parts of the country "Čelebić/City" na prostoru bivše into the capital resulted in the need for Frabrike za preradu metalnih legura increasing residential and commercial "Radoje Dakić" (2012); stambeno- zones (Shopping Mall "Delta City" on poslovna zgrada "Zetagradnje" na the premises of the former furniture prostoru stare gradske mljekare (2014) factory "Marko Radović" (2008); i sl.), ali i za pojedine gradove na jugu residence-business block "Celebic/ Crne Gore koji time dobijaju slobodne City" on the premises of the former prostore za razvoj turističko-uslužnih smelting factory "Radoje Dakić" djelatnosti.[Stamatović-Vučković, (2012); business-residence building of Kujundžić, Bojković, 2012] "Zetagradnja" on the premises of the former city dairy factory (2014) and U Cetinju je na lokaciji bivše industrijske so on), but also for certain towns in zone "Stari Obod", u blizini centra the South of Montenegro which thus grada, u toku izgradnja Univerzitetskog obtained space for the development kompleksa fakulteta umjetnosti of tourism and catering industries. (Fakultet likovnih umjetnosti, [Stamatović-Vučković, Kujundžić, Fakultet dramskih umjetnosti, Bojković, 2012] 55 AR 2017.1 Slavica Stamatović Vučković
Muzička akademija i studentski dom Nakon niza spontanih i neplanski na površini od 3.15ha a ukupne nastalih "semi-urbanih" sadržaja korisne površine objekata 8.600m2), (diskoteka, koncerti, motorne trke po projektu prvonagradjenog i sl.), ozbiljniji pokušaj revitalizacije urbanističko-arhitektonskog rješenja ovog prostora napravljen je 2013- na internacionalnom konkursu iz 14. godine izradom Lokalne studije 2008. godine (raspisivač konkursa lokacije Local Study of Location bio je Univerzitet Crne Gore a (LSL) - "Business Zone", za površinu organizator Fakultet likovnih od 16,6 ha, formiranjem tzv. zone umjetnosti na Cetinju; pobijedio je "business incubators". Plan predvidja rad arhitekte Anđelke Badnjar kojim "preparcelaciju" (fragmentaciju) je ponuđeno zadržavanje većine zemljišta, tj. formiranje manjih postojećih objekata, a uvođenjem urbanističkih parcela za privredne kružne saobraćajnice ostvarena je veza djelatnosti, tj. novu "usitnjenu" urbanu sa gradom). matricu koja se oslanja na postojeću Za lokaciju Novog "Oboda" (šira infrastrukturnu mrežu (plansku zona grada) napravljen je Master dokumentaciju je izradio RZUP plan višenamjenskog centra "Marina – Republički zavod za urbanizam Abramović Community Centre i projektovanje ad., Podgorica.). Obod Cetinje" – MACCOC, kojim Implementacija plana se odvija sporo su, u industrijskim objektima koji se i stvarni rezultati biće vidljivi i mjerljivi zadržavaju, predvidjeni privredno- tek nakon nekoliko godina. umjetničko-kulturni sadržaji na Najradikalnija re-urbanizacija, a prostoru od cca 140.000 m2. Od istovremeno i najuspjelija privatizacija posebnog je značaja činjenica da je na teritoriji Crne Gore, vezuje se Slika 1: Vojno-remontni zavod "Sava Kovačević" revitalizacija ovog bivšeg industrijskog upravo za transformaciju vojno- – "Arsenal" u Tivtu, 1945 – 1980. prostora (tzv."Odmrzavanje Cetinja") remontnog Arsenala u Tivtu u Figure 1: Shipyard of Sava Kovačević – Arsenal in zasnovana na aktivnostima i produkciji nautičko-turistički kompleks "Porto Tvit (1945 – 1980). svjetski priznate performans Montenegro" [Kujundžić, Stamatović- umjetnice Marine Abramović, kao Vučković, Bojković, 2013]. Ova i da se na čelu projektnog tima najveća i najuspješnija prostorna Master plana nalaze arhitekta Rem transformacija u tranzicionoj i Koolhaas, direktor Office for post-industrijskoj Crnoj Gori je, Metropolitan Architecture (OMA) na višeznačan simboličan način, i Shohei Shigematsu, šef njujorške prikazana i na prvom samostalnom kancelarije OMA. Medjutim, nakon pojavljivanju Crne Gore (nakon javne prezentacije Master plana, kojoj sticanja nezavisnosti 2006. godine) su prisustvovali visoki predstavnici na XI Bijenalu arhitekture u Veneciji Vlade Crne Gore i diplomatije, kao i 2008. godine. umjetnica Abramović i autori Master plana, septembra 2012. godine na 2. Industrijsko nasljedje: Tivatski Cetinju, nisu napravljeni neki značajni Arsenal pomaci u pravcu njegove realizacije. Mornaričko-tehnički remontni zavod [Kujundžić, Stamatović-Vučković, "Sava Kovačević" (ili popularnije Bojković, 2013] Arsenal) u Tivtu je bilo jedno od rijetkih Za razliku od ambicioznih planova industrijsko-zanatskih preduzeća u za Cetinje, velika industrijska zona u Crnoj Gori čiji počeci datiraju još sa Beranama (Rudeš) koja je šezdesetih kraja XIX vijeka. Počeo je sa radom godina XX vijeka zauzimala izmedju 1889. godine kao pomorski Arsenal četvrtine i petine cjelokupne površine za austro-ugarsku ratnu flotu. Postao grada [Radović, Bakić at all, 2012, je dio Ratne mornarice Kraljevine 323–339], pokušava da se reaktivira SHS 1921. godine, a nakon Drugog kroz "fragmentirane" oblike privredne svjetskog rata dio Jugoslovenske i manufakturne djelatnosti. Najveći mornarice. Zavod je najprije obavljao beranski industrijski gigant, i jedan remont brodova i podmornica, od većih u tadašnjoj Republici Crnoj proizvodnju manjih brodova, a kasnije Gori, Fabrika sulfatne celuloze i papira i izradu pontonskih mostova i ratne "Ivangrad" (Pulp and paper sulphate pirotehnike. U vrijeme najintezivnijeg factory "Ivangrad"), izgradjena je razvoja, zapošljavao je od 1.000 do 1964. godine, privatizovana 2004. 1.300 radnika i predstavljao osnovnu godine i konačno potpuno zatvorena razvojnu snagu grada Tivta u drugoj 2010. godine. polovini XX vijeka. [Mutevelić, 1989] 56 Post-Industrial Montenegro: Transformation porto Montenegro AR 2017.1
In Cetinje, at the location of the has been trying to reactivate itself former industrial complex "Old through the "fragmented" forms of Obod", in the vicinity of the city business and manufacturing activities. centre, there is ongoing construction The largest industrial giant of Berane, of the University complex of the and one of the major ones in the then Faculty of Arts (Faculty of Fine Republic of Montenegro, Pulp and Arts, Music Academy and Faculty paper sulphate factory "Ivangrad", of Drama, student dormitory and was built in 1964, privatized in 2004 joint facilities on the floor area of and eventually entirely closed in 2010. 3,15ha and of the floor building area Following a series of "semi – urban" of cca 8,600m2), according to the facilities (discoteques, concerts, best rated Urban Design solution at motorcycle races, etc.) that emerged the 2008 International Competition spontaneously and without planning, (the Competition was launched by a serious effort to revitalise this space the University of Montenegro and was made in 2013-14 through the organised by the Faculty of Fine Arts development of the Local Study of in Cetinje; architect Andjelka Badnjar Location (LSL) - "Business Zone", for won with a paper offering to preserve the area of 16,6 ha, forming the so- most of the existing structures, while called zone of "business incubators". the introduction of a rotary intersection This planning document envisages effected the link with the city). "re-parceling" (fragmentation) of land, i.e. formation of smaller lots, For the location "New Obod" resulting in the establishment of (wider city area), the Master Plan a new, "fragmented" urban matrix of polyfunctional center "Marina relying on the existing infrastructural Abramović Community Centre Obod network (planning documents Cetinje" – MACCOC was developed, designed by RZUP – Republic Bureau providing for, in the industrial of Town Planning and Designing ad., structures in which they were to be Podgorica). The plan implementation maintained, business, art and culture is progressing slowly and the actual facilities in the space of cca 140,000 2 results will be visible and measurable m . Especially notable is the fact only after several years. that the revitalisation of this former industrial space (so called "Unfreezing The most radical re-urbanization of Cetinje") was based on the activities and, at the same time, the most and production of the world famous successful privatization in the performance artist Marina Abramovic, territory of Montenegro relates to Slika 2: "Prostorna blokada" – prostor Arsenala as well as that the head of the project the transformation of the military površine 30ha i akvatorijum površine 100ha. team for the design of the Master Plan shipyard Arsenal in Tivat into Figure 2: Spatial block – Arsenal 30 hectares and is also a world famous architect, Rem the nautical and tourist complex surrounding area with 100 hectares. Koolhaas (the director of Office for "Porto Montenegro" [Kujundžić, Metropolitan Architecture - OMA) Stamatović-Vučković, Bojković, together with Shohei Shigematsu, 2013]. This greatest and most the head of AMO, the New York successful spatial transformation in OMA office. However, following the the transitional and post-industrial public presentation of the Master Montenegro has also been presented, Plan in Cetinje in September 2012, in a polysemic symbolical manner, at which was attended by high-ranking the first independent participation representatives of the Montenegrin of Montenegro (following the government and members of declaration of independence in diplomatic corps, as well as the 2006) in the 11th Venice Architecture Slika 3: "Porto Montenegro" – luksuzni turističko- artist Abramovic and the authors of Biennale in 2008. nautički kompleks sa marinom za super-jahte, the Plan, no significant steps in its 2016. godine. realization have been made since. 2. Industrial Heritage: Tivat’s Figure 3: Porto Montenegro, yachting centre. [Kujundžić, Stamatović-Vučković, Arsenal Bojković, 2013] The Shipyard "Sava Kovačević" In contrast to the ambitious plans (commonly referred to as Arsenal) for Cetinje, the large industrial area in Tivat is one of the rare industrial in Berane (former Ivangrad), called and craft enterprises in Montenegro Rudes, which used to occupy between whose origins date back to the late one fourth and one fifth of the overall 19th century. It was established city area during the 1960s [Radović, in 1889 as a maritime arsenal for Bakić at all, 2012, 323–339], Austro-Hungarian navy. 57 AR 2017.1 Slavica Stamatović Vučković
Medjutim, istovremeno je (sve do 4. ZID “prostor-vremena” 2007. godine kada je privatizovan) – Arsenal na XI Bijenalu predstavljao i najveću prostornu arhitekture u Veneciji blokadu, usmjeravajući razvoj tog dijala grada ka zaledju umjesto ka Umjetnički direktor XI Bijenala obali. [Radović, 2008] Ogradjen arhitekture u Veneciji Aaron Betsky zidom visine dva metra i dužine dao je ovom dogadjaju višeznačan dva kilometra, prostor tivatskog tematski karakter, objedinjen pod Arsenala površine 30ha na kopnu nazivom "Out there: Architecture i akvatorijuma od preko 100ha Beyond Building" ("Arhitektura [Vuksanović, 2008], bio je izolovan izvan gradjenja"), ukazujući na i nepristupačan, vojno čuvan sveobuhvatnost arhitekture kao prostor. Tek nakon privatizacije osnovne umjetnosti prostora. i implementacije Lokalne Studije Projekat "Od Arsenala do Porto lokacije "Arsenal", "zid Arsenala Montenegra" je prikazan u dijelu je pao" [Stamatović, 2008] a ovaj prostora čuvenog venecijanskog nedostupan prostor konačno Arsenala (tako se zapravo dogodio postao dio gradskog urbanog tkiva, "Arsenal u Arsenalu") koji je te omogućavajući da se uspostavi godine, za prvo samostalno učešće davno prekinuti kontinuitet morske na ovoj prestižnoj manifestaciji, obale ("lungo mare") izmedju dodijeljen Crnoj Gori. centralne zone grada i stambenog Prezentacija projekta "Od Arsenala naselja Seljanovo, na zapadnoj strani do Porto Montenegra" sastojala se grada. od jedinstvene, centralno postavljene prostorne instalacije (idejni autor 3. Turističko-nautički kompleks: prof. Aleksandar Keković, komesar Porto Montenegro prof. Goran Radović, zamjenici "Porto Montenegro" je luksuzni komesara prof. Aleksandar Keković turističko-nautički kompleks sa i mr. Slavica Stamatović). Osnovna marinom za super-jahte (450 koncepcija instalacije bazirala se vezova, od čega 127 za super- na tri vezana fenomena: "prostor- jahte), rezidencijalnim sadržajima vrijeme", "zid" i "dogadjaj" - koji (220 apartmana), bazenima ("… su u instalaciji iskazani simboličko- bazen dug 64m sa 188 ležaljki, jedan metaforičnim elementima u od 10 najljepših bazena svijeta" namjeri da, prije svega, prikažu [Mićić, 2016], condo-hotelom prirodu prostorne transformacije "Regent", muzejskim i ostalim na univerzalnom nivou (izvan Slika 4: Industrijsko nasljedje: stari kran na molu 1 pratećim sadržajima kao što su arhitekture), a zatim, kroz primjer (Jetty 1) koji je sačuvan I postao jedan od simbola luksuzne prodavnice, restorani, aktuelne transformacije tivatskog "Porto Montenegra". kafei, galerije, sportski klubovi, Arsenala u nautičko-turistički Figure 4: Crane Jetty 1, reminiscent of Sava poslovni prostori, internacionalna kompleks "Porto Montenegro" i na Kovačević – Arsenal as the symbol of Porto škola ("Knightbridge Montenegro") lokalnom nivou. Montenegro. i sl. Od ranijih industrijskih objekata sačuvana je, u originalnom obliku, 4.1. "Prostor-vrijeme" stara betonsko-čelična konstrukcija Neraskidiva veza "prostor-vrijeme" za reparaciju brodova i podmornica, je sama priroda transformacije – gdje je smještena muzejska postavka sve što postoji u beskonačnosti koja prikazuje dio industrijskog prostora i vremena, transformabilno nasljedja Arsenala - predmete, alate, je, pa time i sam prostor, a sila koja aparate i mašine koji su bili u upotrebi te procese pokreće apstraktna, u nekadašnjem procesu proizvodnje nematerijalna i nedokučiva. Otuda je (naval heritage collection) [Pejanović- i "forma-nosilac" instalacije proizašla Vujošević, 2008]. Na jednom od upravo iz matematičke oznake, molova (Jetty 1), sačuvan je i "stari grafičkog znaka za beskonačnost, kran" koji je postao jedan od simbola kao i koncepta Mobijusove trake, "Porto Montenegra". U sastavu zatvorene kontinuirane krive koja "Porto Montenegra" nalazi se i ukazuje na dualističnu neraskidivost vrijedan postmodernistički objekat, "spolja" od "unutra". I promjena bivši Dom JNA iz 1989. godine u prostoru je, po prirodi stvari, srbijanskog arhitekte Aleksandra dualistička jer se u njoj susreće Djokića (u saradnji sa arhitektom prošlo sa budućim, staro sa novim. Branislavom Đunisijevićem) koji se sada koristi kao upravna zgrada. 58 Post-Industrial Montenegro: Transformation porto Montenegro AR 2017.1
In 1921, it became a part of the Navy At one of the jetties (Jetty 1), an of the Kingdom of Serbs, Croats and Old Crane was preserved and it has Slovenes. Following WWII, it became become one of the symbols of "Porto a part of the Yugoslav Navy. The Montenegro". As a part of "Porto shipyard was engaged in the repair of Montenegro", there is also a valuable ships and submarines, construction of post modern building, a former military small ships and military pyrotechnics. compound of the Yugoslav Army, At the time of its most intensive 1989, by Serbian architect Aleksandar development, it had 1,000 to 1,300 Djokic (in collaboration with architect employees and it represented the Branislav Djunisijevic) which is used as basic development force of Tivat in the administrative headquarters. the second half of the 20th century. 4. Wall of "Space-Time" [Mutevelić, 1989] At the same time, th however (throughout to 2007, when – Arsenal at 11 Venice it was privatized), it represented a Architecture Biennale spatial blockade which directed the Aaron Betsky, Art Director of development of this part of town 11th Venice Architecture Biennale, towards the hinterland instead towards attributed a polysemic character to the the coast. [Radović, 2008] Fenced with themes of this event combined under a 2 km long and 2 m high wall, the the title of "Out there: Architecture area of Tivat’s Arsenal including 30ha Beyond Building", with a view to of land and over 100ha of aquatorium indicating the comprehensiveness [Vuksanović, 2008], was an isolated of architecture as the fundamental and inaccessible space guarded by art of space. The project "From the military. Only after the privatisation Arsenal to Porto Montenegro" was and implementation of the Local exhibited within the famous Venetian Study of the Location of "Arsenal", Arsenal (thus resulting actually in the "the Arsenal wall fell" [Stamatović, occurrence of "Arsenal in Arsenal") 2008] and this unreachable space that was assigned that year to finally became "a part of the urban Montenegro, for the first independent tissue", allowing for the establishment participation in this prestigious event. of the long-ago interrupted continuity of sea shore ("lungo mare") between The presentation of the project "From the central city area and residential area the Arsenal to Porto Montenegro" of Seljanovo, on the West side of the consisted of a single, centrally placed city. spatial installation (the conceptual creator of which was Prof. Aleksandar 3. Nautical Tourist Complex: Keković, commissioner Prof. Goran Porto Montenegro Radović, deputy of commissioner "Porto Montenegro" is a luxurious Prof. Aleksandar Keković and tourist complex with a super-yacht MSc Slavica Stamatović). The basic marine (450 berths, of which 127 for concept of the installation stemmed, super-yachts), residential amenities in fact, from the three connected (220 apartments), swimming pools phenomena: "space-time", "wall" and ("…swimming-pool 64m long with "event", expressed in the installation 188 chairs, one of the 10 most through symbolic and metaphorical beautiful in the world") [Mićić, 2016], elements aiming, primarily, to depict condo-hotel "Regent", a museum and the nature of spatial transformation other amenities, such as luxurious universally ("beyond building"), and shops, restaurants and cafes, galleries, then, through the example of the sports clubs, business premises, current transformation of Tivat’s international school ("Knightsbridge Arsenal into the nautical and tourist Montenegro"), etc. Of previous complex "Porto Montenegro", at the industrial facilities, the only preserved local level as well. one is the old concrete and steel 4.1. "Space-time" structure for restoring ships and submarines to their original forms, The inextricable tie "space-time" is currently turned into a museum which the very nature of transformation – exhibits the industrial heritage of everything that exists in the infinity of Arsenal – objects, tools, and machines time and space is transformable, and which were used in the past production thereby space itself, while the force processes (naval heritage collection) inciting these processes is abstract, [Pejanović-Vujošević, 2008]. immaterial and unfathomable. 59 AR 2017.1 Slavica Stamatović Vučković
Slika 5: Koncept instalacije "prostor-vrijeme, zid, dogadjaj" za projekat "Od Arsenaa do Porto Montenegra". Figure 5: Scheme of Wall Space-Time (11th Venice AB).
