Presjek08 PDF

intervju interview intervju s bak arquitectos (maria victoria besonias) interview with bak arquitectos (maria victoria besonias)
intervju s bak interview with bak

arquitectos (maria arquitectos (maria
victoria besonias) victoria besonias)
UVOD INTRODUCTION
BAK Arquitectos je arhitektonski ured koji su osnovali Mara Vic- BAK arquitectos is an architectural practice created by the ar- BAK: Nema mnogo redovitih profesora u Argentini, ali istina je essary for materialization of our dreams.
toria Besonias, Guillermo de Almeida i Luciano Kruk. Njihova su chitects Mara Victoria Besonias, Guillermo de Almeida and Lu- da se svi sveuilini predavai i profesionalno bave arhitektu- PRESJEK: Do university professors often at the same time run
postignua viestruko nagraivana, pa su tako meu ostalim ciano Kruk. They have been awarded for their work on many rom. Takvo dvostruko djelovanje zasigurno obogauje obje ak- successful architectural offices?
priznanjima osvojili i prvu nagradu na Bijenalu arhitekture, ur- occasions. Their achievements include: first prize Biennial of Ar- tivnosti, ali samo po sebi ne jami uspjeh. Postoje mnogi vrijed- BAK: Teaching full time is rather an exception than a rule in Ar-
banizma, istraivanja i teorije 2007. i 2009. godine u organizaciji chitecture, Urbanism, Investigation and Theory 2007, 2009 or- ni radovi koji nisu postigli zaslueno priznanje. Stoga vjerujem gentina, for which reason all university professors develop in
CAPBA-e, drugu nagradu "La Arquitectura y el Ladrillo" na XII. ganized by CAPBA, second prize "La Arquitectura y el Ladrillo" in da uspjeh moemo smatrati ugodnim iznenaenjem iji uinak parallel a professional activity. This dual task of course enriches
Bijenalu arhitekture u Buenos Airesu 2009. godine u organiza- the XII Biennial of Architecture in Buenos Aires 2009 organized nije vjean. both activities, but it doesnt guarantee success. Many studies
ciji CAYC-a, treu poasnu nagradu na Panamerikom bijenalu by CAYC, third honorable mention in the Panamerican Biennial PRESJEK: Koja je uloga arhitekta i arhitekture danas? doing valuable work remain unrecognized. I believe that suc-
arhitekture u Quitou 2008. godine (XVI. BAQ)... of Architecture in Quito 2008 (XVI BAQ) etc. BAK: Alvar Aalto, finski majstor arhitekture smatrao je da grae- cess is often a pleasant surprise and that its effect does not last
Svi su takoer iskusni sveuilini predavai tako da je svaki The three architects are also experienced lecturers, so each new vina mora zadovoljiti etiri osnovna arhitektonska uvjeta: very long.
njihov projekt nova prilika za objedinjavanje znanja iz teorije i project is an opportunity to connect theory with production as 1 Rijeiti postavljeni problem PRESJEK: What in your opinion is today's role of the architect
prakse, zbog ega lake rjeavaju probleme u svom poslu. a way of overcoming difficulties at work. 2 Izbjei nagrivanje lokacije and architecture?
U prosincu 2012. godine ured se razdvojio na Besonias Almeida In December 2012, the studio split into Besonias Almeida Arqui- 3 Predloiti dobru tehnologiju izgradnje BAK: Alvar Aalto. The Finnish master held that a building can be
Arquitectos i Luciano Kruk te nastavljaju djelovati odvojeno. tectos and Luciano Kruk, and have since pursued their separate 4 Zahtijevati razumno odravanje considered if it fulfilled four essential architectural issues.
