Urban architecture / Arhitektura grada Fedja VukiÊ Copyright ∫ 2001 Neidhardt arhitekti d.o.o. Ilica 26, HR-10000 Zagreb CIP - Katalogizacija u publikaciji Nacionalna i sveuËiliπna knjiænica, Zagreb UDK 72 Neidhardt, V. VUKI∆, Fea Velimir Neidhardt : urban architecture = arhitektura grada / Fedja VukiÊ ; <prijevod Vladimir Ivir>. - Zagreb : Neidhardt arhitekti : Meandar, 2001 Tekst usporedo na engl. i hrv. jeziku. - Bibliografija. - Kazalo. ISBN 953-206-028-6 (Meandar). 1. Neidhardt, Velimir 400706053 Cover design / Oblikovanje naslovnice Boris LjubiËiÊ Design and layout / Prijelom Velimir Neidhardt Translation / Prijevod Vladimir Ivir Production / Priprema Studio Æiljak, Zagreb Print / Tisak Kratis, Zagreb Contents / Sadræaj 5 Urban architecture O urbanoj arhitekturi 9 Local and global influences Lokalni i globalni utjecaji 15 The architecture of Velimir Neidhardt Arhitektura Velimira Neidhardta Appendices Referentni prilozi 125 Biographical note Saæeta biografija 126 Awards Nagrade 127 Catalogue of design projects Katalog projekata 132 List of publications Publicirani znanstveni i struËni radovi 133 Notes, views, interviews Publicirani prilozi, razgovori, miπljenja 134 Bibliography Bibliografija - literatura 137 Projects contributors Sudionici projekata 139 Illustration credits Izvori slikovnog materijala Urban architecture / O urbanoj arhitekturi If architecture, as its authoritative historians would have it, Ako je arhitektura, prema povjesniËarskim autoritetima, first appeared in non-urban environments, it has certainly nastala u neurbanim uvjetima, onda je svakako moguÊe reÊi i developed historically in cities in the first place and only then da se kroz povijest razvijala u gradu pa tek onda na drugim in other settings. It is, indeed, not too much to say that the art mjestima. DapaËe, nije preuzetan ni zakljuËak da gradnja zgra- of building acquires its full meaning and significance only in the da poprima puni smisao tek u urbanoj sredini, dakle tamo gdje urban setting, where architecture creates and represents the arhitektura stvara i predstavlja osnovni okoliπ. Aktualiziramo core of the environment. Reviving the old rationalist view of li danas staru racionalistiËku tezu o prirodnim izvorima kon- natural sources of the concept of architectural forms, we have cepta arhitekture i graditeljskih oblika, utvrdili smo mjesto identified their place of origin, but we have no more than sug- nastanka, ali tek naznaËili prostor razvoja. Drugim rijeËima, gested the real setting for their development. In other words, ako je priroda rodno mjesto arhitekture, grad je analogija if nature is the birthplace of architecture, then the city is an prirodne sredine. analogy of the natural environment. Ovakve opÊenite rijeËi trebale bi samo posluæiti uvodom za Such general statements are intended as an introduction to a analizu pojedinih opusa, trendova i pojava u arhitekturi XX. possible analysis of individual opuses, trends and phenomena in stoljeÊa, i to zbog Ëinjenice da je onome πto se obiËno naziva twentieth-century architecture, given the fact that what is usu- moderno ili modernizam (sve do postmodernizma) baπ grad ally meant by terms such as “modern” or “modernism” (includ- osnovni prostorni okvir pa i mjera. Dakako, moglo bi se na ing also “postmodernism”) finds its spatial frame and true mea- sliËan naËin vrlo dugo raspravljati o dijalozima i nesporazumi- sure in the city. One could, of course, continue this discussion ma na relaciji od arhitekture do prirode (i natrag), meutim along similar lines and at considerable length, examining argu- ovdje bi samo trebalo upozoriti na neke zajedniËke ili opÊenite ments and misunderstandings concerning the relationships and elemente arhitekture nakon 1945. godine, a u teænji da se paths leading from architecture to nature (and back). However, prikaæu posebnosti jednog opusa od kasnih πezdesetih godina we shall confine ourselves at this point to merely noting some do danas. Pitanje koje se logiËno postavlja svakomu tko æeli common or shared elements in post-1945 architecture by way uspostaviti odnos globalnog i lokalnog, ili kliπejiziranih zakoni- of a preparation for the analysis of an individual opus evolving tosti trenda s kreativnim autorskim udjelom, jest: kako u from the late sixties to the present day. The question that log- neËemu πto se medijima obiËno predstavlja kao ultimativna vri- ically faces everybody who seeks to establish a relationship jednost pronaÊi elemente izvornoga? Takvo πto moæe biti between the global and the local, or between the stereotype itekako zahtijevna zadaÊa, naroËito kad se govori o arhitekturi rules of a given trend and the creative contribution of an indi- moderne epohe, koja je, sliËno opÊem kulturnom kontekstu u vidual author, is how to