Beskonačni protok "prostor- genija svekolikih majstora reljefa vremena" simbolično je prikazan skulptura, pa do plakata masovne i prostorno-svjetlosnom kupom grafičke produkcije i buntovnih ("prostorno-vremenskom duhovitih grafita i murala" [Keković, pijavicom") [Keković, 2008] koja 2008: 73], a danas do aktuelnih prolazi kroz "procjep" sadašnjeg interaktivnih i virtuelnih zidova. trenutka skupljena u tačku, dok se Arhitektura je do pojave štampe na krajevima otvara dozvoljavajući bila glavni rukopis, a zid jedno od da fraktali, sada rastočenog zida, njenih osnovnih svojstava kao "velike polako nestaju u beskonačnosti. knjige čovječanstva" (podjećanje Prostorni polariteti ("polaritet na poglavlje "Ovo će ubiti ono", prostora") iskazani kroz "prošlo" u romanu Victor Hugo-a "Zvonar (teško, sivo, mračno) i "buduće" Bogorodične crkve u Pariizu" iz (lako, puno boja, svijetlo) izlaze iz 1831). Zid ovdje zapravo predstavlja linearnog protoka vremena i postaju parafrazu svih zidova savijenu u kontinuum paralelnih dogadjaja. simbol beskonačnog toka u prostoru Ipak, da bi postali vidljivi razdvajaju i vremenu [Keković, 2008:73]. Izraziti se, koristeći materijalnost zida, i to karakter zida kao gradivnog elementa svaki (i "prošlost" i "budućnost" ) na iskazan je u korišćenju grube po jednu njegovu stranu. Introvertan armaturne mreže od koje je ovaj "zid vojno-industrijski prostor – stari beskonačnog" bio materijalizovan, Arsenal, postaje ekstrovertan prostor kako bi služio kao stameni fizički luksuza i zadovoljstva – Porto nosilac dvije priče o prostoru, prošle Montenegro. i buduće. Priča "prošlog" ispričana je 4.2. Zid monohromatski sa jedne strane Za razliku od koncepta "prostor- zida (crno-bijelo, sepia), a nasuprot vremena" zid, osnovni elemenat tome, priča "budućeg" ispričana je arhitekture i prostora, izrazito koloritno, u živim bojama mora, sunca je materijalan, jedan od prvih i neba, sa druge strane zida. Dodatno nagovještaja arhitektonskog prostora simboličko značenje prisustva zida ("gdje ima zida ima i arhitekture"). vezano je i za nekadašnji "zaštitni Zid je glavni nosilac komunikativnih zid" Arsenala koji je morao "pasti" sposobnosti arhitekture, "mjesto kako bi se prostorna transformacija čovjekovih zapisa i saopštenja od uopšte desila, a prostori sa obje pećinskih crteža do plazma ekrana, strane zida ujedinili u novi, cjeloviti preko moćnog govora udruženih i protočni prostor. 60 Post-Industrial Montenegro: Transformation porto Montenegro AR 2017.1
Thus the "form-medium" of place for man’s inscriptions and installation has stemmed from announcements, from cave drawings the very mathematical symbol, to plasma screens, from the powerful graphic sign for infinity, as well as expression of the joint genius of all the from the concept of Mobius strip, masters of sculpture to mass produced closed continuing curve indicating posters and rebellious, humorous the dualistic inextricability of the graffiti" [Keković, 2008: 73], and to "outside" from the "inside". A change the current interactive and virtual in space is, in the nature of things, walls of the present time. Architecture also dualistic since it provides for the had been the main manuscript before encounter of the past with the future, the press emerged, while the wall was of the old with the new. The infinite one its basic characteristics as a "large flow of "space-time" has also been book of mankind" (reminder of the symbolically shown as a space-light part "This will kill that", in the Victor cone ("space-time vortex") [Keković, Hugo’s novel Notre Dame de Paris, 2008] passing through the "rift" of the first edition 1831). The wall here current moment, collected in a point, actually constitutes the paraphrase while opening at its ends allowing of all walls wrapped into the symbol for the fractals, of now fretted wall, of infinite flow in space and time. to disappear slowly into the infinity. [Keković, 2008: 73] Spatial polarities ("polarity of space") expressed through the "past" (heavy, The distinctive character of the grey, dark) and the "future"(light, wall as a building element has been colourful, fair) spring from the expressed through the use of rough linear flow of time and become a reinforcement bars that materialized continuum of parallel events. Still, in this "wall of the infinite", so that it order to become visible, they separate, could serve as a solid physical medium using the material nature of the wall, of two stories on space, the past and each of them (both the "past" and the future. The story of the "past" the "future") on each side of the wall. has been told monochromatically The introvert military and industrial on one side of the wall (black-and- space, the old Arsenal, becomes the white, sepia), while in contrast to the extrovert space of luxury and pleasure aforesaid, the story of the "future" has – Porto Montenegro. been told colourfully, in vivid colours of the sea, the sun and the sky, on the 4.2. Wall. other side of the wall. The additional In contrast to the concept of "space- symbolic meaning of the presence time", the wall, basic element of of the wall also is also related to the architecture and space, is distinctively former "protective wall" of Arsenal material, one of the first indications that had to “fall” in order that spatial of architectoral space ("where there is transformation could have occurred in a wall, there is architecture"). Wall is the first place, and the spaces of both the main medium of communication sides of the wall be united in a new, abilities of architecture, "the integrated and flow-through space.
Slika 6: Paviljon Crne Gore u Arsenalu, XI Bijenale Arhitekture u Veneciji, 2008. Figure 6: Detailed plan of Montenegro pavilion in 11th Venice AB (2008).
61 AR 2017.1 Ljubljana
4.3. Dogadjaj 4.3. Event Esejistički tekst dr. Antuna Sbutege The essayistic paper of Antun Sbutega, (koji je u vrijeme održavanja XI PhD (at the time of 11th Venice Bijenala arhitekture u Veneciji bio Architecture Biennale he was the ambasador Crne Gore pri Svetoj Ambassador of Montenegro to the Holy Stolici i pri Suvremenom Viteškom See and to the Sovereign Military Order Malteškom redu) nas podsjeća na of Malta at the time of XI Biennale in snagu i značenje prirodnih prostornih Venice) remainds us of the strength and fenomena, obala ("Obale su najvažnija meaning of natural spatial phenomena, mjesta na svijetu. Na njima se sastaju shores ("Shores are the most important dva osnovna elementa, voda i zemlja. places on the Earth. Two basic elements Obale su početak i kraj.") i zaliva meet there: water and soil. Shores are the ("Zalivi su najvažnija mjesta na beginning and the end.") and bays ("Bays obalama. […] sami sebi dovoljni.") are the most important places amongst [Sbutega, 2008], a time i na stalnu all shores. […] self-sufficient.") [Sbutega, prisutnost prirodnih "dogadjaja" 2008], and thereby of the permanent u prostor-vremenu. Dogadjaj je presence of natural "events" in space- zapravo prisutan svuda, i u prirodnim time. The event is, in fact, present i u arteficijelnim (arhitektonskim) everywhere, both in natural and artificial prostorima, uvijek ukorijenjen upravo (architectoral) spaces, always rooted in u sada, u "procjepu" izmedju prošlog now, in the "rift" between the past and i budućeg. Zid je "momentum", the future. The wall is a "momentum", materijalizovano i zaustavljeno sada, a now having been materialized and na njemu je, sa jedne strane prošlost, captured, harbouring past on one and a sa druge budućnost. Upravo je future on the other side. It is the "event" "dogadjaj" taj koji arhitekturu izmiješta that places architecture outside of its van nje same, to je poseban prostor very self, it is a special space "beyond "izvan arhitekture". Neuhvatljivi architecture". An elusive current sadašnji trenutak – dogadjaj u instalaciji moment – event has been symbolically je simbolički prikazan procjepom presented within the installation by a u zidu i ritmičnim kapanjem vode, rift in the wall and rhythmical dripping aludirajući na klepsidru ("vodeni sat") of water, alluding to clepsydra ("water i vječni protok vremena, u kome je clock") and eternal flow of time, in sadašnji trenutak samo jedna kap – which the current moment is only a drop "Tesibius (Ctesibius, 285-222 p.n.e) – "Tesibius (Ctesibius, 285-222 p.n.e) vodenim kapima odmjerava protok uses water drops to measure the flow of vremena i drži nas u uvjerenju da smo time and make us believe that we are in u sadašnjosti" [Keković, 2008: 73]. the presence." [Keković, 2008: 73]. 5. Epilog 5. Epilogue Investicija u "Porto Montenegru" je The investment of "Porto Montenegro" trenutno vrijedna 420 miliona eura, is currently valued at EUR 420 000 000, što je suma veća od one koja je bila which is an amount exceeding the one planirana na početku projekta 2006. i originally planned at the start of the 2007. godine (od maja 2016. godine project in 2006 and 2007 (since May novi vlasnik Porto Montenegra je 2016, the new owner is Investment Investment Corporation of Dubai Corporation of Dubai - ICD). [Mićić, - ICD). [Mićić, 2016] Uz hotel 2016] Adjacent to the "Regent" hotel, "Regent" se gradi novi poslovno- a new business and residential complex rezidencijalni kompleks "Regent "Regent Hotel Residences" is to be hotelske rezidencije" koji će imati 64 built, accommodating 64 suites, gym, apartmana, teretanu, bazen i ostale swimming-pool, and other amenities. prateće sadržaje. Kada jahta dužine Even a yacht 250m in length, once built, 250m bude napravljena moći će will be able to pass though the "doors" da prodje kroz "vrata" ("porta") i ("porta") and settle in the still waters of smjesti se u mirnim vodama marine marina ("porto") for super-yachts. This ("porto") za super-jahte. To je svakako is certainly the most authentic and most najvjerodostojniji i najčitljiviji simbol legible symbol of the post-industrial post-industrijskog razvoja Crne Gore. development of Montenegro. "Porto Montenegro" je od "Porto Montenegro" has grown from vjerovatnog postao stvaran. probable to real. What happened was Transformacija se dogodila. transformation. 62 Post-Industrial Montenegro: Transformation porto Montenegro AR 2017.1
Bibliography
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TIPOLOGIJA TRADICIONALNIH KUĆA NA CETINJU SKRAJA XIX I POČETKA XX VIJEKA TYPES OF TRADITIONAL HOUSES IN CETINJE AT THE END OF THE 19TH AND IN THE EARLY 20TH CENTURY
Ključne rječi Key words Kuća, ulični niz, potkrovlje, dvorište, House, street row, attic, yard, traditional. tradicionalan.
Izvleček Abstract Za razliku od starih gradova u okruženju Cetinje Unlike the old towns in its vicinity, as early se još u XV vijeku počelo razvijati prema konceptu as the 15th century Cetinje was formed as an otvorenog grada, bez odbrambenih utvrđenja. open town, devoid of any defence walls. Its Prirodno okruženje visokih i nepristupačnih natural environment of tall and impenetrable planinskih vijenaca činili su viševjekovna mountain ranges for many centuries made the prirodna utvrđenja i zaštitu Ceinju. U drugoj natural ramparts and protection of this town. polovini XIX vijeka Cetinje se razvilo kao urbani In the second half of the 19th century, Cetinje grad sa jasnom ortogonalnom urbanističkom developed as a town with a clear orthogonal matricom. Urbanistički ortogonalni plan jasno urban plan. Preserved until the present day, sačuvan i danas činile su dvije glavne paralelne the orthogonal pattern was defined by two longitudinalne ulice: Njegoševa (raniji naziv main parallel longitudinal streets: Njegoševa Katunska ulica) i ulica Baja Pivljanina, koje su Street (former Katunska St.) and Bajova Street, povezane mrežom poprečnih ulica. Ortogonalnu interconnected by a number of cross streets. urbanističku šemu gradile su stambene kuće u This orthogonal pattern included residential uličnom nizu, koje su sa mrežom poprečnih houses built in a street row, which together ulica formirale manje urbanističke blokove sa with a network of cross streets created small izgrađenim i aktivnim unutrašnjim dvorištima. urban blocks, with closed and actively used back UKD 728.3(497.16) Izgradnja kuća u uličnom nizu uticala je na yards. The erection of houses in a street row COBISS 1.02 razvoj kuće u visinu na osnovu čega se formirala entailed the addition of storeys, which resulted Prejeto 24.3.2017 njena specifična i jasna funkcionalna šema u in a specific and clear functional organisational organizaciji prostora. Shodno ekonomskoj moći scheme. In line with the financial situation vlasnika, krajem XIX i početkom XX vijeka, na of the owners, at the end of the 19th and the Cetinju su se formirala četiri tradicionalna tipa beginning of the 20th century, Cetinje saw stambenih kuća, koje i danas čine primjenljivi the development of four traditional types of tip kuće za građenje. Tradicionalnu tipologiju residential houses, applicable even today. Thus, cetinjskih kuća čine četiri tipa stambenih the traditional typology of houses in Cetinje kuća: 1. Prizemna kuća; 2. Prizemna kuća sa includes the following four types: 1. Single- potkrovljem; 3. Spratna kuća; 4. Spratna kuća sa storey house; 2. Single-storey house with an potkrovljem. U kuću se ulazilo direktno sa ulice attic; 3. Two-storey house; 4. Two-storey house – trotoara u dugački hodnik koji povezuje ulaz sa with an attic. The houses were accessed directly dvorištem. Krovovi kuća su dvovodni orjentisani from the street or the pavement, streight into prema ulici i prema dvorištu. Prostorna the long hall connecting the entrance with the urbanistička orjentacija kuće je ulica – kuća – back yard. They had gable roofs with street-yard dvorište, što predstavlja prostornu horizontalnu orientation. Also, they were characterised by the organizacionu šemu kuće. Prostornu vertikalnu traditional horizontal street-house-yard spatial šemu kuće čini: poslovno prizemlje sa ulazom organisation, while the vertical spatial plan kuće i ekonomskim prostorijama, stambeni sprat included: ground floor business premises with i stambeno potkrovlje isključivo sa spavaćim the entrance to the house and auxiliary facilities, prostorijama. Dvorišni prostor je ograđen residential upper floor and residential attic with kamenim nižim zidom građen od suvomeđe, bedrooms only. The yard was encircled by a not u komeru su pomoćne ekonomske i sanitarne so high dry stone wall and contained outbuildings dipl. eng. arch. Goran Radović prostorije. Kuće su najčešće malterisanih fasada and auxiliary facilities. The façades were usually Faculty of Architecture of the University of Montenegro sa visočijim prozorima koji su uvike imali pune plastered, featuring tall windows with wooden Džordža Vašingtona b.b., Podgorica, Montenegro drvene kapke sa unutrašnje strane. Ovakvi tipovi shutters on the inner side. These types of houses [email protected] kuća se i danas grade na Cetinju. are still built in Cetinje nowadays. 64 Types of traditional houses in Cetinje at the end of the 19th and in the early 20th century AR 2017.1
1. Uvod 1. Introduction Nastanak Cetinja, kao relativno The origins of Cetinje as a relatively mladog grada, sa svojim istorijskim new town with its old historic core jezgrom, skreće veliku pažnju na svoje draws great attention to its urban and urbanističko i graditeljsko nasljeđe, building heritage, the development of na čiji su razvoj uticala brojna burna which was influenced by a vast array of društvena i istorijska zbivanja u Crnoj turbulent social and historical events in Gori. the country. Cetinje kao naselje postoji već 500 As a settlement, Cetinje has existed godina, što nije mnogo u odnosu for five hundred years, which is na starije primorske aglomeracija u not so long in comparison with the njegovom neposrednom okruženju. coastal urban agglomerations in its Međutim, ovih pet vjekova je čitava immediate vicinity. However, these istorija jednog naroda, koji je kroz five centuries encapsulate the entire razvoj ovog grada bilježio trenutke history of a nation, which through the svog postanka, uspona i padova. development of the town recorded the Za Cetinje, kao urbanu gradsku moments of its creation, its ups and aglomeraciju, može se reći da je downs. As an urban agglomeration, nastalo u jednom dahu, što ga čini vrlo Cetinje can be said to have been created specifičnim. Naime, od 70-ih godina suddenly, which makes it quite peculiar. XIX vijeka, za nepunih pedeset godina, Notably, in less than fifty years starting nastala je, u urbanom smislu, tipološka from the 1870s, in urban terms, a i oblikovna karakteristična sredina, sa typologically and visually distinct town formi¬ranim gradskim stambenim was created with single-storey houses tipom prizemne kuće i kuće na sprat and two-storey houses with an attic, sa izgrađenim potkrovljem, nastalim developed in closed urban blocks, i razvijenim u zatvorenim urbanim with a characteristic street-house-yard blokovima, gdje je linija življenja u connection. 1 njima bila ulica-kuća-dvorište.1 The fastest and most important stage Najbrži i najznačajniji period razvoja of the development of Cetinje was Cetinja je period od 70-ih godina that from the 1870s to World War I XIX vijeka pa do pPrvog svjetskog (1870–1914). In this period, Cetinje rata (1870 – 1914). U tom periodu was the smallest European capital, Cetinje je bio najmanja evropska which copied the model of European prijestonica, koji je nastao da se razvija metropolises of the day, with a po principima evropskih metropola large number of foreign architects, toga vremena, u čijem je razvoju engineers, builders and skilled workers bilo angažovano mnogo evropskih taking part in its building activities. arhitekata, inženjera i graditelja. The development of the town in Razvoj Cetinja u tom periodu pratila this period was accompanied by su mnoga važna istorijska i društvena significant historical and social events. zbivanja. Priznanjem Crne Gore kao With the recognition of Montenegro samostalne države, na Berlinskom as a sovereign state in the Congress kongresu 1878. godine, započeo je of Berlin in 1878, a period of an ubrzan period u stvaranju državne, accelerated state, social and spatial društvene i prostorne nadgradnje. U development ensued. In this period, tom periodu Cetinje kao prijestonica, Cetinje as the country’s capital gained in dobija na još većem nacionalnom i national and international importance inostranom značaju i doživljava svoj and saw an accelerated social and urban ubrzani društveni i urbani razvoj, development, representing the model tako da predstavlja, u tom periodu, for the conceptual transformation of predstavlja uzor idejnog preobražaja other small towns in Montenegro. ostalih manjih gradova u Crnoj Gori. Cetinje developed in the vicinity of Cetinje se razvijalo u okruženju centuries-old coastal towns with viševjekovnih primorskih gradova sa ancient civilisations, drawing on their starim civilizacijama, crpeći njihova experience and the experience of iskustva i iskustva drugih evropskih other European urban environments; sredina, ali se razvijao na malom however, it was formed in the Cetinjskom polju, okružen kamenitim small Cetinje Valley, surrounded by planinskim masivima, što ga čini impassable rocky mountain ranges, specifičnim. which gives it a distinct character. 65 AR 2017.1 dipl.eng. arch. Goran Radović
U periodu od druge polovine Cetinje sa svojim konceptom XIX vijeka do početka Prvog otvorenog grada, dugo vremena svjetskog rata (1914), razvoj Cetinja nije pretstavljalo siguran prostor za karakteriše formiranje ortogonalne naseljavanje i izgradnju. Međutim, urbane matrice grada i tradicionalnih uvijek je oko Manastira u polju i pri tipova stambene arhitekture, koja brdu (u Medovini) bilo manje stalno je značajno uticala na promjene naselje. u tradicionalnoj ruralnoj kulturi Formirano na slobodnom i življenja svojih stanovnika. neizgrađenom polju, Cetinje nikada 2. Urbani razvoj Cetinje od nije imalo svoju gradsku granicu. polovine XIX vijeka do Prvog Dolaskom na prijesto Crne Gore svjetskog rata (1914) Petra II Petrovića Njegoša, u Izgradnjom Dvorca Crnojevića prvoj polovini XIX vijeka, stvaraju (1482) i Manastira Crnojevića se novi elementi državnosti i (1484), započeo je razvoj Cetinja kao Cetinje započinje svoj prvi urbani crnogorske prijestonice. Uz tadašnji korak. Naime, početna izgradnja srednjovjekovni Dvorac i Manastir stambenih kuća u polju, jedna do formira se naselje nepravilnog druge u uličnom nizu, formirala je urbanog koncepta, sa izgrađenim prvu ulicu i trg. Nastavak izgradnje kućama bogatije vlastele i državnih po ovom konceptu formirao je činovnika. Do tada na Cetinjskom dvije ulice Dvorsku i Katunsku, sa polju, uz njegov obodni sjeverni dio trgom na njihovom ortogonalnom bilo manjih naseobina sa prizemnim ukrštanju. U drugoj polovini XIX niskim kućama građenim od kamene vijeka Katunsku ulicu, kao glavnu okosnicu grada, sijeku nekoliko suvomeđe sa krovom od slame, koje poprečnih ulica sa izgrađenim su se stapale sa kraškim kamenitim stambenim kućama isto u uličnom prirodnim okruženjem. nizu, naslonjenih jedna na drugu. Turci su nekoliko puta razarali Poslije Berlinskog kongresa (1878.) Cetinje, do kraja XVIII vijeka, u Crnoj Gori i na Cetinju nastupa koje se ponovo obnavljalo u mirnodopski period, kada na Cetinju manjim stepenima izgrađenosti. nastaju sigurniji uslovi za život i Zbog bojazni od turskih razaranja, izgradnju. 2