objectives. Kad ih ovako navedemo, te se svrhe ine oiglednima, no ako 1 - Solve the problem posed
PRESJEK: Moete li nam rei neto o vaem uredu? Kako uskla- pogledamo oko sebe vidjet emo da to nije ba tako. Postavljeni 2 - Not degrade the location
ujete akademsku i profesionalnu karijeru? PRESJEK: Can you tell us something about your office? In what problem esto ostaje nerijeen zbog sanjarija samog arhitekta. 3 - Propose good construction technology
BAK: Na rad u uredu temelji se na usklaenosti tih dviju aktiv- ways do you manage to integrate or balance the academic with Lokacija se preesto uzima samo kao pozadina arhitektonskog 4 - Require reasonable maintenance
nosti. Svaki novi projekt prua nam mogunost za objedinjava- your professional career? zdanja koje se namee kao glavni protagonist. Izgradnja se do- Set out in this way, the purposes seem obvious, but just by
nje teorije i prakse te na taj nain izbjegavamo abloniziranje, BAK: The integration of these two activities is the basis for the ivljava samo kao spektar formalnih mogunosti, a odravanje looking around us, we can see that they are not. Too often the
emu naa profesija naalost esto pribjegava. U svom poslu work we do in the studio. Each new assignment is an oppor- se u procesu projektiranja gotovo nikad ne uzima u obzir. problem posed remains unresolved due to architects fantasies.
moemo biti kreativni, balansirajui na granici izmeu hrabrosti tunity to bring together the theory and practice, so that the Glavni problem predstavlja sposobnost arhitekta da postigne The place is often seen only as background of the architectur-
i opreza, to nas istovremeno oslobaa ustaljenosti koja moe project exceeds the typecasting that often lies in the reality of sklad izmeu ova etiri naela. al object seeking protagonism. Construction is viewed as the
paralizirati u radu. Hod po rubu pomae nam da se suoimo the profession. This allows us to turn our work into a creative Stoga se arhitekt koji je dobio novu narudbu prvo treba suoiti s range of formal possibilities and maintenance is rarely taken
s nerjeivim problemima, a istovremeno nas vee za realnost activity somewhere in-between boldness and caution, on that postavljenim problemom, treba mu prii to otvorenije, bez pro- into account when designing.
koja je potrebna za ostvarenje naih snova. threshold that frees us from the paralyzing certainties and raunskih ogranienja i predrasuda. Arhitekt mora uzeti u obzir The main problem is the possibilities of the architect to sustain
PRESJEK: Je li uobiajeno da sveuilini profesori paralelno vode helps us deal with problems that have no known solution on kulturoloki, ekonomski i tehnoloki okvir koji e mu otvoriti, a these four principles.
uspjene arhitektonske urede? one hand, but at the same time, ties us to that fact of life nec- ne zaprijeiti, spektar mogunosti za ostvarenje transformacija. Hence, the role of the architect facing a new commission should
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intervju s bak arquitectos (maria victoria besonias) interview with bak arquitectos (maria victoria besonias) intervju s bak arquitectos (maria victoria besonias) interview with bak arquitectos (maria victoria besonias)
KUA NA PLAI KUA BB

BEACH HOUSE HOUSE BB
Kako bi se mogli povezati s lokacijom, arhitekti moraju biti svje- be to deal with the posed problem in the most receptive way, sredstvima, odnosno racionaliziranju sredstava u fazi izvoenja, and its fulfillment in the form of a tangible object there lies a
sni toga da svoj rad unose u ve postojeu situaciju zbor je without budgets and without prejudice. They must consider i to je najbitnije, optimiziranju rjeenja koja e odrediti nain production process that, if not considered from the outline of
postojao i prije naeg dolaska, i samo je ekao da se sjedini s the social, cultural, economic and technological framework odravanja u budunosti jer zgrada mora imati korisni ivotni the first ideas, will lead to a sum of partial solutions that can
nama te da tom posebnom fuzijom glasova stvori novu sim- which gives, as a possibility and never as an impediment, an vijek. only be patching a fabric of conditions that have never been
foniju. opportunity to make and produce transformations. PRESJEK: Koliko se opa kriza odrazila na vau djelatnost u Ar- considered.
to se tie prijedloga dobre tehnologije izgradnje, ona se moe In order to respond to the site, we architects must be aware gentini i openito u Junoj Americi? Koje promjene kriza donosi The fourth item has to do with taking an ethical attitude regard-
postii samo ako se projektiranje smatra intelektualnim ra- that we are going to incorporate our work to the pre-existing u promiljanju? ing the available resources, rationalizing them in the execution
dom s ciljem ostvarenja ideje u obliku materijalnog objekta: situation - a chorus that was already there before we arrived, BAK: Kriza dosad nevienih razmjera zahvatila je nau zemlju stage, but most of all optimizing the solutions that determine
konstrukcije. Od poetne odluke do njezina izvrenja u obliku waiting to be integrated into and with its particular voice to 2001. godine i bacila nas u ponor najdubljeg oaja. Svi aspekti the future maintenance of a structure, because a building has a
stvarnog objekta protee se sloeni proces proizvodnje. Ako taj produce a new symphony. naeg ivota postali su radikalno ugroeni tako da smo morali useful life committed to many generations.