identify elements of originality in build- kojem nastaje, upuÊena na pojednostavnjene procedure i ings that the media usually promote as the ultimate value. The unaprijed pripremljene recepte. Ali i to je dio urbane scene o question is indeed quite difficult, particularly with respect to kojoj, kako smo naznaËili, neÊemo izbjegavati raspravu. the architecture of the modern age. Reflecting the general con- DapaËe, kolikogod paradoksalno zvuËalo, pokuπat Êemo opisati text of culture in which it blossomed, Modernism experienced jedan arhitektonski opus i iz njega, u pretpostavljenoj uvjeto- a push towards simplified procedures and ready-made pre- vanosti gradom, pokuπati otkriti ne samo elemente onoga πto se cepts, towards a schematism resulting in various features of obiËno naziva homogenizacijom masovne kulture nego moæda i the urban scene, which, as already indicated, we shall not shirk naznake izvornog doprinosa arhitekture artikuliranju urbane from discussing. On the contrary, in what follows we shall try to kulture. A to zbog jednostavne Ëinjenice da arhitekti viπe nego describe an architectural opus which has been seasoned by the drugi stvaraoci pridonose usloænjavanju cjelokupne postave city. Seeking to discover not only elements of what is usually urbane “prirode”. Kaæe li se da su arhitekti scenaristi, neÊe biti called the homogenization of mass culture, we shall also look for dovoljno, ako se misli da stvaraju samo ploπna proËelja kao the original architectural contribution to the articulation of pozadine svakodnevnom æivotu. Zapravo oni predviaju æivot 5 urban culture, recognizing the simple fact that architects more kroz trodimenzionalne Ëinjenice ili prostore koji sastavljaju than other creative individuals contribute to the overall struc- sam grad. Zbog toga bi ih se moglo nazvati urbanim artikula- tural and visual complexity of urbanity. Saying that they are torima, reæiserima æivota u prostoru ili dirigentima koji projek- urban stage designers is not enough if this is to suggest they tiranjem Ëak i nevelike Ëestice gradskog prostora prilaæu u only build façades to support the backdrop function for daily kompleksnu strukturu grada. living. In fact, they anticipate life through various three-dimen- RazmiπljajuÊi o svemu tome, gotovo je neizbjeæivo prisjetiti se sional modules that make up the city. They may be called urban jedne od slavnih Jencksovih definicija ispisane prije dva deset- articulators, managers of living in a built environment, or con- ljeÊa, a kojom je znameniti teoretiËar pokuπao opisati ono πto je ductors who control the ambiental music to be frozen in the u meuvremenu postalo globalno poznato kao arhitektura complex forms of urban structures. “kasne moderne”. Sam pojam “moderne” ili “modernizma” tom Reflecting on these matters, one cannot but recall a famous je sloæenicom poprimio konaËno znaËenje, to jest smisao definition of Jencks’s, over twenty years ago, in which the dovrπenog procesa. Ne æeleÊi ovdje raspravljati o pitanjima great theorist tried to define what has meanwhile become glob- stilistiËke kronologije ili civilizacijskog optimizma, πto svakako ally known as “Late Modern” architecture. In such a colloca- moæe biti poticajno za neku drugu priliku, trebalo bi samo nag- tion, the term “modernity” or “modernism” acquires its final lasiti da Jencks svojom posloviËno kratkom ali uspjelom defini- meaning — that of a completed process. Without wishing to cijom inzistira na oznaËavanju “kasnog modernizma” kao embark upon a discussion of chronology of styles, or of the opti- arhitekture izrazito urbanog karaktera. Dakako, jednu zgradu mism within our civilisation — certainly challenging topics in nije moguÊe promatrati izvan konteksta, ali ne treba zaboravi- their own right — we only note that Jencks’s proverbially brief ti da se posljednjih tridesetak godina ionako najviπe projektira but effective definition labels “Late Modernism” as architec- za gradove i njihove suburbane prostore, koji su postali gotovo ture whose character is distinctly urban. Of course, no building jedina gnijezda suvremenoga æivota. Ipak, reËeni termin ima can be viewed outside its context, but over the last thirty years nekoliko slojeva znaËenja obuhvaÊenih jednostavnim situira- architectural design has been made mostly for cities and the njem pojedinaËnog objekta u urbanom kontekstu. To se prven- suburbia that have become almost the sole nests of contempo- stveno odnosi na socijalnu odreenost nastanka takve arhitek- rary living. Still, the term “Late Modernism” itself has several ture kakvu obiËno naruËuju velike multinacionalne korporacije, layers of meaning underneath the simple meaning of a particu- prominentne banke ili pak gradske, a ponekad i dræavne insti- lar individual building in an urban context.