Slika 1: Plan Cetinja iz 1875. g odine po Spiridonu Gopčeviću. Figure 1: Plan of Cetinje from 1875 according to Spiridon Gopčević. 66 Types of traditional houses in Cetinje at the end of the 19th and in the early 20th century AR 2017.1
In the period from the second half After the Congress of Berlin in of the 19th century to the outbreak of 1878, a peacetime period ensued in World War I (1914), the development Montenegro, creating in Cetinje more of Cetinje was characterised by favourable conditions for life and the formation of the orthogonal construction activity. 2 urban pattern and traditional types of residential architecture, which In the period from the 1870s to significantly influenced the changes in World War I, Cetinje developed in a the traditional rural way of life of its clear orthogonal urban pattern with a inhabitants. network of streets and closed urban blocks in which the houses were built 2. Urban development of Cetinje one next to the other, with closed back from the mid-19th century to World yards.3 The development of this urban War I (1914) concept was influenced by numerous foreign architects, builders and skilled With the erection of the Crnojević workers from the coastal region, Palace (1482) and Crnojević Monastery Dalmatia, Austria, Italy and France, (1484), the development of Cetinje hired on the construction of almost as the capital of the state began. all major buildings in Cetinje. Built in Around the Palace and the Monastery small, closed urban blocks, the houses a settlement was formed with an could not exceed two storeys with an irregular urban concept, made of the attic, which all made Cetinje an urban houses of the gentry and state officials. agglomeration tailored to suit the needs Until then, houses had been located of its inhabitants. only along the northern and north- western edge of the Cetinje Valley. The accelerated development of They were low, thatched, single-storey Cetinje from 1870 to World War I led houses built in dry stone technique, to the expansion of the town mostly to which were blended with the rocky the west towards the suburb of Bajice, environemt. forming another major street – Bajova th Street, parallel to Katunska (now By the end of the 18 century, the Njegoševa) Street and connected with Turks had demolished Cetinje on it through a number of small cross several occasions, but each time it was streets. In the early 20th century, further reconstructed again at least partially. on from these two streets in the western Due to the continued threat of Turkish direction, a new part of the town was demolition, with its concept of an built, referred to as Nova or Gornja open town Cetinje was not a safe area Varoš. Built on urban principles, in the for people to settle down and build forty years of intensive development their houses. Nevertheless, in the area lasting until 1914, Cetinje, the capital around the Monastery, in the field and of Montenegro, diversified its facilities at the foot of the hill (in Medovina), mirroring the developed European there was always a small settlement. capitals. In the following interwar Formed in a clean and undeveloped period, the inherited traditional field, Cetinje never had a clearly orthogonal urban concept was adopted defined city border. With Petar II and applied, with a network of streets Petrović’s accession to the throne and closed urban blocks. of Montenegro in the first half of the 19th century, new elements of 3. The development of traditional types of houses in Cetinje from statehood were created and Cetinje th made its first steps towards urban the mid-19 century to World War development. As residential houses I (1914) started to be built in the field in a row, The strengthened political role of the first street and the first square were Montenegro in the region in the early formed. The continued construction 1870s, as well as an increasing interest in of houses in the same way led to it among foreign countries, contributed the formation of two streets: Court to the expansion of the town, which and Katunska Street, with a square resulted in a population rise. According at their intersection at right angles. In to some sources, in 1868 there were the second half of the 19th century, 80 houses in Cetinje, and according Katunska Street, the backbone of the to the records of the Archimandrite town, was intersected by a number of Nićifor Dučić from 1874, the number cross streets with residential houses of houses increased to 155 with 500 also joined together in a row. inhabitants. 67 AR 2017.1 dipl.eng. arch. Goran Radović
U periodu od 70-ih godina XIX toliko male varošice, koja bi vukla vijeka do Prvog svjetskog rata, k sebi više radoznalih putnika, kao Cetinje se razvijalo po definisanoj Cetinje, i ima li druga koja državica, ortogonalnoj urbanističkoj, matrici sa kao Crna Gora, koja bi obraćala na mrežom gradskih ulica i zatvorenim sebe višu pažnju cijeloga svijeta i urbanim blokovima, u kojima su igrala tako važnu političku ulogu." 4 kuće izgrađene jedna do druge i sa 3 Sedamdesetih godina XIX vijeka, izgrađenim unutrašnjim dvorištima. počinju se na Cetinju graditi veće Na razvoj i formiranje ovakvog i savremenije kuće. Dotadašnje urbanog koncepta izvršili su uticaj cetinjske kuće bile su većinom mnogi strani arhitekti i graditelji sa prizemne, pretežno slamom Primorja, Dalmacije, Austije, Italije i pokrivene. Međutim, 1870. Francuske, koji su bili angažovani na godine,″na Cetinju je zabranjeno izgradnji svih značajnih objekata na pokrivanje krovova ražanom Cetinju. Najveća spratna izgrađenost slamom, jer je to bilo veoma opasno kuća je sprat i potkrovljem, u manjim u gradu gdje se kuće naslanjaju i gdje zatvorenim urbanim blokovima, što se nije uobičavalo da se prave kamini i je činilo Cetinje jednom urbanom dimnjaci," 5 pa je iz tog razloga slama aglomeracijom u mjerilu čovjeka. zamijenjena crijepom, što predstavlja Ubrzani urbani razvoj Cetinja od prvo građevinsko zakonsko pravilo. 1870 godine do Prvog svjetskog Jedan Češki naučnik, boraveći tih rata, razvio je grad, pretežno, ka godina na Cetinju, zapisao je da zapadnom dijelu, prema prigradskom "cetinjske kuće nisu bile ni prostrane, naselju Bajice, formirajući još jednu ni monumentalne, ni raskošne; paralelnu uličnu okosnicu, Ulicu Baja one su male, jednospratne, uvijek Pivljanina, koja je sa Katunskom napravljene samo za jednu porodicu, ulicom (sada Njegoševom) povezana čiste i ugledne. Zidane su skroz od preko manjih poprečnih ulica. kamena i pokrivene pločama ili Početkom XX vijeka, na zapadnom ćeramidom koju dovoze ovamo iz kraju glavnih ulica, formira se dio Crmnice. Prizemlje se ne nastanjuje grada zvana Nova ili Gornja Varoš. i napravljeno je za dućan...Starije Razvijano na urbanističkim kuće nemaju dimnjaka... Kuće koje principima, Cetinje je do 1914. se sada podižu već su snabdjevene godine, za četrdeset godina dimnjacima." 6 intenzivnog razvoja, postiglo gradsku Nove gradske stambene kuće, grade funkcionalnu sadržinu, koja ga je se sa prizemljem i spratom, sa većim približila razvijenim evropskim prozorima, pokrivene dvovodnim prijestonicama. krovom i pokrivačem od ćeramide, U narednom periodu razvoja, koja se proizvodila i dovozila iz između dva svjetska rata, prihvaćen obližnjih sela Crmnice. O ovome je naslijeđeni, već tada tradicionalni, nam govori i dr A.Bulonj, koji je urbani ortogonalni koncept sa tih godina zabilježio na Cetinju mrežom gradskih ulica i zatvorenim "Sve su zidane od bijelog krečnjaka, urbanism manjim blokovima. dosta grubo tesanog: polovina ih otprilike ima po mali sprat, a druge 3. Razvoj tradicionalnih prizemlje bez plafona. Prve su tipoloških kuća Cetinja od uopšte pokrivene crijepom, a druge polovine XIX vijeka do Prvog slamom."7 U svojim zapisima Bulonj svjetskog rata (1914) je opisao i enterijer stare cetinjske stambene kuće, koju opisuje da ima Jačanje političke uloge Crne Gore u oskudan namještaj i jednu prostoriju region, početkom 70-ih godina XIX u čijoj sredini se nalazi ognjište. vijeka, kao i veća zainteresovanost evropskih zemalja, uticali su na Novi koncept izgradnje gradskih urbanu ekspanziju Cetinja, što je stambenih kuća na Cetinju 70- znatno povećalo broj stanovnika. ih godina XIX vijeka bio je sa Tako je Cetinje 1868. godine imalo prizemljem bez ognjišta i izdijeljenim 80 kuća, a prema zapisu arhimandrita prostorijama i kuće sa prizemljem Nićifora Dučića iz 1874. godine 155 i spratom, gdje je prizemlje često kuća sa 500 stanovnika. Boraveći na namijenjeno za poslovni prostor, a Cetinju tih godina, Pavle A. Rovinski sprat za stanovanje. je zabilježio: "Ne znam ima li u svijetu 68 Types of traditional houses in Cetinje at the end of the 19th and in the early 20th century AR 2017.1
Staying in Cetinje in these years, Pavle A. Following the Congress of Berlin in Rovinski wrote: "I don’t know if there 1878, which ensured independence is any other small town in the world and significant territorial expansion to attract so many curious travellers to Montenegro, a peacetime period like Cetinje, or any other small country ensued characterised by a rapid like Montenegro to arouse the interest development of Cetinje as an urban of the whole world and play such an agglomeration. In this year, there important political role." 4 were 200 two-storey houses with 800 inhabitants. In the 1780s, the construction of larger and more modern houses began With a view to stimulating the in Cetinje, where the older houses were development of the town, the state mainly single-storey thatched houses. authorities gave monastery land for However, in 1870, "rye straw roof the construction of houses free coverings were banned in Cetinje, as of charge, which attracted many this was a very dangerous practice in tradesmen, craftsmen and affluent the town in which houses were built people to build their houses here. in a row, devoid of fireplaces and With the overall development of chimneys"5, so for this reason rye Cetinje as a modern capital city, the straw was replaced by clay roof tiles. European ways and urban lifestyles were increasingly emulated. A large A Czech scholar who stayed in Cetinje number of single-storey houses were in this period noted down that "the extended with an upper floor or an local houses are neither spacious, attic; many traders, craftsmen and nor monumental nor lavish; they are restaurateurs converted the ground small two-storey houses, clean and floor into business premises, leaving respectable, always built for one family the upper floor for living. In 1881, only. They are made of stone, covered there were 134 houses in Cetinje, with slate or clay tiles brought from while in 1882 its population was Crmnica. The ground floor is not 1,800.8 intended for residential purposes but is made as business premises… Older Thus, in the late 19th century, houses have no chimneys… The newly residential houses underwent erected houses are now equipped with organisational and functional chimneys." 6 changes. Residential houses in the town evolved, mirroring the modern The new residential houses in Cetinje appearance and the needs of the pro- were built as two-storey houses with European ways and urban lifestyles. large windows and a gable roof Many houses were added a new floor, covered with clay tiles, produced and with their attics used for residential transported from the nearby Crmnica purposes, always reserved for villages. Dr Alfred Boulogne also wrote bedrooms. The construction of this about this during his stay in Cetinje in type of houses, which offered greater the same period: "They were all built comfort, substantially altered the of white limestone, rather roughly lifestyles of the population, who soon dressed; about half of them have a rejected the traditional and rather small upper floor, while the others primitive way of life, centred around have just ground floor with no ceiling. the hearth as the focal point. All this The former are generally covered with 7 naturally led to social stratification clay tiles and the latter with thatch." based upon the socio-economic Boulogne also described the interior position and urban location. Thus, of the primitive local residential houses the ruling family and the highest (poorly constructed and older houses), officials lived in Court Street, while stating that they were equipped with Katunska Street was inhabited by sparse furniture and mostly made up the officials of diplomatic missions of one single room with a hearth in its and their families, many other clerical middle. and ducal families; finally, some state The new concept of residential houses institutions and shops with the trade in Cetinje in the 1870s implied single- and crafts population were also storey houses with partitioned rooms located in Katunska Street. without a hearth and two-storey houses with the ground floor often used as business premises and upper floor used as living space. 69 AR 2017.1 dipl.eng. arch. Goran Radović
Poslije Berlinskog kongresa 1878. Da bi uveli red u građenje stambenih godine, kojim je Crna Gora kuća u gradu, Ministarstvo dobila državni suverenitet, nastaje unutrašnjih djela je 1911. godine mirnodopski period i period naglog izdalo "Upustvo za građenje kuća", razvoja Cetinja kao gradske urbane što predstavlja prvi građevinski aglomeracije. Te godine Cetinje je Pravilnik za izgradnju kuća u Crnoj imalo oko 200 spratnih kuća sa 800 Gori. stanovnika. Početkom XX vijeka graditeljska Da bi se uubrzao razvoj Cetinja, ekspanzija na Cetinju se nastavljila država je davala besplatno manastirsko još jačim intezitetom, tako da je zemljište za gradnju kuća, što je grad u prvoj deceniji imao oko 500 privuklo mnoge trgovce, zanatlije i kuća sa više od 4000 stanovnika. bogatije ljude da ovdje grade svoje Broj stanovnika se stalno povećavao, kuće. Razvojem Cetinja u urbanu pa je Cetinje po popisu od 1909. prijestonicu, stvara se težnja ka godine imalo 5895 stanovnika. evropskom načinu i stilu života. Tada Pored izgradnje rezidencijalnih mnoge prizemne kuće doživljavaju lijepih zgrada stranih diplomatskih nadgradnju u sprat ili potkrovlje, poslanstava, mnoge privatne kuće su mnogi trgovci, zanatlije i ugostitelji se nadogradile, sanirale i uljepšale. pretvaraju prizemlja u dućane i druge Izgradnjom prve električne centrale u poslovne prostore, dok spratni dio Crnoj Gori i na Cetinju, 1910. godine kuće ostaje samo za stanovanje. ulice se osvjetljavaju električnom Cetinje već 1881. godine ima 134 rasvjetom i u gradske kuće se kasnije kuće, a naredne 1882. godine ima 8 postepeno uvodi električna energija. 1800 stanovnika. To su zabilježili i mnogi posjetioci Tako krajem XIX vijeka dolazi do kao i D. Konrad, koji kaže: "osobito promjena u organizaciji cetinjske kuće za ljetnjih noći čitav grad se preliva u i njene podjele u organizacionom radosnim bojama prirodnog svijetla i funkcionalnom smislu. Cetinjska i umjetnog električnog osvjetljenja", stambena kuća evoluira ka savremenom a Jelena Lazarević se nadovezuje izgledu i potrebama proevropskog u svojim bilješkama: "što je na stila i gradske kulture življenja. Mnoge posjetioca ostavljalo nezaboravne kuće su se nadogradile iskorištavajući vizuelne impresije." svoje tavane u stambena potkrovlja, Cetinje, osim što je bilo prijestonica koja su, uvijek imala namijenjena i središte političkog života, bilo je i za spavaće sobe. Izgradnja ovakvih središte kulturnog i intelektualnog gradskih stambenih kuća, sa većim života Crne Gore, toga vremena. komforom u mnogome je izmijenila Grad se toliko brzo razvio da je 1914. gradsku kulturu življenja na Cetinju, godine imao, "691 stambenu kuću. koja je brzo odbacila dotadašnji od kojih je 385 izgrađeno do 1900. primitivan tradicionalan način života godine, a 306 u periodu od 1900-1914 u kući organizovan oko ognjišta kao godine."10 Na osnovu ovih podataka epicentra. Sa promjenama u kulturi možemo konstatovati da se grad življenja na Cetinju počinje i socijalno razvijao veoma ubrzanim tempom raslojavanje na osnovu ekonomskog težeći ka evropskim standardima stanja socijalno-staleške pripadnosti i gradskog života toga perioda, što urbane pozicije. Tako su u Dvorskoj je zapisala i Isidora Sekulić, da ulici živjeli vladarska porodica i se procvat grada ogledao i u "... državno činovništvo, dok su u održavanju života visokog stila."11 glavnoj Katunskoj ulici (Njegoševoj) bile smještene diplomatske misije i sa 3.1. Tipologija tradicionalnih kuća porodicama, mnoge druge činovničke na Cetinju i vojvodske porodice, neke državne ustanove kao i dućani sa trgovačko- U ovom "zlatnom periodu" razvoja zanatskom populacijom. "Da bi se Cetinja kao urbane aglomeracije, podstakla gradnja kuća na Cetinju, razvili su se i nastali su tradicionalni 1911. godine, se daju olakšice za uvoz tipovi gradske cetinjske a ujedno cementa, eternita i željeza." 9, što je i crnogorske kuće sa svim svojim pojačalo graditeljsku ekspanziju, nad specifičnostima u urbanističkom i kojom je kontrolu imala Građevinska arhitektonskom smislu. uprava pri Ministarstvu unutrašnjih djela i Uprava varoši Cetinja. 70 Types of traditional houses in Cetinje at the end of the 19th and in the early 20th century AR 2017.1
"In order to stimulate the construction In the "golden age" of the development of houses in Cetinje, in 1911 tax of Cetinje as an urban agglomeration, exemptions were granted on the the Montenegrin traditional urban import of cement, fibre cement and residential house emerged with all iron,"9 which further promoted the its architectural and organisational construction boom, with building peculiarities. With the development of activity being controlled by the the town, and in line with its economic Construction Authority under the and residential needs, four types of Ministry of Internal Affairs and the urban residential houses were formed, Local Administration of Cetinje. With as follows: a view to regulating the construction of residential houses, in 1911 the 1. single-storey house; Ministry of Internal Affairs issued the 2. single-storey house with an attic; Instructions for Building Houses, the first Building Rulebook in Montenegro. 3. two-storey house; In the early 20th century, the 4. two-storey house with an attic. construction boom in Cetinje 3.1.1. Single-storey houses were a Slika 2: Primjeri Prizemnih kuća sa intensified, resulting in the 1900s in rarity and they were raised by poorer p o t k r o v l j e m n a C e t i n j u ( F o t o : G . R a d o v i ć ) . around 500 houses with over 4,000 families. They were not built in the Figure 2: Single-storey houses with an attic in inhabitants. The population rose main streets but rather in more Cetinje (Photo: G. Radović). continuously, reaching the number remote cross streets, in small urban of 5,895 inhabitants according to blocks. This type of houses was used the 1909 census. Along with the for residential purposes solely. They construction of impressive foreign were accessed directly from the street, legations, many private houses were into a low longitudinal hall leading extended, renovated and beautified. to the back door. The hall separated With the construction of the first the living room from bedroom(s). electric power plant in Montenegro The back yard was accessed through and in Cetinje, in 1910 electric street the hall. This type of houses often lighting was introduced together featured stone façade, devoid of any with the gradual electrification of architectural decoration of the day. residential houses. This was noted by 3.1.2. Single-storey houses with various visitors, including D. Conrad an attic were erected by the middle who writes that: "especially during class, usually exclusively for family summer evenings, the whole town is housing needs. They were built in bathed in the joyful colours of natural street rows, in closed urban blocks and artificial electric light", which, to closer to the central zones, and were use the words from Jelena Lazarević’s also accessed directly from the street. records, "left an unforgettable visual The organisation of space included impression on the visitors". the following: entrance, hall and living Apart from being the capital and space on the ground floor, sleeping the centre of political life, Cetinje area in the attic and auxiliary facilities in was also the focal point of cultural the yard. The ground floor contained and intellectual life of Montenegro. a relatively long hall providing a street- The town had developed to such an house-yard connection, with rooms extent that in 1914, just before World on one or on both sides. If the house War I broke out, the total number of was built by a more affluent family, it residential houses was "691, out of was wide enough to allow ground floor which 385 were built by 1900, and rooms on both sides of the central 306 in the period 1900–1914."10 These hall. In this type of house, the room data indicate that the town developed used for living, cooking and dining at a very accelerated pace, aspiring for was separate from the reception room. the European standards of urban life, The hall, dividing the ground floor which was also recognised by Isidora into two equal units, featured a single Sekulić, who stated that "overall staircase made of wood, or a curved prosperity also reflected in high staircase leading to the attic. The attic lifestyle."11 was designed as a sleeping area, with small bedrooms characterised by a 3.1. Types of traditional houses in sloping ceiling and small dormers Cetinje with their own little roofs and walls, which is a typical feature of this type of house. 71 AR 2017.1 dipl.eng. arch. Goran Radović