proces ne uzme u obzir ba sve, poevi od skice najranije ideje, In connection with the proposal for a good construction tech- nauiti kako ivjeti u apsolutnoj gospodarskoj nesigurnosti, ali PRESJEK: In what ways did the global crisis affect your business
moe dovesti samo do zbira nepotpunih rjeenja i zakrpavanja nology, it may only be possible if assumed that while design- i neto jo gore: morali smo se nauiti nositi s kolapsom vri- in Argentina and in South America in general? To what degree
nikad razmotrenih okolnosti. ing is an intellectual act, its objective is to realize the concept jednosti neviena intenziteta. Bilo je naravno i dugih razdoblja did it change the perception and the way of thinking?
etvrta stavka vezana je uz etiki stav prema raspoloivim in a concrete fact: the structure. Between that initial decision bez ijedne narudbe, no nismo bili neaktivni. Kako ne bismo is- BAK: The unprecedented crisis that emerged in our country in
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intervju s bak arquitectos (maria victoria besonias) interview with bak arquitectos (maria victoria besonias) intervju s bak arquitectos (maria victoria besonias) interview with bak arquitectos (maria victoria besonias)
PRESJEK: Neke od vaih kua nalaze se unutar same prirode, tj. landscape at the meetings with the clients, as they are indis-
ume. Smatrate li da je arhitektura kvalitetnija ako je iskoristiva pensable for them to understand both the spatiality and the
na vie lokacija ili ako je primjenjiva samo ondje gdje je nastala? materiality of the work.
BAK: Nikad neemo razumjeti arhitekturu ako ne uzmemo u PRESJEK: In what ways do you achieve aesthetic effects in de-
obzir poseban odnos koji ona ima s okoliem koji je prihvaa. sign - do you intentionally consider the concept of beauty in
Pod tim ne mislim samo na mjesta na kojima se odvija ivot, ve creating a structure or do you just contemplate on the forms
na cjelokupne prirodne, drutvene i kulturoloke faktore koji je as a rational part of architecture, and the beauty being a mere
odreuju. consequence to the design process?
PRESJEK: Peter Zumthor kae da projekt ne predaje prije nego BAK: The aesthetic quality of a work must be at the core of its
to u potpunosti bude zadovoljan sa svim njegovim dijelovima. architectural proposal. This of course includes research in the
Moe li se to primijeniti i na vas, pogotovo danas kad su za kli- field of aesthetics. We need to re-evaluate this term (degraded
jenta rokovi na prvom mjestu? by association with cosmetics) to reestablish its philosophical
BAK: Slaemo se s Peterom Zumthorom da kvaliteta rada ovi- meaning. It is our intention to find unity between material, con-
si o vremenu promiljanja i izvedbi svih aspekata koji na njega struction and form, with solutions closely integrating design
utjeu. Meutim, uvjeti i rokovi trebaju se uvijek dogovoriti s and technology so that the final projects get expressive and
klijentom, a arhitekti ih moraju strogo potivati. conceptual enhancement.
PRESJEK: Some of your houses are located in the very heart of
razgovarao: antonio andabaka nature/forest. Is the architecture that may function at multiple
locations considered of better quality than the architecture ap-
plicable exclusively to the place where it was generated?
BAK: We cannot understand the architecture without a specific
reference to the environment which will receive it. By under-
standing we imply not only of the places where life takes place,
of the entire natural, social and cultural factors that determine
it.
PRESJEK: Peter Zumthor says that the project will be submit-
ted only when he is fully satisfied with all its parts can such a
statement apply in your case as well, in times when the clients
deadlines are considered to be the most decisive factor?