Uporedo sa razvojem grada, a zavisno od njegovih socijalnih i stambenih potreba, na Cetinju su se razvila četiri tipa gradskih stambenih kuća i to: 1. Prizeman kuća; 2. Prizemna kuća sa potkrovljem; 3. Spratna kuća; 4. Spratna kuća sa potkrovljem. 3.1.1. Prizemne kuće su se rjeđe gradile i to su kuće siromašnijih porodica. Kuće ovog tipa su manjih gabarita i rijetko su građene u glavnim ulicama, nego u sporednim poprečnim ulicama. Ovaj tip kuće se isključivo koristio za stambenu namjenu. U ove kuće se ulazilo direktno u podužni hodnik koji se pružao do izlaza za dvorište iza kuće. Hodnik je razdvajao sobu za dnevni boravak i sobu ili sobe namijenjene za spavanje. U dvorišni prostor, iza kuće, Slika 3: Osnove, presjek, fasada i položaj se ulazilo iz hodnika. Ovakve kuće su u prostoru tradicionalne prizemne često imale kamenu uličnu fasadu, bez kuće sa pokrovljem s kraja XIX i p o č e t k o m X X v i j e k a ( G. R a d o v i ć ) . primjene arhi-tektonske plastike toga Figure 3: Plans, cross-section, the front and the vremena. position of the traditional single-storey house 3.1.2. Prizemne kuće sa potkrovljem with an attic at the end of the 19th and the beginning of the 20th century (G. Radović). su gradili srednji slojevi stanovništva, obično samo za stambene potrebe. Građene u uličnom nizu zatvorenih urbanih blokova, bliže centralnim zonama grada, u koje se isto ulazilo u podužni hodnik direktno sa ulice. U organizacionom smislu kuća je izdijelila na: ulazno-komunikacioni i boravišni prizemni dio, na spavaći potkrovni dio i ekonomski dvorišni dio sa pomoćnim objektima. U prizemnom dijelu kuće je ulazni podužni hodnik koji je pravca ulica-kuća-dvorište, iz koga su na jednu stranu ili na obije bočne strane, formirane prostorije. Ako je kuću gradila malo imućnija porodica, onda je ona imala veći ulični gabarit, onda je imala centralno postavljeni hodnik i sobe sa njegovim bočnih strana. sa prizemnim prostorijama lijevo i desno od hodnika. Kod ovog tipa kuće u organizacionom smislu, odvojena je prostorija za boravak i kuvanje sa ručavanjem od prostorije za prijem gostiju. Iz hodnika, koji razdvaja po sredini dvije blokovske prizemne cjeline, vodi drveno jednokrako stepenište do potkrovlja kuće. P kuće., manjih dimenzija Potkrovlje uvijek ima namjenu za spavanje, gdje su spavaće sobe, najčešće kosim tavanicama, manjim krovnim prozorima, koje imaju svoje male zidove i krov, što daje jednu od karakteristika ovom tipu kuće. 72 Types of traditional houses in Cetinje at the end of the 19th and in the early 20th century AR 2017.1
At the end of the hall there was a door to the yard with auxiliary facilities such as: toilet, some kind of bathroom with wood-burning water heater, summer kitchen, various storage rooms, eaves, while better-off families also had an underground water tank. The yard was separated from the neighbours’ to the left and right by a dry stone wall. 3.1.3. Two-storey houses were built by richer families of the local headmen or tradesmen and craftsmen. This type of houses emerged as a response to the lack of ground floor business premises in the main streets, which became necessary towards the end of the 19th and at the beginning of the 20th century, when there was an influx of craftsmen’s and tradesmen’s families to Cetinje. The only feasible option for business premises was adaptation of ground floors to serve business purposes and addition of a new floor for living. The business premises had a direct access from the street. The entrance to the house remained on the main façade, while the entrance hall was preserved with a single wooden staircase leading to the upper floor. This is when a clear functional division of storeys was Slika 4: Osnove, presjek i fasada tradicionalne made: business premises on the ground Prizemne veće kuće sa potkrovljem na Cetinju floor and residential upper floor. The s kraja XIX i početkom XX vijeka (G.Radović). upper floor contained living rooms Figure 4: Plans, cross-section and the front of a larger single-storey house with an attic in Cetinje and bedroooms. The adapted ground at the end of the 19th and the beginning of the floors had very low ceilings and were 20th century (G. Radović). most commonly used by craftsmen for their workshops. The ground-floor hall had a street-yard orientation. The yard contained auxiliary facilities: storage rooms and toilet. 3.1.4. Two-storey houses with an attic were also built by better-off families. They were originally large two- storey houses, the ground floors of which, formerly used for living, were converted into business premises; at the same time, the houses were heightened with the addition of an attic. In some cases, an attic was additionally built not because of the conversion of the ground floor but for the sake of greater comfort for the wealthy headmen’s families. 4. The common typological features of traditional houses in Cetinje On the basis of the reconstructed plans and photographs, the following common characteristics of the above-mentioned types of houses can be identified: 73 AR 2017.1 dipl.eng. arch. Goran Radović
Iz centralnog hodnika se direktno izlazi na dvorište iza kuće, u kome su izgrađene pomoćne prostorije za različite svakodnevne potrebe kao što su: sanitarna prostorija za WC i sanirtarna prostorija za kupanje sa kazanom za vodu koji se grijao na drva, ljetnja kuhinja, razne ostave i nadstrešice a kod imućnijih porodica je bio izgrađen i ukopani rezervoar za vodu. Dvorište je sa obije strane, prema susjedima, ograđeno ne visokim kamenim zidovima od "suvomeđe". 3.1.3. Spratne kuće gradile su imućnije cetinjske porodice i trgovačko- zanatlijske porodice. Naime, ovakav tip kuće nastao je kao posljedica nedostatka poslovnih prizemnih prostora u glavnim ulicama krajem XIX i početkom XX vijeka, kada Slika 5: Osnove, presjek i ulična u Cetinje dolaze mnoge zanatlijske fasada tradicionalne Spratne kuće sa potkrovljem na Ceinju s kraja XIX i i trgovačke porodice. Kao jedina p o č e t k o m X X v i j e k a ( G. R a d o v i ć ) . mogućnost pravljenja poslovnih Figure 5: The plans, cross-section and the front prostora bilo je da se prizemlja kuća of the traditional two-storey house with an attic pretvore u poslovne prostorije a da in Cetinje at the end of the 19th and the beginning se na kući nadogradi stameni sprat. of the 20th century (G. Radović). U poslovne prostor se ulazili direktno sa ulice. Na uličnoj fasadi je zadržan ulaz u kuću, odnosno u podužni hodnik sa jednokrakim drvenim stepeništem koje je vodi na sprat kuće. Tada je došlo do jasne funkcionalne podjele po etažam, na poslovne prizemlje i stambeni sprat. Na spratu su prostorije za boravak i primanje gostiju i prostorije za spavanje. Poslovno prizemlje kod ovih lokala često je bilo sa niskim plafonima i koristili su ga obično zanatlije za svoju radionicu. Prizemni hodnik je pravca ulica-dvorište. U dvorištu su pomoćne sanitarne i ekonomske prostorije. 3.1.4. Spratne kuće sa potkrovljem takođe, su gradile imućnije cetinjske porodice. To su veće kuće na sprat koje su ranije u prizemlju imale stambene prostorije, koje su pretvarali u poslovne prostore, a kuća se nadograđivala i proširivala jedino u visinu, dogradnjom potkrovlja ili adaptacijom tavana za stambenu spavaću namjenu. Ponekad se potkrovlje potkrovljem nadogradilo samo zbog porodičnog komfora, a to su uglčavnom radile imućnije glavarske porodice.
74 Types of traditional houses in Cetinje at the end of the 19th and in the early 20th century AR 2017.1
- The living space of the house had a direct access from the street, through the hall; - Ground floor business premises also had a direct access from the street; - The longitudinal hall stretching in the street-yard direction had a single, sometimes partly curved staircase made of wood, leading to the living space on the upper floor; - The upper floor was exclusively used as living space; - Cooking facilities, storage rooms and toilet were located in the back yard; - The attic was exclusively used as living space (bedrooms); - The façades were usually plastered although the houses were made of broken stone; - Doors and windows on the street façade are large and rectangular, accentuated by finely dressed stone beams (surrounds); - On the inner side, windows were equipped by wooden shutters; - The houses had gable roofs with street-yard orientation; - The houses had dormers with their their own gable, pent or arched roofs; - The roofs had plastered chimneys; The eaves were small, equipped with rain gutters; - The houses were traditionaly covered by clay tiles or by slate laid in a diagonal style; - The richer and larger houses boasted architectural decoration on the main façade, including stone window surrounds, prominent rectangular Slika 6: Primjeri Spratnih kuća sa and arched entrances and beautiful p o t k r o v l j e m n a C e t i n j u ( F o t o : G . R a d o v i ć ) . Figure 6: Two-storey houses with an attic in wooden doors, sometimes a Cetinje (Photo: G. Radović). mildly accentuated string course, ornamented balcony upstairs as well as some decorative applications on the façade and balcony railings. Some records from this period show that many foreign architects, builders and skilled workers hired to work on the construction of numerous public buildings in Cetinje were also involved in the construction of richer and more beautiful houses. 5. Architectural elements of traditional houses in Cetinje All the four types of traditional houses in Cetinje share several common architectural elements. The analysis of certain architectural elements reveals their typological characteristics. 75 AR 2017.1 dipl.eng. arch. Goran Radović
4. Zajedničke tipološke Na osnovu nekih zapisa iz tog vremena karakteristike tradicionalnih kuća vidi se da su se za gradnju ljepših i na Cetinju bogatijih kuća angažovali brojni strani Na osnovu skica rekonstrukcije arhitekti, graditelji i majstori, koji tradicionalnih tipova cetinjskih kuća i su boravili na Cetinju a bili su ovdje fotografija primjera, mogu se sagledati angažovani oko izgradnje mnogih zajedničke karakteristike ovih tipova javnih objekata. kuća: 5. Arhitektonski elementi - Ulaz u kuću je direktno sa ulice , tradicionalnih kuća na Cetinju odnosno u hodnik za stambeni dio kuće; Sva četiri tipa tradicionalnih cetinjskih - Ulaz u poslovne prizemlje je kuća veže nekoliko zajedničkih diretno sa ulice; arhitektonskih elemenata. Analiza - Podužni hodnik u kući je pravca određenih arhitektonskih elemenata ulica-dvorište u kome je drveno pokazuje njihove tipološke jednokrako, stepenište, koje vodi karakteristike. na stambeni spratni dio kuće; 5.1. Krov - Sprat kuće je uvijek namijenjen samo za stanovanje; Sve kuće na Cetinju građene su u - Dvorište je organizovano sa uličnom nizu naslanjajući se jedna na pomoćnim objektima za kuhinju, drugušto je nametnulo da kuće imaju sanitarjije i ostave za ekonomske dvovodne krovove, sa padom ka ulici potrebe; i ka dvorištu. Izuzeta su kuće na uglu - Potkrovlje je uvijek namijenjeno urbanog bloka čiji krovovi su kod nekih samo za stanovanje odnosno za kuća trovodni. Razvojem kuće u visinu spavanje; razvijao se i krov u nagibu, pokrivaču i - Fasade kuća su najčešće malterisane arhitektonskim elementima. iako su objekti građeni od lomljenog Dvovodna krovna ravan, polovinom kamena; XIX vijeka, bila blažeg nagiba, pokrivena - Prozori i vrata na uličnoj fasadi slamom a koja je u drugoj polovini su veći pravougaoni, naglašeni i XIX vijeka zamijenjena kanalicom. uokvireni fino klesanim kamenim U tom periodu nagib krovne ravni se blokovima (gredama); povećao do oko 350, naročito kada je - Prozori sa unutrašnje strane imaju kuća evoluirala u visinu izgradnjom pune drvene kapke; stambenog potkrovlja. Tada se krovna - Krovoi kuća su dvovodni ravan razigrala krovnim prozorima sa orjentisani ulica – dvorište; krovnim badžama (viđenicama). - Pokrovni prozorisu sa krovnim kućicama ("badže" ili "viđenic") Ovako razvijeni dvovodni krovovi sa sa dvovodnim, jednovodnim ili krovnim badžama, nanizani jedan do blago lučnim manjim sopstvenim drugog raznih visina, činili su tada, a krovom; i danas, razigranu i romantičnu sliku - urbanog ambijentalnog kompleksa Na krovu se nalaze dimnjaci starog jezgra Cetinja, dajući poseban omalterisanih zidova; akcenat i draž petoj fasadi u strukturi - Krovna streha je mala i ima oluke; 12 - Kuće su tradicionalno pokrivene grada. kanalicom ili kvadratima eternita 5.2. Prozori i vrata slagan u dijagonalnom slogu; - Polovinom XIX vijeka fasadni otvori Kod bogatijih i većih kuća na stambenim kućama bili su vrlo mali. primjenjivala se arhitektonska Evoluiranjem cetinjske stambene kuće plastika na uličnoj fasadi, koja ka evropskim standardima, povećavaju se ogledala u kamenim okvirima se i ukrašavaju prozorski otvori i (gredama) prozorskih otvora, ulazna vrata. Prostorna modernizacija naglašenim pravo¬ugaonim i i reorganizacija kuće nametnula je lučnim ulazima i lijepim drvenim novu i veću dimenzionalnost prozora, vratima, ponekad blago naglašenim ostakljenih i izrađenih od kvalitetnijeg horizontalnim spratnim vijencem, i obrađenog drveta. Prozori na ukrašena dekorisanim balkonom na stambenim boravišnim prostorijama, spratu kuće kao i nakim ukrasnim naročito prema ulici, bili su dvo¬krilni, aplikacijama na fasadi i ogradi kasnije i trokrilni, izdijeljeni rasterno balkona. na manje kvadratne prozorčiće. 76 Types of traditional houses in Cetinje at the end of the 19th and in the early 20th century AR 2017.1
5.1. Roofs With the development and modernisation of the residential Since the houses were joined together house, the size of the doors in rows, the pridominant roof solution increased, both in their width and in was gable roof with the street-yard their height. Very often, they were orientation, with the exception of the double-winged and 2/3 glassed. houses positioned at the corner of an The arched or rectangular front urban block, where another slope was doors, making part of the main sometimes installed. As the houses façade, were accentuated by nicely grew in height, their roofs developed dressed stone surrounds, fine wood in the pitch, covering and architectural carvings and so on. Sometimes an elements. iron canopy was installed above the In the mid-19th century, the gable roof door, or a decorative balcony on the structure had a lower pitch and was upper floor shielded the door from covered with thatch, which was soon rainwater. 14 replaced by interlocking clay tiles. In 5.3. Balconies this period, the roof pitch increased to about 350, particularly when the houses With the development of the were heightened with the addition of urban residential house in Cetinje, an attic. This is when the monotony of particularly in the first decade of the roof surfaces was broken with the the 20th century when an upper introduction of dormers. floor or attic were added, in pursuit of prestige the need aroused for The gable roofs with dormers, the beautification of the house stretching in a row next to each other façades. Thus, usually on the houses at varying heights, contributed and of wealthier families, beautiful still contribute to the dynamic and balconies were built on the upper romantic image of the old core of floor, boasting exquisite decorative Cetinje, thus making the charming concrete or iron railings. fifth façade a prominent feature in the town structure. 12 Balconies were aesthetic details on the street façade, most commonly 5.2. Doors and windows located above the front door, making In the mid-19th century, the openings a protective overhang for the door. on residential houses were very small. As balconies were an element of With the evolution of the urban the façade, their maximum allowed residential houses in line with the projection towards the street European standards, window openings was 1.10 metres, which was later and front doors were changed and prescribed by the Instructions for decorated. The modernisation and Building Houses.15 reorganisation of the house implied 5.4. Façades larger glassed windows made of high quality treated wood. Living room In the urban pattern of street windows, particularly those facing the rows within closed urban blocks, street, were double or later even triple only the fronts of the houses are casement windows divided into small public, making a typical street façade panes. Their upper part, especially contributing to the overall image of in richer homes, consisted only of a the town. single pane which opened separately. In the period from 1870 to World With the development of the War I, windows were equipped with residential house towards the end of the 19th and at the beginning of interior solid panel shutters, especially th on the ground floor. By rule, window the 20 century, an awareness was shutters were always interior, never developed of the façade decoration. exterior. Thus, their appearance changed, with newly designed and accentuated Dormer windows were somewhat doors and window openings, smaller, usually double and multi- balconies, string courses, dormers, paned.13 In the mid-19th century, chimneys, roofs, mouldings and houses had quite small and simple so on. Most houses had plastered single doors, about 1 metre wide and façades, with some exceptions of 1.6–1.7 metres high, made of semi- stone façades. processed wood planks arranged horizontally. 77 AR 2017.1 dipl.eng. arch. Goran Radović
Gornji dio prozora, kod imućnijih Tako se naglašavaju i dizajniraju vrata i kuća, bio je bez podjele u cijeloj širini, prozorski otvori, balkoni, fasadni vijenci, otvarajući se pojedinačno na ventus. krovne badže, dimnjaci, krovne ravni, Prozori, u period od 1870. godine fasade, aplikacije i sl. Većina kuća ima do Prvog svjetskog rata, naročito u malterisane fasade osim jednog manjeg prizemlju, su sa unutrašnje strane boja kuća koje imaju kamene fasade. imali drvene dvokrilne pune kapke. Interesantna je zagonetka i činjenica da Kapci na prozorima nikada nisu su kuće većinom omaleterisanih fasada, bili sa spoljnje strane, nego uvijek sa kada se sve kuće u ruralnom okruženju unutrašnje strane.13 Krovni prozori i u Primorju tada imale kamene fasade. su manjih dimenzija, dvokrilni, sa Razlog za to je višestruk: rasternim podjelama. - Za izradu kamene fasade potrebno Vrata na stambenim kućama polovinom je bilo duže vrijeme, zbog dužeg XIX vijeka bila su jednostavnija i niža, perioda pripreme oko klesanja jednokrilna, manjih dimenzija, širine kamena za gradnju; oko 1 m i visine od oko 1,6-1,7 m, - Za izradu kamenih fasada potrebno izrađena od poluobrađenih drvenih je bilo angažovati dobre majstore, dasaka složenih u horizontalnom a koji su u to vrijeme bili veoma slogu. angažovani na primorju; Razvojem i modernizacijom stambene - Kamenoklesački majstori su bili kuće, dimenzija vrata se povećava po skupi pa se time gradnja kuće širini i po visini. Vrlo često se prave znatno poskupljivala; dvokrilna i zastakljena vrata u 2/3 gornjeg dijela. Ulazna vrata, kao - Rok za igradnju kuća na Cetinju je dio ulične fasade, su se naglašavala bio dvije godine; fino klesanim kamenim okvirima, - Malter na fasadama činio je kuću lijepom drvenom rezbarijom, lučnim toplijom; ili pravougaonim završetkom i sl. Ponekad se iznad vrata ugrađivala - Unutrašnji zidovi su od kamena željezna nadstrešica ili je ukrasni malterisani krečnim malterom; balkon sa sprata pravio i štitio od kiše 14 - Plafoni su od trske i krečnog ulazna vrata. maltera i drvene međuspratne 5.3. Balkoni konstrukcije; Razvojem gradske stambene kuće - Lakše je bilo uskladiti fasade kuće sa Cetinja, naročito početkom XX vijeka, nadogradnjama. nadgradnjom sprata i potkrovlja, Početkom XX vijeka, Cetinje je živjelo nametnula se potreba prestiža za evropskim stilom, u atmosferi prestiža uljepšanjem uličnih fasada kuća, uljepšavale su se fasade kuća, što je naročito u prvoj deceniji XX vijeka. značajno doprinijelo ljepšoj i prijatnijoj Tako se na spratnom dijelu, obično sliki grada. bogatijih kuća, izgrađuju lijepi balkoni sa lijepim betonskim ili željeznim 5.4. Dvorište ukrasnim ogradama. Razvojem grada sa izgradnjom kuća Balkoni su bili estetski detalji ulične u uličnom nizu u ortogonalnom fasade, locirani najčešće iznad ulaznih urbanističkom konceptu sa mrežom vrata, praveći joj zaštitnu strehu. gradskih ulica i zatvorenim urbanim Balkon kao fasadni element mogao blokovima, iza kuća su nastala dvorišta. je da bude prepušten prema ulici Razvojem kuće i gradske kulture življenja, maksimum 1,10 m, što je i regulisano, u dvorištima su građene pomoćne kasnije, u Uputstvu za građenje kuća. 15 prostorije za potrebe domaćinstva: kuhinje. Sanitarne protorije, ekonomske 5.4. Fasade prostorije i dr. Tako se javila potreba Ovakva gradnja stambenih kuća u da se dvorište ogradi. Kao najeftiniji uličnom nizu u urbanoj formi sa način, primijenjen je ogradni zid od zatvorenim blokovskim cjelinama, ima suvomeđe (zid od lomljenog kamena karakterističnu jedino uličnu fasadu bez vezivnog maltera) koji je bio koja predstavlja ukupnu sliku grada. srednje visine za formiranje privatnosti. Razvojem stambene kuće na Cetinju, S obzirom na sadržaje koji su se nalazili krajem XIX i početkom XX vijeka, u dvorištu, ono je bilo aktivni učesnik u razvijala se svijet o uređenju fasada. svakodnevnom životu svojih građana. 78 Types of traditional houses in Cetinje at the end of the 19th and in the early 20th century AR 2017.1