KUA JD BAK: We agree with Peter Zumthor on that the quality of a work
HOUSE JD depends on the hours devoted to the study and realization of
all the issues that affect it. However, the terms should be prop-
erly agreed with the client, and the architects have to be very
respectful of their compliance.
vizije obiteljskih kua? Ipak su to osjetljiva pitanja, posebice the last. And it's not a clich; we truly feel so when we wake up interviewed by: antonio andabaka
kada ste u ulozi arhitekta neijeg svakodnevnog ivota. each morning.
BAK: Klijenti koji nam dolaze u studio ve imaju neka znanja o It is very generous; everything has been used to maximum ad-
naem radu, bilo da su osobno vidjeli nae kue ili ih upoznali vantage which gives the house additional power. Even the field
putem nae web-stranice. Veinom ih i zanima na pristup. Od- that is not large seems as it was. We are full of compliments and
nos s klijentom stoga poinje obostranim povjerenjem. elimo we are happier people than we were when we started this voyage
zatititi na rad u svakoj fazi projektiranja i izvedbe, ali pritom to Mar Azul."
vrlo paljivo oslukujemo zahtjeve klijenata i strpljivo mu obja- Thank you very much, Silvia and Pablo
njavamo odluke i razloge njihova donoenja. Clients confession that the house wed projected for them has
PRESJEK: Koji je alat za vas vaniji, skica ili maketa? turned them into happier persons is the greatest compliment
BAK: Uvijek projektiramo pomou 3D modela kojim moemo we can receive.
provjeriti prostornost projekta, ali i ne samo to: uvelike nam PRESJEK: How do you reconcile client's wishes and your vision
pomae da odluimo kakvo rjeenje na kraju odabrati. Takoer, when designing family house for instance? These are quite sen-
svesrdno preporuamo da se na sastancima s klijentima koriste sitive issues, especially when you undertake the role of the cre-
renderi s okolnom prirodom budui da su klijentima nezamje- ator of one's daily life.
njivi u razumijevanju prostornosti i materijalnosti samog pro- BAK: The clients who come to our studio do so with foreknowl-
jekta. edge of our works, whether they have seen them personally or
PRESJEK: Uzimate li u obzir koncept ljepote neke graevine ili they know them through our website, and are interested in our
razmiljate o oblicima kao o racionalnom dijelu arhitekture, pri approach. Thus, the relation starts with confidence in the work
emu ljepota predstavlja samo posljedicu procesa projektiranja? we endeavor to protect in every stage of design and execution.
BAK: Estetska kvaliteta rada mora biti u samoj sri arhitekton- We listen very carefully to their requests and take time to com-
skog prijedloga, to naravno ukljuuje istraivanje iz podruja prehensively explain the reasons for the decisions made.
estetike. Trebamo ponovno evaluirati ovaj izraz (koji je degra- PRESJEK: Which tool do you consider to be more important, the
diran povezivanjem s kozmetikom industrijom) i povratiti mu sketch or the model?
filozofsko znaenje. Naa je namjera pronai jedinstvo izmeu BAK: We design always with the help of an electronic model
materijala, gradnje i oblika u rjeenjima koja integriraju dizajn i which allows us to not only verify the spatiality of the project
tehnologiju, da bi konaan projekt dobio na izraajnosti i kon- but also helps us to decide what structural solution we are go-
ceptualnosti. ing to adopt. It is also advisable to use renders with surrounding
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intervju interview intervju - odnos prema graditeljskoj batini danas interview today's a ttitudes towards architectural heritage
Intervju - odnos Interview Today's

prema graditeljskoj Attitudes towards
batini danas Architectural Heritage
S obzirom na to da se u ovom broju Presjeka bavimo temama Seeing that this issue of Presjek deals with themes such as re-
kao to su rekonstrukcije, sanacije, dogradnje i interpolacije, po- constructions, rehabilitations, expansions and interpolations, we
stavili smo pitanje arhitektima i strunjacima na podruju zatite decided to ask the architects and experts in the field of protection
i obnove spomenike batine. Kroz vizije est arhitekata elimo and restoration of monumental heritage for their opinion on the
problematizirati pitanje zatite kulturne batine. subject. Our intention is to discuss the issue of cultural heritage
preservation through the visions of six architects.
Presjek: Kako projektirati za budunost, kako finacirati obnove, Presjek: How do you design for the future? In what ways can
kako ukljuiti batinu u suvremeni ivot? restorations be funded, and how do you suggest including cul-
Istaknite primjer ili primjere dobre prakse u pristupu obnovi tural heritage into the modern lifestyle?