It is interesting to see that the majority 6. Conclusion of façades were plastered when all the houses in the rural surroundings From 1870 to World War I, Cetinje and in the coastal region were saw the development of more characterised by stone façades. The comfortable family houses built in reasons were manifold: an even street row, with back yards which played an active part in the daily - The making of a stone façade lives of the population. Most houses required longer time, due to the had plastered façades, with some lengthy preparatory works on the exceptions of stone façades. They stone itself; were made of dressed stone bound - with mortar. Following the recognition The making of a stone façade of Montenegro as a sovereign state at required hiring highly skilled the Congress of Berlin in 1878, the craftsmen, who were very busy in social and economic conditions in the coastal area at that time; the country and its towns changed. - Hewers were expensive to hire, As the country’s capital, Cetinje saw a which significantly increased the construction boom and a considerable construction costs; population rise, its residential houses - starting to mirror the contemporary The deadline for the construction European standards of the day. A of a house in Cetinje was two major role in this was played by years; numerous architects, engineers and - The plaster on the façades made builders from France, Austria, Italy, the house warmer; Dalmatia, as well as by the education - of Montenegrin professionals in Interior stone walls were plastered European countries. with lime mortar; - In this period four distinguishable The ceilings were made of cane house types developed in Cetinje: and lime mortar and wooden joists single-storey, single-storey with an and beams; attic, two-storey and two-storey with - It was easier to harmonize the an attic. The houses were joined façade of a house with subsequent together in street rows, in closed urban additions. blocks with back yards. The street th façade was at the same time the street In the early 20 century, with the line and the building line, which means adoption of European lifestyles, that the houses were erected right façade decoration became a matter next to the street. Behind them were of prestige for private house-owners, enclosed back yards, stretching along which resulted in a more appealing their entire width, with single-storey and more pleasant appearance of the outbuildings in them (storage rooms, town. toilet, summer kitchen and others). 5.6. Yards The construction of residential With the development of the town houses joined together in street rows, in the longitudinal pattern, with a with enclosed back yards, followed the network of streets and closed urban well-established customary building blocks, and with the process of rules with respect for neighbours parcelling, yards were formed. Along and the inviolability of their space. with the heightening of houses and On the basis of the developed and the development of urban lifestyles, modernised house types, in 1911 outbuildings were raised to meet the legal rules of construction were various household needs: kitchens, adopted, called "Instructions for toilets, storage rooms and so on. This Building Houses". For the first time, is how the practical necessity arose houses had a double purpose: they to enclose the yard. The cheapest were simultaneously used as business option was a dry stone wall (broken premises and as living space. Notably, stone without mortar), tall enough to the ground floor of two-storey houses ensure privacy. A yard organised in was converted into business premises this manner became an integral part while the upper floor and the attic of everyday life and a very important were used as living space. This was element of an urban residential influenced by the coastal towns from house. the surrounding areas. 79 AR 2017.1 Ljubljana
6. Zaključak U periodu od 1870. godine do Prvog svjetskog rata, na Cetinju se razvija stambena porodična kuća (samo za jednu porodicu), većeg komfora, u pravilnom uličnom nizu sa dvorištem iza kuće koje je bilo aktivni učesnik svakodnevnog života. Fasade kuća su većinom malterisane, osim jednog manjeg broja koje imaju kamene fasade. Kuće su građene od klesanom kamena sa vezivnim krečnim malterom. Dobijanjem državne nezavisnosti na Berlinskom kongresu 1878. godine, promijenili su se i poboljšali društveno- ekonomski uslovi u državi i njenim gradovima. Cetinje, kao prijestonica Crne Gore, u ovom periodu doživljava graditeljsku ekspanziju i porast broja stanovnika, što prati evoluiranje stambene kuće ka evropskim standardima toga vremena. Na to su imali i uticaj mnogi strani arhitekti, inženjeri i graditelji iz Francuske, Austrije, Italije, Dalmacije, kao i školovanje crnogorskih kadrova u evropskim zemljama. Stambena kuća, u ovom periodu, na Cetinju razvila se u četiri tipa: prizemna, prizemna sa potkrovljem, spratna i spratna sa potkrovljem. Kuće su građene u pravilnom uličnom nizu naslonjene jedna na drugu, u zatvorenim urbanim blokovima sa unutrašnjim dvorištem. Ulična fasada je ujedno i građevinska i regulaciona linija koja graniči lokaciju sa ulicom, što znači da je kuća na parceli izgrađena tik uz ulicu. Iza kuće je ograđeno dvorište, u širini kuće, sa izgrađenim pomoćnim prizemnim objektima (ostave, sanitarne prostorije, ljetna kuhinja i dr.). Izgradnja stambenih kuća naslonjenih jedna na drugu u uličnom nizu i sa ograđenim unutrašnjim dvorištem se razvijala uz jake principe običajnog pravila građenja sa osloncem na poštovanje susjeda i njegove nepovredivosti. Na osnovu razvijene tradicionalne tipologije cetinjskih kuća, 1911. godine donešeno je prvo građevinsko prailo za građenje kuća "Upustvo za građenje kuća". U kućama se, po prvi put uvodi dvonamjenski funkcionalni karakter, poslovni i stambeni istovremeno. Naime, kuće na sprat su, uglavnom, u prizemlju imale poslovnu funkciju, dok je na spratu i potkrovlju bila stambena funkcija. Takva dvonamjenska funkcionalnost kuće uticaj je primorskih gradova u okruženju.
80 Types of traditional houses in Cetinje at the end of the 19th and in the early 20th century AR 2017.1
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1. Radović G., (2012), Arhitektura Cetinja 1. Dučić N.Arhimandrit, (1874), Crna od XV vijeka do drugog svjetskog Gora - Bilješke, Beograd. rata, CANU (Crnogorska Akademija Nauka i Umjetnosti), Posebna izdanja 2. Durković - Jakšić, (1963),Englezi o (Monografije i studije) Knjiga 92, Njegošu i Crnoj Gori, Titograd. Odjeljenje umjetnosti Knjiga 29, Štampa: Obod, Cetinje, ISBN 978-86-7215-302- 6, str.: 9-10. 3. ĐurovićM, (1958), Trgovački kapital u Crnoj Gori u drugoj polovini XIX i 2. Radović G., (2012), Arhitektura Cetinja početkom XX vijeka, Istorijski institut od XV vijeka do drugog svjetskog Crne Gore, Cetinje. rata, CANU (Crnogorska Akademija Nauka i Umjetnosti), Posebna izdanja 4. Erdeljanović J., (1978) Stara Crna (Monografije i studije) Knjiga 92, Gora,Beograd. Odjeljenje umjetnosti Knjiga 29, Štampa: Obod, Cetinje, ISBN 978-86-7215-302- 6, str. 214. 5. Gopčević S, (1877), Crna Gora i crnogorci, Lajpcig. 3. Ibidem, str. 214. 4. Pavle A. Rovinski, Zapisi o Crnoj Gori, 6. Grupa autora, (1985)Urbanistički Podgorica 2001. str.101. projekat,istorijsko jezgro Cetinja, RZUP, Titograd. 5. Piere Marge, Voyage en Dalmatie, Bosnie Herzegovine et Montenegro, Paris 1912. str.236. 7. Ivanišević J., (1892), Podlovćensko Cetinje - Javor, Novi Sad. 6. Komuna, XXI, 9, 1974. str.56-57. 7. Dr Alfred Boulogne, Le Montenegro-La 8. Marković J., (1975), Razvitak i tip payset et ses habitants, Paris 1869.,str. stambene kuće na Cetinju, Etnološki 27-31. pregled, Beogrd. 8. Radović G., (2012), Arhitektura Cetinja od XV vijeka do drugog svjetskog 9. Marković J., (1971), Cetinje - stara rata, CANU (Crnogorska Akademija metropola Crne Gore - Gradovi Nauka i Umjetnosti), Posebna izdanja Jugoslavije, Beograd. (Monografije i studije) Knjiga 92, Odjeljenje umjetnosti Knjiga 29, Štampa: 10. Martinović D., (1977), Cetinje- Obod, Cetinje, ISBN 978-86-7215-302- postanak, razvoji turističke 6, str. 76 mogućnosti, Cetinje. 9. MUD, Arhiv Crne Gore, 9.4.1911. sv.br.1627. 11. Martinović D. i Martinović U., (1980), Cetinje,spomenici arhitekture, Cetinje. 10. Dr Dušan Martinović, Cetinje, Cetinje 1977.g. str.79. 12. Mijović P., (1970), Renesansno Cetinje, 11. Dr Dušan Martinović, Cetinje, Cetinje Monodija o kamenu, Titograd. 1977.g. str.70 (Isidora Sekulić, Cetinje, O Njegošu-knjiga duboke odanosti, I, 13. Mijović P., (1970), Tragom drevnih SKZ, Beograd 1951.g. str. 128-141. kultura Crne Gore, Titograd. 12. Radović G., (2012), Arhitektura Cetinja od XV vijeka do drugog svjetskog 14. Milutinović S., (1835), Istorija Crne rata, CANU (Crnogorska Akademija Gore, Beograd. Nauka i Umjetnosti), Posebna izdanja (Monografije i studije) Knjiga 92, Odjeljenje umjetnosti Knjiga 29, Štampa: 15. Popović S., (1995), Memoari, Obod, Cetinje, ISBN 978-86-7215-302- Podgorica-Cetinje. 6, str. 93. 16. Radović G., (2012), Arhitektura Cetinja 13. Radović G., (2012), Arhitektura Cetinja od XV vijeka do drugog svjetskog od XV vijeka do drugog svjetskog rata, CANU (Crnogorska Akademija rata, CANU (Crnogorska Akademija Nauka i Umjetnosti), Posebna izdanja Nauka i Umjetnosti), Posebna izdanja (Monografije i studije) Knjiga 92, (Monografije i studije) Knjiga 92, Odjeljenje umjetnosti Knjiga 29, Odjeljenje umjetnosti Knjiga 29, Štampa: Štampa: Obod, Cetinje Obod, Cetinje, ISBN 978-86-7215-302- 6, str. 94-95. 17. Redakcija za Istoriju Crne Gore, (1970), 14. Radović G., (2012), Arhitektura Cetinja Istorija Crne Gore, knjiga.I i II tom 1 i od XV vijeka do drugog svjetskog 2, Titograd. rata, CANU (Crnogorska Akademija Nauka i Umjetnosti), Posebna izdanja 18. Rotković R., (1984), Sazdanje Cetinja- (Monografije i studije) Knjiga 92, izvori i legende, Titograd. Odjeljenje umjetnosti Knjiga 29, Štampa: Obod, Cetinje, ISBN 978-86-7215-302- 6, str. 95. 19. Rovinski A.P., (1889), Cetinje (1484- 1889) - Grlica,. 15. Radović G., (2012), Arhitektura Cetinja od XV vijeka do drugog svjetskog rata, CANU (Crnogorska Akademija 20. Tomanović L, (1910), Pedeset godina Nauka i Umjetnosti), Posebna izdanja na prijestolu Crne Gore 1861-1910, (Monografije i studije) Knjiga 92, Cetinje. Odjeljenje umjetnosti Knjiga 29, Štampa: Obod, Cetinje, ISBN 978-86-7215-302- 21. Zorić I., (1931), Cetinje - Almanah - 6, str. 98. šematizam Zetske banovine, Sarajevo. 81 AR 2017.1 Ljubljana
Črna gora in Montenegro
Crna Gora and Montenegro
Ključne besede Key words Črna gora, vernakularna arhitektura, Montenegro, vernacular architecture, dediščina, kultura, turizem. heritage, culture, tourism. Izvleček Abstract Črna gora ni ne velika in ne bogata dežela. Bogastvo Crna Gora is neither a big nor a rich country kažejo njena zgodovina, narava in kultura. Prav today. Its wealth can be found in its history, kot Slovenija ima tudi ta dežela morje in planine nature and culture. Like Slovenia, it has the in seveda predvsem arhitekturo kamna in lesa. sea and mountains and mostly architecture in Ob morju so večja mesta z imenitno vojaško stone, though also in wood. By the coast, there arhitekturo, ki so jo gradili veliki poznavalci. Ti are mostly larger old towns, especially in Boka so tam gradili tudi palače in bogate hiše. Mesta na Kotorska, with dominant military architecture, kontinentu so povečini zrasla iz vasi, ki pa še vedno made by specialists, who also built palaces and kažejo svoje značilnosti. Vernakularna arhitektura wealthy houses. Other towns inland grew over Črne gore je izjemno bogata, tako kamnita kot v the course of history from small villages, with lesu. Lesene hiše s strmimi lesenimi strehami so their own characters. značilne za planinske predele, v sklopih s hlevi in s sušilnicami ali prekajevalnicami. Transhumanca Vernacular architecture in Montenegro is je bila v Črni gori osnovno gospodarstvo vasi in extremely rich in stone and wood. Wooden oddaljenih domačij. Življenje na planinah zahteva houses with steep roofs are typical of the drugačno arhitekturo, saj so tam naselja obljudena mountain regions, in complexes with stables le občasno, poleti. Značilno pašništvo najdemo v and drying huts. Transhumance was the basic Prokletijah in na Durmitorju, obrnjen sistem pa economy in villages and in remote homesteads poznajo na Rumiji. Na visokih planinah so stalne in Montenegro. Life on the mountains needs UKD 72.031.4(497.16) different buildings, inhabited only over the COBISS 1.01 koče [glade] krite s slamo ali z lesenimi skodlami, Prejeto 24.3.2017 ob Skadarskem jezeru pa so stalne le konstrukcije, summer season. Typical transhumance is found slamnato kritino pa snemajo v jeseni in jo spet in Prokletije and Durmitor, and an inverse namestijo spomladi, da preko zime ne zgnije. Ta type on Rumija mountain. Permanent huts letni čas je tam očitno bolj vlažen kot v planinah. are located in the high mountains, thatched in Kaj lahko naredimo z zapuščeno, propadajočo ali straw or with shingles; at Skadar Lake the straw že uničeno arhitekturo? Najboljša rešitev bi bila is removed because of the wet winter season. vrnitev izvirnega gospodarstva, a je življenje v industrijskih mestih seveda udobnejše od tega na What can be done with abandoned, decaying vasi. Zato rabimo pomoč države in strok. Druga or destroyed architecture? The best solution is rešitev je vnos novih idej. Ena takih je sodoben a return of the successful original economy, but digitalni muzej, za kar lahko uporabimo zelo life in the industrial centres is too comfortable. razširjene pametne telefone. Za to potrebujemo le Governmental and specialist help is needed. program, dobro organizacijo in seveda podporo Another solution is the organization of a in sodelovanje domačinov. Navidezni muzej lahko modern digital museum, with the help of smart veže kulturo z gospodarstvom – in to z velikimi phones. This needs only good organization rezultati. Za to pa rabimo predvsem osveščenost and, of course, the support and collaboration javnosti in seveda izobraževanje. Prvo je stvar of the inhabitants. A virtual museum can kulture in drugo strokovnjakov. Predvsem connect culture with the economy, with high kulturna krajina bi tako postala kvalitetnejša. expectations. For this purpose, the awareness S temi elementi bi lahko postala Črna gora of the people and education by professionals is znamenita in gospodarsko uspešna dežela, ki jo first needed. Crna Gora can become well-known prof. dr. Borut Juvanec Evropa pozna pod imenom Montenegro. Tako in Europe as valued and economically efficient Institute of Vernacular Architecture, Ljubljana [email protected] bi bila tudi bolj cenjena. Montenegro. 82 Crna gora and Montenegro AR 2017.1
1. Uvod Architecture does not just mean building objects but represents culture and relations among people – users, investors, builders, managers, as well as relations in society and in space. Egenter wrote: "Architecture becomes a general human phenomenon that synchronically extends over individual cultures and diachronically includes all cultures, researching various cultures for the same or analogous features"[Egenter, Slika 1: Kultura nuraghov med leti 1800 in 400 1996: 85]. pred štetjem; Grobnica velikanov pri Nuoru Vernacular architecture was never na Sardiniji ima javni trg, stelo in grobni intended for the gods, for kings prostor. Grobnica je namenjena eliti, stela kaže pomembnost spomenika, trg kot javni prostor pa or for the dead but for ordinary je namenjen ljudem. Berninijev trg pred cerkvijo people in everyday life and work. sv. Petra v Rimu, ki jo je narisal Michelangelo: It is not the work of professionals, cerkev je najprej namenjena duhovščini, trg who are familiar with materials, ljudem. Cerkev, ki jo poudarja visoka kupola, technologies, techniques and know je veličastna, v odprti prostor se odpira z vrati. great architecture of the past and Tako ideja kot izvedba obeh kompozicij sta enaki. Razlika je le v velikosti. Težko bi sodili, da who came to this knowledge through Bernini ni poznal kulture nuraghov. Grobnica schools. Vernacular architecture velikanov je namreč tri tisoč let starejša in je bila is work in modest circumstances, grajena z lokalnimi mojstri. Danes bi rekli, da je bound to survival. So it is not vernakularna arhitektura. little, unimportant, imperceptible Figure 1: Nuraghe culture 1800 to 400 B; Domus or ugly, bad architecture. It is true, de janas near Nuoro, Sardegna has a square, a though, that it is only appreciated by stela and a tomb. The tomb is for highly esteemed dead people, the stela shows the importance of intelligent people [Juvanec, 2013: 12]. the monument, and the square is dedicated to Paul Oliver, from Oxford, the most ordinary people, it is a public place. Bernini’s important scholar in this field, wrote Plaza di St. Pietro, Rome and the basilica made by Michelangelo: the church is primarily meant about this question: (this architecture) for the clergy and the piazza for the people. "was so little known we don’t even The church, with its high dome, is magnificent, have a word for it" [Oliver, 2003: 11]. with a door to the open space. The idea and We professionals have agreed on the execution of both compositions are the same. term "vernacular architecture". The difference is only in dimensions. It is unlikely that Bernini did not know the Nuraghe culture. Architecture’s existence depends on Domus de janas is at least three thousand years the in-built materials, its use and other older and was made by local masters; today we circumstances. Not only do materials would call it vernacular architecture. decay through normal use and aging, other physical factors, both natural and man-made, are important for it. Questions of existence, restoration and current use – in changed circumstances – are important and very problematic [Juvanec, 2o16]. Classical architecture, the work of professionals, has identical problems as vernacular architecture, more than we can imagine. Architectural identity is in any case the sum of different values, which represent its image as a whole but in a hierarchic connection of all involved [Bontron, 1991]. Crna Gora is neither a large nor a rich country. Its wealth can be found in its history, nature and culture. 83 AR 2017.1 prof. dr. Borut Juvanec
Like Slovenia, it has the sea and Retaining irrigation: the system for mountains and mostly architecture in retaining the soil, swept by rainwater the stone, though also in wood. from the fertile fields above the Its importance grew also with the village, is most surprising. Retaining name. The proud kingdom survived basins were cleaned by local women the Ottoman Empire, pressures from after each rain. This is a unique East and North; it is close to Italy system for maintaining the fertility of and Albania with, until recently, its village fields, which were necessary special political system, and finally for survival. the Austro-Hungarian Empire, the Details in Gornja Lastva are really Kingdom of Serbs, Slovenes and made by professionals. The fireplaces Croats and the late Yugoslavia. The in the attic need a special construction, name Montenegro (Black Mountain) and keep the lower storeys cold. This is linguistically Catalan and Castilian, is very important in hot summer days. but Italians have shown it to be not Other details are all in use as practical Italian but "Old Venetian" [Juvanec, devices: handles, racks, corbelling, 2015]. The importance of this country bridges over ditches, irrigation dykes in the culture is greater than it seems. or windows and signs cut in the stone.