(rekonstrukciji, dogradnji, interpolaciji, gradnji unutar zatiene Could you give us some examples to demonstrate good prac-
cjeline) spomenike batine. Gdje je budunost nae prolosti? tice approaches to restoration (reconstruction, expansion, in- park prirode lonjsko polje, 2002.
terpolation, construction within the protected structure) of Lonjsko Polje Nature Park, 2002.
antun dikli, park prirode lonjsko polje, 2002. monumental heritage?
Odnos struke i drutva openito prema graditeljskom naslijeu What do you think is the future of our past? Meutim, kljuna vrijednost ovog projekta lei u njegovu mo- reconstructed them and placed the entire infrastructure of
vrlo je kompleksan i ne smije se tretirati samo s gledita povije- tivu koji se moe svesti na "prosvjetiteljsku ideju uprave parka the park, from administrative, work, scientific, educational
sti umjetnosti, u korelaciji s recentnom graditeljskom tehnolo- Antun Dikli, Lonjsko Polje Nature Park, 2002. koja je eljela lokalnoj zajednici pokazati i dokazati da je nji- and exhibition space, to catering and accommodation. All of it
gijom. Metaforiki reeno, planiranje zahvata estetske kirurgije The relationship of the profession and society in general hovo tradicijsko graditeljsko naslijee formirano kroz stoljea has been in cooperation with and under the supervision of the
na "pacijentu" kojemu ponajprije treba reanimacija jednostav- towards architectural heritage is very complex and should not u autohtonim materijalima i konstrukcijama dovoljno vitalno i Ministry of Culture and other relevant institutions.
no nema perspektivu. Pacijenta emo izgubiti, bez obzira na be treated only from the standpoint of art history in correlati- fleksibilno da zadovolji sve suvremene zahtjeve ivota. Projekt However, the key value of this very project is in its motive, and
uspjenost operacije. Problem kulturne batine stoga ne lei u on with recent architectural technology. Metaphorically spe- je bio poetni impuls koji je inicirao niz pojedinanih privatnih it comes down to the Enlightenment idea of the park ma-
obnovi, rekonstrukciji ili adaptaciji, ve je primarni cilj djelovanja aking, it is not promising to plan cosmetic surgery procedures projekata ouvanja i njegovanja izvorne graditeljske batine, to nagement to demonstrate and prove to the local community
revitalizacija. elimo li staroj strukturi udahnuti ivot, moramo in the patient who is in such a condition that he first needs je naposljetku i njegova konana vrijednost. who still live here that their traditional architectural heritage,
biti svjesni njezine vlastite snage samoodranja i ciklike obno- resuscitation. Regardless of the success of the procedure, we that has been formed of indigenous materials and structu-
ve, kojoj samo u iznimno tekim i izvanrednim situacijama treba will lose the patient. Therefore, the issue of cultural heritage Antun Dikli, Studio XXL, Park Prirode Lonjsko polje, prijemni cen- res through centuries, is sufficiently vital and flexible to meet
pomo izvana. U tom smislu itekako je vana uloga projektanta, is not in rebuilding, reconstruction and adaptation, but the tar PP Kopaki rit u Malom Sakadau u Kopaevu, trg bana Jelai- all the contemporary demands of life. The project served as
ali tek kao dio integralne vizije multidisciplinarnog sagledavanja primary goal is revitalization. a u Donjem gradu, Osijek a role model and has initiated a series of individual private
svakog pojedinanog projekta. Breathe life into the old structure has its own strength of self- projects that have returned to nurturing the authentic archi-
Modernim rjenikom reeno, i urbana i ruralna graditeljska preservation and cyclic renewal, and only the excess situati- Majda Kregar, castelVecchio, verona, carlo scarpa tectural heritage, and this is its final value.
batina predstavlja znaajan resurs prezentacije nacionalnog ons require outside help. In this sense, the role of the designer Obnova povijesnih spomenika zahtijeva revitalizaciju i intenziv-
identiteta i kao takva ne smije se petricifirati ili nepovratno is important, but only as part of an integral vision of multidis- ni angaman u suvremenim drutvenim zbivanjima. Samo tako Majda Kregar, castelVecchio, verona, carlo scarpa
potroiti, ve treba uloiti napore u odravanje njezine vitalno- ciplinary analysis of each project. moe se osigurati odravanje batine i njezina prisutnost u na- Restoration of historic monuments mainly requires their revi-
sti. Iznimni trud struke koja je na primjeru Dubrovnika ouvala Architectural heritage (as well as urban and rural) in modern em vremenu. Posljedica takve brige o naslijeu je atmosfera talization, which is an intense engagement in the contempo-
izvornu i neprocjenjivu graditeljsku vrijednost Starog grada, nije terms is a valuable resource to the presentation of national svjesnosti o povijesti i prolim vremenima. rary social events. It is the only way to ensure the maintenance
uspio odrati kvalitetu ivota domicilnog stanovnitva unutar identity, and as such should not be petrified nor grant to Vano je da planirane intervencije na zgradi ili kompleksu omo- of heritage, its presence in our time and create awareness
dubrovakih zidina. Polako nestaju generacije koje mogu rei da spend, but the goal is to maintain its vitality. Extraordinary guuju dodatnu transformaciju u budunosti. Stoga bi obnova of history.
su tu roene, rasle i sazrijevale, ljubovale i radile... Odnos prema effort of the profession, which in the case of Dubrovnik pre- spomenike batine trebala nuditi raznolikost i prilagodljivost It is important that the present interventions in the building
batini stoga nije samo pitanje struke ve stav cijeloga drutva. served the original inestimable architectural value of the Old prostora u funkcionalnom i oblikovnom smislu. or complex enable additional transformation in the future.
Sreom, pozitivnih je primjera sve vie, a jedan posebno vri- Town, was not sufficient to maintain the quality of life for the Razlika i granica izmeu povijesnih slojeva i novih dodanih Therefore, the restoration of cultural heritage should offer
jedi istaknuti: Park prirode Lonjsko polje. Iako je Lonjsko polje local population within the city walls. Generations who were elemenata trebala bi biti jasna i neupitna. Novi arhitektonski multi-functionality and flexibility of space in the functional
primarno rezervat biljnog i ivotinjskog svijeta, uprava parka born and grew here, were raised here, loved and worked here, elementi trebaju biti moderni te odraavati dosege dananje and formal sense.
odluila je reafirmirati i ruralnu graditeljsku batinu svog okru- are slowly disappearing... Treatment of heritage is therefore tehnologije i novih materijala, ali diskretno i nenametljivo. Iako Differences and boundaries between the historical layers and
enja. Dolo je do sukcesivnog otkupa zaputenih seoskih gos- not just a professional, but the attitude of whole society. staro i novo tvori oblikovnu harmoniju, vrijeme nastanka novih newly added elements should be clear and unquestionable.
podarstava drvene arhitekture. Uprava ih je rekonstruirala i u One of, fortunately there is more and more, the positive elemenata treba jasno odstupati od povijesnih slojeva. New architectural elements need to be modern, to reflect
njih smjestila infrastrukturu parka, od upravnih, radnih i znan- examples that should be noted is Lonjsko Polje Nature Park. Projektant u obnovi ima posebno zahtjevnu ulogu: zatieni today's technology and materials, and in a discreet way, so
stvenih sadraja do edukacijskih i izlobenih prostora. Mjesta se Although it is primarily a reserve of flora and fauna, the park spomenik kulture ne smije se opteretiti servisnim i tehnikim that their time of origin legibly deviates from the historical
nalo i za ugostiteljske i turistike sadraje. Projekt je izvren u management has also decided to reassert rural architectural programima. Servisne povrine trebale bi se izdvojiti iz povije- layers, but remains in the formative harmony. The special
suradnji s Ministarstvom kulture i ostalim nadlenim ustanova- heritage of their environment. So they were buying successi- snih i zatienih prostora. Isto tako, nuno je planirati najna- role of the designer in the reconstruction is not to burden the
ma koje su nadgledale sve faze procesa. vely original run-down farmhouses of wooden architecture, predniju infrastrukturu potrebnih programa, koja bi se trebala protected monument with service and technical programmes.