2. Village stone architecture 3. Skadar Lake Montenegro has a coastal belt, a central Virpazar, a small town near Skadar plain and the mountains. On the coast Lake, until the sixties was the end can be found several pleasant towns: station of the world famous narrow Tivat, Budva, Bar and even Sveti gauge railway between Bar by the Stefan on an island. Inland, the most sea and Virpazar. Bar is a large and interesting town is Cetinje, the capital, important port, historically also very with important stone architecture. important from a military point of Other towns grew over the course of view. The 750-millimetre narrow history from small villages, with their gauge railway [Brate, 1971] was own characters. constructed by the Italians, and was rare even for the Balkan countries, Special stone buildings can be seen on where railways usually had a 760 the coast and near Skadar Lake, on the mm gauge. The steam engines were slopes of Rumija. The system of dry small, and the speed of passenger stone walling can be seen everywhere, trains was up to 22 km/h and for especially in small villages near the sea, goods 18 km/h [Brate, 1971]. The but also high in the mountains. One railway was in use until 1959, one of of those villages is Gornja Lastva the last locomotives still exists – as a above Tivat. monument to the past [Burjanović, The dwellings are interesting not only 2008]. Very rare "steam railcars"also because of the fireplaces in the attic existed: a steam engine and personal but also the olive mills, wells with compartment, connected in a cisterns and terraces with a lot of single carriage. Three of them were green trees for shade and the fruit – built, one being intended for the public architecture. Montenegrin royal family. Architecturally, town planning with The railway is now abandoned and social places, paved footpaths with ruined; the railway station in Virpazar an irrigation system and even with is used as a dwelling but completely niches for candles as public lighting is transformed. On the site of the especially interesting [Juvanec, 2002]. former railway, not even a board Urban planning connects three with basic information or a picture essential elements – public places, can be found, and the former railway connecting paths and irrigation. In line, perfect for a bicycle track, has addition to wells, threshing places are vanished in the green nature. At important locations for social life in least stones in the road surface – as a village, not only the church with its footprints - could show the former courtyard [with a fine view to the hills line in the village road in front of the and the sea]. Each house has its own railway station. terrace with a tree for shade – not just The small village of Godinje on the for the owners but also for neighbours outskirts of Skadar Lake is all in stone and visitors. [Guštin, 2013]. 84 Crna gora and Montenegro AR 2017.1
A few houses are still in use but others are abandoned and in decay. The village has its own threshing floor and the most important aspects are its location on sloping terrain and connections through the basements, in cellars. The village of Godinje must be preserved: now is the last moment before it disappears. The same is with Gornji Murići, a village with excellent homesteads from the Otoman times.
Until 2000, the plain immediately Slika 2: Razen inventarizacije je prav th behind hotel "13 July" (now Hotel dokumentacija pomembna za varovanje kulturne "Vir") was occupied by people dediščine. To je dokaz starih kultur in edina from the mountains, who spent možnost rekonstrukcije po kaki naravni nesreči, the summers near Skadar Lake, vojni, razpadu ali po napačnem človekovem where there was plenty of grass posegu [Juvanec, 2017: 77]. Pašniška arhitektura je ob zatočiščih, zidovih, ograjah in vodnjakih [Guštin, 2013]. This is a rare type of pomemben element arhitekure. Ubao, poćuo je transhumance, known only in Wales, redka vrsta vodnjaka na obronkih Lovčena, ki s Great Britain. konstrukcijo varuje žejne živali pred padcem vanj, kar je lahko usodno za druge uporabnike zaradi The farming economy could be onesnaženja. (Documentation/dokumentacija B. shown to visitors, because it is an Juvanec, Ljubljana 2o14). important part of the local heritage Figure 2: In addition to making an inventory, and its culture. Moreover, the system documentation is an essential part of safeguarding could be transformed into a special our heritage. This is evidence of our past culture type of thematic park, with all the and the only possible way of replacing or making information about the work and a copy after natural disaster, war, decay or misuse [Juvanec, 2017: 77]. As well as huts, walls, fences economy of past times. Putting straw and wells are also elements of transhumance on the racks and again its removal – architecture . Ubao, poćuo on the outskirts of as local feasts - could be an important Lovćen is a rare system of wells, protected from part of a modern tourist attraction, misuse or thirsty animals falling in, which is with high economic return. dangerous due to the water being infected by the decaying body. 4. Transhumance Transhumance is an especially important economic activity for the local people. At one time, it was important and efficient, nowadays it is not, although it could be again in the future. While classical transhumance can be found on Prokletije and Durmitor mountains [Marković, 2003], on Rumija, between the sea and Skadar Lake, it is inverted. The people live on plateaus high in the mountains and in summer they come down to the green lake. They use permanent wooden constructions, prepared for thatching with straw or reed over the grazing season [Guštin, 2013]. At the end of the summer, they remove the roof cover and leave the construction. Its lifetime is thus longer, because the straw does not rot over the winter. In the northern mountain systems, transhumance architecture is similar to that in the Alps: wooden constructions of the houses, covered by straw, wooden singles and finally, today, with thin plates. 85 AR 2017.1 prof. dr. Borut Juvanec
Their name is "glada". The base, the However, the quality of architectonic lower part of the house, can also be space and its form can be relevantly constructed with stone. The average measured by perceiving it [Alihodžić, inclination of the roof is 50 degrees, 2007: 19]. Here is the problem sometimes also up to 60. A complex of with educated people, with whom such houses in the mountains contains theoretical orders, based on regulations, only a pigsty and some wooden fences, can deform perception itself. while other livestock live freely on the In practice, theory and order are more grassland [Marković, 2003]. in use than we think in vernacular Homesteads on the outskirts contain architecture. Theoretical principles dwellings with a hip roof, while the are in practice very simple forms of stable has a simple pitched roof. order, inherited by forebears, in use for Beside the stable there is also a house simplification of the work, with the for smoking sausages, ham and fish. final effect: harmonization, commonly These steep roofs can reach the understood as beauty. ground, without vertical walls and they The relation between an entire are all in wood. composition and its detail can be "Kućara", a wooden sledge with a seen in both classical and vernacular ridge roof of shingle, represents architecture. St. Peter’s Square in mobile architecture on the grasslands. Rome was designed around an existing In Serbia, such constructions can Egyptian obelisk (1565) in the 17th also be found with wheels – like the century by Bernini, as the entrance to modern "mobile home" [Nenadović St. Peter’s Basilica. The road between uses also several names as: kućer, Castello di Sant Angeli to the basilica’s torarica and katafa, Nenadović, 2000: dome runs through this obelisk. 193]. Herdsmen pull this construction This composition is characterized as to the grazing plateau on the mountain "symmetry for organization of the with the help of a horse, and sleep in whole square" [Alihodžić, 2007: 58]. it. Groundplan dimensions are one It is more: there can be found the metre by two metres, for one man contrast. only. These devices can very often be It is symmetry in verticality and it is seen in use today on Durmitor. symmetry in horizontality. The whole Most of these compositions are composition, as seen from the dome, still in practice, but with very low has a circular base with a line, and economic benefit. Professional help the same occurs in detail: a circle could be of great assistance, in the and vertical column form the same field of agriculture and stockbreeding, concept and the same practice. technology, economy and architecture. "Beauty" in the historical In architecture, as the design of space, understanding of aesthetic has a very tradition and heritage must be used clear definition: order. No architecture for new projects. Unfortunately, can be without clear and organized what can now be seen as ‘ecokatun’ composition [Alihodžić, 2007: 188]. are inadequate in both detail and in Classical architecture was made by complex. The help and good work professionals, trained and experienced of professional organizations for workers. Vernacular architecture was safeguarding this heritage is here made by simple, modest masters with essential. The government could help inherited knowledge. The only help with technical support in realization from their predecessors was order, of the economy, and also apply a which enabled the simplification of moderate tax system. work and avoided mistakes [Juvanec, 2016: 31]. Professionals can read the 5. Problematics proportions used, lay people can see New possibilities in social life and in only harmony, which is understood as the economy are a special problem. "beauty". There are two aspects: theory and In rural planning, Montenegro has the practice. In theory, I agree with the typical problems of other European thesis of Professor Alihodžić about countries: perception: form and the space are not just geometrical elements but - desertion of the land [people both psychological impressions and moving toward bigger cities and dimensions. industry, Duclos, 2010], 86 Crna gora and Montenegro AR 2017.1
- low incomes in the small and inefficient economy, too many holiday houses with extremely low occupation, a small number of visitors over the whole year and crowded at the peak seasons. However, this can also provide opportunities. Montenegro has really great potential in modest but sincere architecture. This type disappeared in Europe long ago. Revitalisation and renovation of village life, as well as its architecture and the whole cultural landscape is needed. Professionals in agriculture, stockbreeding and cheese and meat production know their own work. People have to implement suggested improvements for the best effects. Architects must prepare strategies for the typical traditional space, with Slika 3: Berninijev trg svetega Petra z dovozno all the elements, from social life to ulico kaže enako kompozicijo kot vanj vrisani machinery [railway] and culture, krogi v tlaku in pa obelisk. Tako sta arhitektura in urbanizem v popolnem skladju. Več, temeljno with today’s needs and possibilities. idejo lahko preberemo kot: to je središče sveta. Living needs have changed and Slovenski kozolec je zagotovo najpomembnejša current architecture cannot be slovenska arhiektura. Je sestav kvadrata z just a repetition of old traditional diagonalama. Uporabljena je le ena razsežnost, solutions: a house today is much enota ‘ena’. Ta določa kvadrat, katerega diagonala more complex than years ago. The je enak kvadratnemu korenu iz dve. Šest new economy needs new architecture kvadratov tvori kocko in prostorska diagonala je tako kvadratni koren iz tri. To je kompozicija and new infrastructure. Heritage celote, a jo najdemo v vsakem detajlu. Vsi tesarski must be kept in the principle, not rezi so vzporedni (navpično in vodoravno) ali pa in the detail or shape. This cannot pod kotom 45 stopinj. Ta sistem omejuje napake be a matter of "foreign knowledge" in poudarja skladno kompozicijo. Berninijev trg in or "imported ideas" but is work kozolec uporabljata enak kompozicijski princip. for local architects, together with Figure 3: Bernini’s St. Peter’s Square with the some professionals who are familiar road leading to the church shows the same composition as the circle drawn in the pavement with this local culture. In contrast with the obelisk. Design and town planning are to Bosnian architecture, in which in accordance. More, the main idea can be read Slovene architects had an important here: this is centre of the world. The Slovene influence [Zupančič, 2012 – His kozolec / hayrack is the most important Slovene Excellency A. Grasselli mentioned architecture. It is composed by a square with its many Slovene architects there], only diagonal. Only one dimension (unit "one") has to the architect Marko Mušič can be be determined. Unit one composes the square, its diagonal is the square root of two. Six squares found in important architecture of compose a cube, and its diagonal is equal to the Montenegro. square root of three. This is the composition of This is theory, well known science, the whole construction but it can also be found in every detail. All the cuts are parallel (vertical but practice in such a rich culture and horizontal) or at a 45° angle. This system offers many more solutions for eliminates mistakes and shows harmonious improving social life, economy and composition. The idea of both Bernini’s piazza culture. and the kozolec/hayrack is the same.
87 AR 2017.1 prof. dr. Borut Juvanec
6. Case studies 6.1. Case study No 1.1: Gornja Lastva, identifying typical details Gornja Lastva above Tivat is a mountain village with a high level of socialization. A road leads around the village but inside can be found a network of paths, all paved with stone, equipped with kerbs, fences and retaining ditches for water. On the entrance road, niches for road lightning can also be found in the fence – the wind is too strong for using posts. Architectural details are numerous, all functional, well-constructed and pleasing, harmonious with other elements. Typical details of the eastern part of the village: chimney against the gable wall, because of fire safety. The fireplace is open, with a smoke exit to the chimney. The fireplace is raised Slika 4: Gornja Lastva, Črna gora: vzhodni del above the floor by some centimetres, vasi. Dimnik, ognjišče, vodnjak, odvod vode, for heat insulation – it can also be gumno. Gornja Lastva, Delavnica 2002, visoko deep between the ceiling beams, as a pokroviteljstvo princa Črne gore. (Project/projekt hanging construction. The well has a B. Juvanec, Ljubljana). Figure 4: Gornja Lastva, Montenegro: Eastern cistern cut into the rock, with an upper part of the village. Chimney, fireplace, well, plateau, serving as a social place for irrigation drainage, threshing floor. Gornja the village people. All the paths have Lastva, Workshop 2002, Bienniale de Cetinje and ditches for rainwater, and at several Napredak of Tivat, under the high patronage of points can be found special reservoirs The Prince of Montenegro. for collecting soil. The threshing floor, like everywhere, is circular, with higher stone walls, arranged for donkeys [an oxen’s paunch hangs lower, near the floor]. These higher walls are used for sitting during village gatherings. 6.2. Case study No 1.2: Gornja Lastva, retaining irrigation The irrigation system for rainwater has special reservoirs for cleansing the water of soil. Rainwater takes away fertile soil from the fields above the village. The running water is stopped in a side cistern, where soil can be removed and returned to the field. This was work of the village women. 6.3. Case study No 2.1: Virpazar, narrow gauge railway This railway was built by the Italians in 1908 [Burjanović 2008: 38] from Bar to Virpazar. It was narrow gauge with a 750 mm track [Brate, 1872: 26] under the management of Compagnia di Antivari / Barsko Društvo CdA/BD. The first locomotives, such as Zeta and Lovćen, were small and built from 1905 to 1910, but after 1910 the locomotives were bigger and stronger. 88 Crna gora and Montenegro AR 2017.1
They came from the Mallet and Borsig factories, but the speed was modest: 22 km/h for passenger trains and only 18 km/h for goods, while the maximum allowed speed was 40 km/h [Brate, 1972: 26]. Virpazar was the end station toward Podgorica, and led over the mountains and a four- kilometre long tunnel. The 51-year old railway finished its life in 1959. Today there is no trace of it, and the station in Virpazar has been transformed into a dwelling. The railway line, extremely suitable for cycling, is now abandoned, disappearing in the green nature. 6.4. Case study No 2.2: Virpazar, inverse transhumance system The principle of transhumance is moving herds from hot to moderate places and from exploited grasslands to richer pastures. The common system is to move the animals from the valleys to the mountains. The only known exceptions are Wales and Montenegro, at Skadar Lake. Stone huts are built in Wales but on the slopes of Rumija, near Skadar Lake, they developed a different system. The huts have frames, wooden constructions of branches. These constructions are permanent and every year they thatched them with straw or reed. The transhumance season runs from spring to autumn. Before returning home, to the mountains, the herdsmen removed the straw. The huts, locally called "glada", stand beside the lake on marshy terrain [in autumn 2016 this terrain was under water]. Guštin found the last constructions in 2000 [Guštin, 2o13]; today is hard to Slika 5: Parni vlak slovite tovarne Borsig iz leta 1908. find people who know about this Ena kompozicija od vsega treh izdelanih je bila namenjena kraljevi družini. Zgoraj je original, spodaj important heritage. lokomotiva z odezanim vagonom iz 1959 [Brate, Transhumance is now a forgotten 1972: 187]. Žalostna zgodba ohranjanja kulturne economy and the constructions dediščine – kolikor temu sploh lahko tako rečemo. Figure 5: Steam rail car from the famous Borsig have no use. The have practically factory in 1908. One of three versions was in use disappeared. as an official car for the royal family. Above was Virpazar, as a small village, is very the original rail car, below only the locomotive, with a public cabin removed in 1959 [Brate, 1972: beautiful with a lot of tourist potential. 187]. This case is a sad story of preservation of the However, merely classical hotels and heritage – or it is not that at all. excursions by boat, even connected with hunting or photo-safaris with photography contests, are not enough today. Transhumance settlement [built as a professional reconstruction] has excellent potential for cultural tourism. Two feasts can be arranged – at the beginning and at the end of the season – connected to thatching and dismantling the roof. 89 AR 2017.1 prof. dr. Borut Juvanec
The huts could be used for overnight modern motor mobile homes have facilities of the highest rank and become very much more normal in participants could be awarded with the tourist economy, but it is not a a special certificate of involvement modern invention. Kućera, torarica in the transhumance process. In or katafa can be found in vernacular addition, this could be completed architecture of Serbia [Nenadović, with a sort of herdsmen’s ceremony, 2ooo: 193]. In Durmitor, the same with consecrating visitors into the object on a sledge is typical. Today transhumance society of Skadar it has a roof of thin plates but Lake.This type of tourism is not originally they used wooden shingles matter of masses, it is on a higher – many of these objects can be seen level, with higher incomes and in the area around Durmitor. could promote Virpazar as a top- grade tourist destination not only in 6.7. Case study No 5: Katun, glada Montenegro but in all Europe. Savardak is the oldest known hut for shepherds, with wooden construction 6.5. Case study No 3: Homestead and thatched with straw. None have Homesteads in Montenegro have no been preserved in the original state. common scheme. In general, they Glada is a hut for herdsmen, the have a dwelling, stable and drying livestock live outside, with no roof. hut, often one or more hayracks with Glada can be just in wood or have one wooden pole. The house has a a basement in stone and the roof basement in stone with the first floor construction in wood. It can be oval in wood. The roof of the house is or with a rectangle groundplan, with hipped, while the stable has a typical hipped or simple gable roof. It is a gable roof and the drying hut has single cell composition for sleeping, no walls, with the roof reaching the cooking and working, preparing ground. The inclination of the roof and storing milk, cheese and butter. is around 5o degrees. A pigsty can stand by the glada, with a wooden encircling fence for 6.6. Case study No 4: Kućara organization of the flock. A vegetable A mobile home is nothing new. garden with a wooden fence is often Especially in the last ten years, cultivated by the women.
Slika 6: A.Nenadović je objavil pastirsko stajo z Durmitora, ki ima povsem enako konstrukcijo kot so bile na Skadarskem jezeru. Guštin je našel te konstrukcije pri Virpazarju še leta 2000, v zimski sezoni brez slamnatega kritja (source/vir: Nenadović, 2000: 107, Guštin, 2013: 27). Figure 6: Nenadović published a herdsman’s hut from Durmitor in the same shape as compositions at Skadar Lake. In 2000, Guštin found these constructions near Virpazar in the winter season, without thatched roofs.
90 Crna gora and Montenegro AR 2017.1
Slika 7: Kućara je lesen objekt na sankah s tlorisom kakega metra krat dva in s streho v naklonu skoraj 60 stopinj. Lesena vrata v zatrepu so velika kot so tam pač lahko, a enemu pastirju zadoščajo tudi ta. Nekdaj so te sani vlekli osli ali konji, danes jih traktor. Kućara je še vedno v uporabi. Figure 7: Kućara has a wooden sledge with groundplan dimensions around one metre by two, with a gable roof with an inclination of almost 6o degrees. The wooden door is as big as it can be in the triangular gable and the bed is enough for one shepherd only. In the past, this device was pulled by oxen or horses, now it is work for a tractor. Kućara is widely in use in the grazing economy in the country today.
Slika 8: A. Značilna domačija v zaselku Pošćenski kraj pri Žabljaku. A. bivalna hiša, B. hlev, C. prekajevalnica. Slednji objekt razpada, bivalna hiša ni več obljudena, čreda ovac okrog domačije pa je last sosedov (2016). Figure 8: A typical homestead in Pošćenski kraj near Žabljak, Durmitor. A. dwelling, B. stable, C. drying (smoking) hut. The latter object is in decay, the dwelling is abandoned, and the sheep flock on the terrain is owned by a neighbouring homestead (2016).
Slika 9: Izvorne pastirske staje, kot so savardak ali glada, s kamnitim temeljem in leseno konstrukcijo strehe so po vsem območju transhumance redke. Nove hiše so lesene s sodobnimi konstrukcijami in krovnim materialom, a tudi povsem lesene se še vidijo. Danes so pametni telefoni, televizija in sončni kolektorji nujni elementi življenja. A to se vidi predvsem v notranjosti, na zunaj so katuni še dokaj originalni. Vulića katun, Komovi, Prokletije 2014. Figure 9: Original herdsmen’s huts, such as savardak or glada, with stone base and wooden construction of the roof are rare monuments throughout the transhumance areas. New huts are made of wood, but with modern timber construction technology, although wooden roofs can be still seen. Today, smart phones, televisions and sun collectors are inescapable elements of life. This can be seen inside the hut, but katuns appear more or less in the original state. Vulića katun, Komovi, Prokletije 2014. 91 AR 2017.1 Ljubljana
7. Conclusions of museum does not need a site, or movement of the artefacts with all the Architectural identity is certainly problems and expensive maintenance the sum of different values, which and security. It needs only a good represent its image as a whole but in a strategy and its execution with existing hierarchic connection of all involved technical equipment. Even this can be [Bontron, 1991]. hired at information centres. This type Tourism is one of the most important of museum can offer much more: branches of economy today. Big on a tour we must eat, sleep, to hire hotels are "different", noticeable by a bicycle or boat, to buy something their concept and shape, but different or visit a cultural and sporting event. in the space and strange in the culture. This is not only an offering, it can be Only people with low culture like even organized in its best form. them. There is the same problem with "ecokatuns", small mountain This type of museum is real culture, huts placed in strange lines, perhaps connected with the economy. with pink fences and green roofs – Culture has never been connected seen everywhere in the country as to the economy, it was always an "modern" and "ecological", although orphan, dependant on people’s or they are definitely not. They are neither organizations charity [Juvanec, 2015]. traditional nor modern or ecological. Now we have opportunity to change it. Montenegro needs tourism of a Montenegro’s countryside – as I see higher level, with higher incomes. it – is today a real folk museum in This is cultural tourism and visitors Europe, but a living museum in the of this type are demanding and need good sense. Museums, especially not open air museums with false, artificial real quality. This is not just a matter of ambients, are not needed [Juvanec, architecture, nor tourist workers, but 2016a]. Modern technologies open all the people of the country, as well numerous possibilities for high level as government, both local and state. tourism for demanding visitors, who For this is needed higher awareness and need a lot of information. Computers, education, from the very beginning: tablets and smart phones provide in kindergartens, schools, universities, possibilities to give text, sketches, in everyday life. This is only one of schemes, pictures, photos, directions, the possibilities, whereby small Crna information in several languages, even Gora can grow into well-known in in local slang or specific expressions Europe as valued and economically and music [Juvanec, 2016]. This type efficient country Montenegro.
Slika 10: Učinkovita uporaba ustrezne dokumentacije. Odtok deževnice z zadrževalnikom plodne zemlje je bil dokumentiran leta 2002. Trije taki so še v uporabi v Gornji Lastvi. Leta 2014 je en objekt povsem izginil, dva pa so zasuli z odpadnim materialom, preklado pa ukradli. Po dokumentaciji iz 2002 so v okviru Delavnice Gornja Lastva 2014 v organizaciji kotorskega Expeditia, Občine Tivat in Kulturnega društva Napredak, oba obstoječa objekta povsem obnovili v izvorno stanje (dokumentacija 2002 and 2014, B. Juvanec, Ljubljana, foto Marija Nikolić, Tivat 2016). Figure 10: Effective result of adequate documentation. This drainage of rainwater with a retaining cistern for fertile soil was documented in 2002, three of them existed in the village of Gornja Lastva. In 2014 one had completely disappeared, two were filled with waste stone rubble and bricks, with broken or stolen stone lintels. With help of documentation from 2002, a workshop organized by Kotor’s Expeditio and Tivat’s Community and Napredak, the two objects were completely reconstructed into the original state (documentation 2002 and 2014 by B. Juvanec, Ljubljana, photo Marija Nikolić, Tivat 2016). 92 Crna gora and Montenegro AR 2017.1
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12. Juvanec, B. (2009): Architecture of 24. Werner, P. (1983): Der Zwiehof Slovenia 1, Alps. i2, Univerza FA, des Berchtesgadener Landes. Bay. Ljubljana. Landesamt fuer Denkmalpflege, Muenchen. 13. Juvanec, B. (2012): Clay in Architecture, Slovenia and beyond. V: Mileto, C. Vegas, F. eds: Rammed Earth 25. Zupančič, D. et al (2012): Goražde, Conservation. CRC Press Taylor & urbani potencijali. Univerzitet u Francis Group, London. Sarajevu AF, Sarajevo. 93 AR 2017.1 Ljubljana
Gruda - poslednji dom prvih knezov v Črni Gori iz obdobja bakrene dobe GRUDA - last home of the first princes in Montenegro from Late Cooper Age
Ključne besede Key words Kamnite grobnice; gomile; knežji Stone tombs; tumuli; princes graves; grobovi; pozna bakrena doba. Late Cooper Age.
Izvleček Abstract Gruda je izraz za gomile na območju Gruda is a term used to describe stone and Črne Gore in južne Dalmacije. Med njimi earth mounds in Montenegro and south so najstarejše gomile iz obdobja bakrene Dalmacia. Some of these barrows contain UKD 726.8:903.5(497.16) COBISS 1.01 dobe zgodovinsko izredno zanimive. graves from the period of the Copper Age, Prejeto 24.3.2017 Predstavljajo geografsko in vsebinsko and are historically one of the most interesting zaključene kulturne celote in s tem monuments in Montenegro, representing a skupino najpomembnejših arheoloških group of important archaeological sites which najdišč v Črni gori. Visoko nasute are geographically and effectively a contained gomile kot so Mala in Velika Gruda iz cultural unit. The high barrows of the Mala Tivta in Gruda Boljevića v Podgorci, and Velika Gruda by Tivat, and Boljevića s spoštljivo velikimi grobnicami iz Gruda at Podgorica possess, respectively, huge kamnitih plošč apnenca in izjemnimi tombs constructed from limestone slabs and grobnimi inventarji so odsev prve exceptional grave inventories, thereby represent prazgodovinske elite najvišjega stanu one of the first prehistoric elites of the iz prehoda iz 4. v 3. tisočletje pr. n. št. uppermost social strata, dating to the transition K tem knežjim grobovom sodi še vrsta from the 4th to the 3rd millennium BC. In istočasnih gomil kot so Mogila na Rake addition to these princely tombs there are a pri Sutomoru, Rubeži pri Nikšiću in number of barrows of the same age, such as Kujava II pri Danilovgradu s prav tako at Mogila na Rake, Sutomore, Rubeži by Nikšić monumentalnimi grobnicami a samo s and Kujava tumul II by Danilovgrad, which pridatki v obliki značilnega keramičnega also possess monumental stone chambers, seta: enoročajnega vrča in sklede na but their grave goods are poorer, consisting prstanasti nogi z okrasom narejenim of only a ceramic set with a one handled jug s pomočjo vrezov in koleščka. Set je and a bowl on the ring foot with stamp-rolled značilnost vseh grobnih inventarjev and excised decoration. Ceramic sets are typical v gomilah tega obdobja. Kamnite for all grave inventories of this age. The stone prof. emer. ddr. Mitja Guštin grobnice pokrite z mogočnimi gomilami chambers covered with huge barrows are SI-6330 Piran, Pusterla 7 so najstarejše dokumentirane kamnite the earliest architectural stone construction [email protected] arhitekturne konstrukcije v Črni Gori. documented in Montenegro until now. 94 Gruda last home of the first princes in Montenegro from Late Cooper Age AR 2017.1
1. Introduction such names as p. e. in south-eastern Hercegovina, not far from Imotski a In the distant past the Adriatic coast village Grude and in the hinterland of Montenegro was a convenient of Dubrovnik in the community strategic position for the routes from of Konavle a village Gruda. the Mediterranean and Adriatic seas and towards populations living in The eastern Adriatic coast and the the hinterlands of Central and West slopes of the Dinaric Mountain region Balkan and further east in the in have the panorama of a typical stony Danube valley. In a period of transition landscape, with distinct and varied from the 4th to the 3rd millennium BC stone constructions for farmsteads a powerful local elite appeared on the and the rural agricultural and pastoral coast and their hinterland in the river economy. In Montenegro’s landscape, valleys of Zeta and Morača. These riddled with dry stonewalls, stand out elites expressed their economic numerous artificial mounds; part of and social importance through the them arises as result of cleaning off monumental constructions of their the surface of fields. tombs, which were placed beneath high banked barrows and, in some 2. The funeral barrows Slika 1: Razprostranjenost gomil pozne bakrene dobe z kamnitimi grobnicami in seti keramike cases, provided with exquisite grave Most of these mounds were z vtisnjenim in vrezanim okrasom na jadranski goods (fig. 1). For justifiable reasons, specifically built for funerary obali: 1 Tivat-Mala Gruda, 2 Tivat-Velika Gruda, the first monograph study of this purposes. The last one, the tumuli 3 Sutomore-Mogila na Rake, 4 Podgorica-Gruda period of transition from the Copper – are funeral barrows which, at the Boljevića, 5 Nikšić-Rubeži, 6 Kujava II pri to the Bronze Age was named The time of their construction, served Danilovgradu. Golden Age of Montenegro [Saveljić- as highly visible monuments to the Figure 1: The distribution of Late Cooper Age Bulatović, Lutovac 2003]. deceased. Even today they are present barrows with stone tombs and ceramic sets with stamp-rolled and excised decoration on the This article, about Montenegro’s in great numbers in the environment, Adriatic coast and Zeta river valley: 1 Tivat-Mala oldest barrows, is based on despite the fact a number were flatted Gruda, 2 Tivat-Velika Gruda, 3 Sutomore-Mogila archaeological fieldwork and reports with time because of field work and na Rake, 4 Podgorica-Gruda Boljevića, 5 Nikšić- by a researcher of Montenegrin and natural erosion. Rubeži, 6 Kujava II by Danilovgrad. international provenance presented here in chronological order of their publications: Maja Marović Pešikan and Vojislav Trbuhović (1971), Margerita Primas (1996), Philippe della Casa (1996), Jovan Martinović, Margerita Primas 2000, Lenka Saveljić Bulatović and Predrag Lutovac (2003), Mitja Guštin (2006), Mile Baković and Blagoje Govedarica (2009; 2010), Mile Baković (2011), Mladen Zagarčanin (2011), Predrag Lutovac (2016) and theoretical analyses from Margerita Primas (1996), Blagoje Govedarica (2010), Mitja Guštin and Andrej Preložnik (2015). Translated "Gruda" means a fist of earth on the field, and are frequent topographical features in the region from Herzegovina to Montenegro. In the Croatian and Montenegrin languages are so named isolated large mounds made of stone or earth. Because of their huge size and significance in the memory of the local inhabitants, the toponymal Gruda in Montenegro, like p. e. in the area north-east of Podgorica, south of Danilovgrad, etc., are often marked on topographical maps, even on Google Maps. The term Gruda is not only used as a toponymical term in the landscape, but even villages have 95 AR 2017.1 prof. emr. ddr. Mitja Guštin
In the south-eastern Adriatic barrows were constructed mostly as individual tombs (in some cases as family necropoli too), and date from the period of the Late Copper Age to the period of Late Iron Age (end of 4th to 1st millennium BC). In later generations the earliest constructed tumuli were often reused as graveyards, as at Velika Gruda [Della Casa 1996]. This practice is even observed in some cases in the Mediaeval period and the beginning of the Modern era as can be seen p. e. on tumuli at Borovica by Plevlja, Gruda Boljevića and Momišići at Podgorica [Saveljić- Bulatović 2015, 51]. A group of detected or archaeo- logically excavated tumuli from the Slika 2: Shematski pogled na gomile pozne Montenegrin area (fig. 1), which date bakrene dobe: 1 Podgorica-Gruda Boljevića (po Guštin, Preložnik 2015, sl. 22); 2 Sutomore- to the Late Copper to Early Bronze Mogila na Rake (po Zagarčanin 2016, 2a); 3, 5 Age transition, are significant because Kujava II pri Danilovgradu (po Lutovac 2016, sl. of their high barrows, stone tombs and 2, foto Savo Prelević); 4 Tivat-Velika Gruda (po extremely rich grave goods. Indeed, Della Casa 1996, Abb. 18). M = 200, risba Mitja they are quite outstanding on the Guštin in Stefani Berginc. stage of European early prehistory. Figure 2: Schematic view of Late Copper Age tumuli: 1 Podgorica-Gruda Boljevića (after The construction of large tumuli Guštin, Preložnik 2015, sl. 22); 2 Sutomore- and stone tombs with extremely Mogila na Rake (after Zagarčanin 2016, 2a); 3, 5 heavy limestone slabs demonstrates Kujava II by Danilovgrad (after Lutovac 2016, a developed social structure with sl. 2, photo Savo Prelević); 4 Tivat-Velika Gruda the technical knowledge needed for (after Della Casa 1996, Abb. 18). M = 200, design breaking the heavy limestone slabs by Mitja Guštin and Stefani Berginc. in quarries.Combined with this is the often long-distance transport of such slabs and construction of the tomb chamber. In the 4th millennium BC building tomb chambers from extremely heavy stones was a technical achievement, which was emulated by organized Neolithic communities all over Europe (and other continents too) in the so called Megalithic (Dolmen) graves culture. To cover grave chambers with building stone or earth barrows was an important part of the funerary ritual that also required significant organization of human forces. The precious grave goods in some princely graves demonstrate both craftsmen’s capacities and access to long-distance trade networks [Maran 2007, 11, 12]. But more importantly, they simultaneously reflect the high rank of the deceased in the society in the area of Montenegro’s Adriatic coast and the Zeta valley. These monumental tumuli with royal grave inventories, such as at Velika and Mala Gruda and Gruda Boljevića, are proof of the exceptional role of this region in relation to the lower strata 96 Gruda last home of the first princes in Montenegro from Late Cooper Age AR 2017.1 of hierarchy of other societies in the Copper Age, Montenegrin tombs Balkans and Middle Europe. were constructed as stone chambers The barrows with huge stone with huge limestones or other lithic chambers deserve special attention material. They represent a local variant because they represent the oldest of the megalithic tombs prevalent in stone architecture which has been the Neolithic period – the dolmens. archaeologically researched in To construct the tomb chamber the Montenegro. The tumuli of the heavy stone slabs, mostly limestone Late Copper Age were generally had to be quarried, transported and of a width between 15-20 metres; built together as a covered chamber their height varies between 1.8 and (fig. 2). This required a knowledge of 6 metres (fig. 2). They were built quarrying, stone masonry and a high with earth, with the earthen cover degree of social organisation. often having a stone covering, as in The construction of tombs using the case of Kujava, tumulus II with large, naturally occurring limestone little rocks collected from nearby (fig. slabs became, by the period of the 2: 5), or the tumulus of Mogila na Late Cooper Age, the conventional Rake (Mogila in English) which was grave form of the new elite. The covered with a layer of pebbles (fig. layers of plate limestone in this region 2: 2); it is very possible that similar enabled the use of huge slabs for pebbles were also used for the Gruda tombs. Individual slabs were mostly Boljevića barrow too. Barrows were used, provided a single piece would also protected around the edges with do. However, in instances where a a kerb; a dry stone wall employing single slab would not cover the extent small local limestone blocks or of the chamber, two were employed. pebbles. At Kujava, tumulus II The height of these slabs were about after the barrow was built over the 0.7 meters, with a thickness of about stone chamber, the large barrow was 0.2 m. bordered with kerb, a 1 m wide dry stone wall was made inside the slope In the middle of the future tumulus of barrow by limestone slabs and four large slabs were placed on the outside by massive rocks (fig. 2: 3, 5) floor of the earth, making a tomb [Lutovac 2016, 4, sl. 2]. chamber approximately 1.30 x 0.80 Slika 3: Grobnice zgrajene iz ploščatega apnenca: 1 metres. In some cases an artificial Kujava II, grob 1 in 2 pri Danilovgradu (foto Savo 3. The stone chambers floor was prepared using thin stone Prelević); 2 Sutomore-Mogila na Raki (foto Mladen plates and burned argil terrace, as in Zagarčanin). The primary graves of the Late the tumulus of Mogila na Rake (fig. 2: Figure 3: Tombs constructed of limestone slabs: 1 Copper elites were constructed in 2) [Zagarčanin 2012]. At the tumulus Kujava II, tomb 1 and 2 by Danilovgrad (photo by the following stages: first a 1m deep Savo Prelević); 2 Sutomore-Mogila na Raki (photo by grave pit was dug into the earth’s of Kujevo II both central chambers Mladen Zagarčanin). surface and oriented east-west. After were provided with a prepared the closing phase of the funeral earthen plateau, the ends of which ceremony the deceased was put in were reinforced with limestone plates the pit. The graves were practically (fig. 2: 3) [Lutovac 2016]. without grave goods; only rarely do In order to better fix the slabs in they have modest objects associated position, they were partly embossed with them. The pit was filled with on the edges (Mogila na Rake, Kujava earth; earth was collected from the II); sometimes in the adjoining surrounding area and a high, visually corners of the slabs we note the striking barrow was constructed over presence of smaller stone inclusions the pit (fig. 2: 1). employed as e reinforcing chocks A good example of these early (fig. 3: 2, 6). types of funerary practices and Following the deposition of the architecture is the barrow at Gruda deceased, the four vertical slabs, Boljevića during phase 1 and barrows along with the entire whole chamber from surrounding area as p. e. Štoj were covered with a large limestone in Albania [Guštin, Preložnik slab of greater dimensions than 2015, 34, 35, sl. 17]. These barrows the chamber vertical slabs, with a likewise have small dry-stone walls thickness of 0.15 – 0.20 metres (fig. around them and are, as a rule, not 3). In case of Mogila na Rake the as substantial as the subsequent outside surfaces of the tomb slabs generation of tumuli. were coated with small rocks. In the second generation of the Late 97 AR 2017.1 prof. emr. ddr. Mitja Guštin
Slika 4: Shematični tloris grobov in pokojnikov ter Within the tomb chambers the collection of objects consisted partly priloženih pridatkov v kamnitih grobnicah: 1 Tivat- deceased were orientated north-east – of personal attire and weaponry, and Velika Gruda, 1 Tivat-Mala Gruda, 3 Sutomore-Mogila south-west (fig. 4). After the chamber also of a richly decorated ceramic set na Raki; 4 Podgorica-Gruda Boljeviča, 5, 6 Kujava II, walls were covered with heavy large typical of the time. The objects of grob 2 (5) in 1 (6) pri Danilovgradu (dopolnjeno po stone slabs, a high barrow was built personal adornment consisted of two Guštin, Preložnik 2015, Fig. 10). Figure 4: The schematic plan of the graves and atop it composed of earth or stones. precious golden lockrings (fig. 4: 1); deceased with grave goods in tombs constructed of In the case of the princely grave from atypical personal head ornament of limestone slabs: 1 Tivat-Velika Gruda, 1 Tivat-Mala Gruda Bojevića (phase 2) there are no "princes" in early Montenegro tumuli. Gruda, 3 Sutomore-Mogila na Raki; 4 Podgorica- evidential remains of stone chamber Aside from the tumulus of Gruda Gruda Boljeviča, 5, 6 Kujava II, tomb 2 (5) and 1 (6) by and limestone slabs [Guštin, Preložnik Boljevića they have been found in the Danilovgrad (completed after Guštin, Preložnik 2015, 2015, 34]. region only at Mala and Velika Gruda Fig. 10). During the funerary ceremony the in Tivat. Similar lockrings have a wide deceased was put in crouched position distribution as p. e. on the Greek together with rich grave goods. In the island of Leukas and are spread in Kujava II tumulus, as in the Mogila wide area of the Lower Danube until na Rake tumulus also, the researchers the Carpathian basin. noted a kind of platform made of The weapons consisted of a battle axe limestone plates or stones, with small made from stone (fig. 4: 2). The battle fragments of ceramic and ashes. It axe from the grave of Mala Gruda is surmised that this platform was was made from electrum. Both the prepared for funeral rituals after the Mala Gruda and Gruda Boljevića tombs were closed. examples have an identical golden The tombs with princes equipment, shaft-hole plug. In both graves there for example at Mala and Velika Gruda, were also elite small daggers with Gruda Boljevića, phase 2 were built triangular blades. In Gruda Boljevića for a single elite person, however a comparable example made from there also existed other funerary bronze was recovered (fig. 4: 3), practices where multiple tombs were whereas in Mala Gruda a golden one placed beneath the barrow, or multiple was found. Daggers in this form were persons were placed within the same geographically widespread. In the tomb. In the Kujava II tumulus two tumulus at Velika Gruda the weaponry stone chambers were constructed next is represented by a simple bronze axe to each other (fig. 3: 1). In tomb 1 there and heavy bronze tools of different were found three persons (a iuvenile shapes. A trapezoidal pendant of red and two adult), whilst in tomb 2 only stone (fig. 4: 4) allows an interpretation one (adult) individual was found. A as a whetstone for daggers and axes to similar case of simultaneously buried be made. persons was also found in the tumulus Pottery with stamp-rolled and excised at Mogila na Rakića, where the bones decoration are typical grave goods for of a man, a young boy and possibly a all stone tombs in the tumuli horizon woman were discovered. of Late Copper Age (fig. 1). In Gruda Boljevića a set of three ceramic 4. The great goods vessels, atypical of grave goods, was As a good example of the rich graves recovered. Usually only two ceramic of the Late Cooper Age we shall vessels were placed in graves; typically briefly consider the grave inventory a plate and a jug, or in the in the tomb from the Gruda Boljevića barrow. In of Kujava, a plate and a bowl. this case, in the centre of tumulus, The asymmetric plate on the ringfoot two deceased were buried, the first with stamp-rolled and excised one "the founder" in the pit, the decoration on both surfaces of the second – "the prince" –1 m above the vessel from Gruda Boljevića (fig. 4: 5), first on his tumulus surface (fig. 2: 4). Velika Gruda, Rubeža, Mogila na Rake The only object associated with the and Kujava is also known in the form of first individual was a flint tool. This pottery sherds from settlement contexts person could have belonged to the from Odmut pečina and Ravlića pečina newcomers or founders of the new (pečina = cave), confirming that this civilisation in the region. form and decoration was also used in The second grave, placed on the quotidian life. surface of the barrow of the first deceased, is, on account of the grave The jugs, a widespread functional form goods, typical of the "princes horizon" in Eastern Europe and Minor Asia in of the Late Cooper Age. The rich the period of Late Cooper Age and 98 Gruda last home of the first princes in Montenegro from Late Cooper Age AR 2017.1
Early Bronze Age, with a long handle that connects the rim and shoulder or belly, have similar decorations to the plates, and are a type known from Gruda Boljevića (fig. 4: 4), Mala Gruda and Mogila na Rake. The unique funnel like ceramic, with a decorated exterior and plain interior (fig. 4: 6) belongs to the plate and jug stylistic tradition, but as an object it has no analogies as of yet. This featured ceramic set, comparable to other examples from elsewhere in Montenegro, consists of highly decorated plates (and funnel) with plain interiors and exteriors like jugs with stamp-rolled and excised executed ornament. They are therefore a popular and long-lasting vessel type, produced with ornamentation that seems to form Slika 5: Grobni inventar iz gomile Gruda Boljevića v a "fashion trend" that reaches from the Podgorici (M = ca. 1:3, št. 2, 3 = 1: 1; 1a, 2, 3 zlato, 1, 5 Eastern Alps, Carpathian basin and to kamen, 4 bron, 6-8 keramika; po Guštin 2006, fig. 2). the Adriatic coast. In the Montenegrins Figure 5: The grave inventory from the barrow at examples we recognize a regional type Gruda Boljevića at Podgorica (M = ca. 1:3, no. 2, 3 = 1: 1; 1a, 2, 3 gold, 1, 5 stone, 4 bronze, 6-8 ceramic; after produced by various local workshops. Guštin 2006, fig. 2). For the origins of the formation of this new community in Montenegro we have to search the Yamnaya culture (named after the Ukrainian Ямна культура, yamnaya, yamna = pit), a Late Copper Age/Early Bronze Age culture of the Southern Bug/Dniester/ Ural region (the Pontic steppe) dating to the end of the 4th and first half of the 3rd millennium BC [Heyd 2011]. The connection between the two cultures is the type of pit grave burials in which the deceased was deposited in a crouched position within barrows. Later links include the aforementioned lockrings (as part of the costume of the upper class), weaponry (axe and dagger) as insignia of precious metals and a special ceramic set of the Montenegrin variant which were also important elements of the Yamnaya culture. Weaponry is ubiquitous, prevalent in the Aegean area and Eastern Europe. The ceramics for the funerary services are local products, but made following interregional forms of the period. Its special execution of decoration with furrowed incision is recognisable in this region, and archaeologists like to connect this ornamentation with the Vučedol culture on the river Sava and even the Ljubljana March culture in the far west. Because of the special ceramic decoration with furrowed incisions 99 AR 2017.1 Ljubljana
it has been connected with the so called until now been known only from a Adriatic type of the Ljubljana culture few ceramic fragments from the caves [Dimitrijević 1967; 1979], according at Odmunt pečina and Ravlića pečina. to what was perceived as an adequate Recently archaeological excavations of definition for the finds of this horizon in Predrag Lutovac on Samobor gradina south-eastern Adriatic and Montenegro (hillfort) on the edge of the Skadar Lake [Govedarica 2010; Lutovac 2016; brought numerous ceramic fragments Lutovac 2016; Zagarčanin 2016] until corresponding to the outstanding the Early Bronze Age period. Joseph funerary ceramics of the graves. If Maran viewed the central graves of the tumuli with their tombs and grave Velika and Mala Gruda and Gruda goods were exceptional, the research Boljevića as Montenegrian variants of of the settlement is the first step to the Late Vučedol culture and Early recognize the domestic world of this Bronze Age period [Maran 2007, 8-12]. prehistoric society in Late Cooper Age. Following the excavation of the central It is possible to accept that the different grave from the Velika Gruda barrow grave good assemblages, ranging from and comparison with the artefactual the rich examples from Gruda Boljevića inventory from Mala Gruda and a and both Velika and Mala Gruda, to broader synthesis of the data for poorer assemblages composed of two central and eastern Europe, the eastern sets of vessels at other sites, represent Adriatic coast and Greek-Ionic area two different social levels. But it has Margerita Primas [1996, 135] proposed to be noted that the key feature of that this cultural horizon represented a such sites are the barrow and stone distinct Adriatic group named Kotor tomb– for these to be built required facies. He argued: "Da sich zwischen a sizeable effort and assumes a high der montenegrinischen Keramik degree of respect for the deceased and (Velika und Mala Gruda, Rubeža) und a developed social structure. The large der Facies Ig (Ljubljana, note by author) limestone slabs were, in most cases, to keine spezifische Parallelen erkennen be quarried from the landscape and lassen und auch die ehemals vermutete transported a sizeable distance to the Synchronlage wohl abzulehnen ist, chosen location for the last resting empfiehlt sich die Definition einer place of the deceased. montenegrinischen Lokalfacies, die wir in folgendem Facies Kotor nennen. 6. Conclusions Von zukünftigen Forschungen Where are the roots of this sudden in Nordalbanien ist mit großer development in Montenegrin region Wahrscheinlichkeit eine Erweiterung in with the "princes horizon"? Are diese Richtung zu erwarten" and placed they the result of newcomers with it chronologically and culturally within new technological knowledge, who the Late Cooper Age period [see also discovered the potential of mineral Della Casa 1996, 135; Guštin 2006, 89 resources in the mountains or even Guštin, Preložnik 2015, 28-31]. developed the smith’s activities given by the almighty gods? [Durman 2006]. 5. Absolute dates This question will remain open to await In order to provide absolute dating adequate research of the settlement for the two phases of Montenegrin layers or discovery of the remains "princely" graves, we have the of the mines which furnished these radiocarbon dating of human bone graves.With the "princes horizon" from the primary central grave of the huge tombs were constructed to tumulus at Gruda Boljevića, dated to make use of massive limestone slabs. c.3050 BC (3090-3044 cal BC), close With this in mind we can also begin to to the dates obtained by analysing speak of the stone masonry visible on the wood from princely grave from settlements in the form of huge dry- the Velika Gruda tumulus (2800- wall fortifications. Using more modest 2700 cal BC). These two dates allow dimensions, of thinner limestone slabs us to conclude that the Montenegrin from the surrounding area, the tomb "princes horizon" can be dated, on basis constructions with limestone slabs of C14 dating, to the first two centuries continued to be utilised within the of 3rd millennium BC. Although the landscape of eastern Adriatic coast and tumuli are easily visible and some of their hinterland through history until them archaeological researched, the the Modern Period. contemporary settlement layer have 100 Gruda last home of the first princes in Montenegro from Late Cooper Age AR 2017.1
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Elements of paper Check list before submitting the paper Academic title, Author Name and surname 1. Author’s metadata. Organisation 2. Title of the paper. Translation in SLOVENE will be charged by E-mail AR Journal Service. 3. Abstract. Translation in Title SLOVENE will be charged by AR Journal Service. Up to 85 characters including interspaces. 4. Key words. Translation in SLOVENE will be charged by Submit ENGLISH title. AR Journal Service. Translation in SLOVENE will be 5. List of countries and building charged by AR Journal Service. objects. 6. Body text. Abstract 7. References. From 1000 to 1400 characters 8. Graphical material with including interspaces. corresponding text of graphics. Abstract shortly describes the contents Translation in SLOVENE will be of paper presented. The abstract charged by AR Journal Service. should state briefly the purpose of 9. All text should pass proof the research, the principal results and reading (spellchecked and major conclusions. An abstract is often grammar-checked). presented separately from the article, 10. In case the proposed paper is How to submit a paper so it must be able to stand alone. meant as an article for PhD study (both steps are obligatory) For this reason, references should at UL Faculty of Architecture 1. Printed + WEB transfer email: be avoided, but if essential, then cite the author should point out that UL Fakulteta za arhitekturo the author(s) and year(s). Also, non- the referees' comments will be standard or uncommon abbreviations published along the paper. AR arhitektura, raziskave Uredništvo should be avoided, but if essential they 11. Signed paper of the originality Zoisova 12 must be defined at their first mention of the paper. 1000 Ljubljana in the abstract itself. Slovenija 12. Written approval from the Submit ENGLISH abstract. author of graphics to be publish [email protected] Translation in SLOVENE will be in the AR architecture, research charged by AR Journal Service. 106 Authors’ guidelines AR 2017.1
Key words Submit ENGLISH description. House, City. Up to 5 words and up to 50 characters Translation in SLOVENE will be including interspaces. charged by AR Journal Service. Example: Nishi, K., Hozumi, K. All these elements should be enclosed (1985): What Is Japanese Architecture? Please avoid any general and plural separately to your contribution. Kodansha International, Tokio. terms and multiple concepts (avoid, Graphic material is kept in separate for example, ‘and’, ‘of ’). Be sparing files holding names used in the article. Journal papers with abbreviations: only abbreviations Use a logical naming convention for Surname, First letter of the name. firmly established in the field may be your artwork files. Produce images eligible. These keywords will be used near to the desired size of the printed (year): Title of the article. V: for indexing purposes. version. Publication, Volume, Number: article pages from to. Submit ENGLISH key words. Example: File Figure 01.tif Translation in SLOVENE will be corresponds to Figure 1 in the text charged by AR Journal Service. of the article. Example: Lah, L. (2002): Muzeji na prostem - večplastnost pomenov za Pictorial material should be ohranjanje arhitekturne dediščine. V: Countries mentioned / involved prepared at a resolution of 300 dpi AR, Let. IV, št. 1, str.: 64–65. The list of countries mentioned or for photographs and 600 dpi for involved in the paper. The list will be scanned black-and-white plans or used for indexing purposes. schemes. Recommended formats WWW sites for pictorial material are TIFF or Name of the website Building types discussed in paper JPG. The recommended size of the material is 10x15 cm. Do not full address The list of building types mentioned include graphic elements in the text / involved / discussed in the paper. of the article. You may indicate their