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intervju - odnos prema graditeljskoj batini danas interview today's a ttitudes towards architectural heritage intervju - odnos prema graditeljskoj batini danas interview today's a ttitudes towards architectural heritage
primjereno zatititi od izravnog pogleda. Service areas should be set aside from the historical. Also ne-
Pri projektiranju obnove potrebne su specifine vjetine plani- cessary is the most advanced infrastructure, which should be
ranja i inovativnosti, s pregrt volje, znanja i strpljenja. accompanied by the necessary programmes and adequately
Pri obnovi Starog grada u Ljubljani nismo imali konkretne uzo- protected from direct view.
re, osim rada arhitekta Carla Scarpe, pionira obnove u Italiji. U When designing the reconstruction specific skills of planning
sedamdesetim i osamdesetim godinama prolog stoljea nije and innovation, with a handful of will, knowledge and patien-
bilo mnogo primjera ili poticaja u obnovi spomenike batine. ce, are sought.
Sve to se u Europi dogaalo bilo je romantizirano i tehni- In the reconstruction of the Old Town of Ljubljana we had
ki osiromaeno, bez znaajnijih koncepata. Uvjerili smo se da no concrete models, except the architect Carlo Scarpa, who
ustaljena praksa ukljuivanja spomenike batine u suvremeni was a pioneer of reconstruction in Italy. In the seventies and
ivot ne vodi prema napretku. Zato smo izumili nove inovativne eighties of the last century there were not many examples or
postupke u obnovi. incentives in the reconstruction of cultural heritage. Everyt-
Danas je tema spomenike batine vrednovana i aktualna, pa hing that was happening in Europe was romanticized and
smo svjedoci pozitivnih primjera i razvoja dobre prakse. Primje- technically poor, without significant concepts. We have beco-
rice, arhitekt Souto de Moura u Portugalu je realizirao veliki broj me convinced that a pattern of inclusion of cultural heritage
hvalevrijednih projekata. in contemporary life does not lead to progress. So we inven-
ted new innovative procedures in the reconstruction.
Majda Kregar, Ambijent, Stari Grad, Ljubljana Today the topic of cultural heritage is valued and current, so
we are seeing some positive examples and a good practice is
Saa Begovi, Palais de Tokyo, Pariz, Lacaton & Vassal developed. For example, in Portugal, the architect Souto de
Teme rekonstrukcije adaptacije trenutno su i glavna svjetska Moura realized a number of notable projects.
tema. Mislim da je to proizalo ponajprije iz svjetske situacije
i potrebe racionalnijeg promiljanja o naoj izgraenoj okolini. Saa Begovi, Palais de Tokyo, Paris, Lacaton & Vassal
Posljednjih pet godina krize trebalo nas je osvijestiti i otvoritiTopics of reconstruction and adaptation are currently the main
oi, pokazavi nam da pristup arhitekturi jednostavno vie ne global issues. I think it came primarily from the global situa-
moe biti kao prije. To je otrenjenje bilo nuno jer se arhitektu-
tion and the need for rational thinking about our built envi- castelVecchio, verona, carlo scarpa Drveni neboder, drago ibler
ra bavila vrlo povrnim i egoistinim temama. No unato tome, ronment. Last five years of the crisis should have opened our castelVecchio, verona, carlo scarpa wooden skyscraper, drago ibler
i dalje kod mnogih kolega postoji manjak interesa za urbano eyes and made us aware of the fact that the approach to ar-
arhitektonske teme kao to su obnova, restauracija, ouvanje, chitecture simply cannot stay the same as it was before. This
poboljanje, popravljanje, proirenje, transformacija i ponovno disillusionment was necessary; the fact is that architecture was
koritenje starih struktura. To su teme koje nas zanimaju odu- dealing with very superficial and egotistical topics. But despi-
vijek i izraz koji upotrebljavamo je editiranje ili urbano ureiva-
te this, many colleagues still have a lack of interest in urban
nje. Ignoriranje interesa za ove teme moe se jednostavno pro- architecture topics as: rehabilitation, restoration, preservation,
tumaiti kao socijalno, ekonomski i kulturoloki neodgovorno improvement, repair, extension, transformation and reuse of
ponaanje. Primjerice, urbani blokovi naih gradova imaju izni- old structures. I have to admit that these are themes that have
mno veliki potencijal razvoja, razgradnje, dograivanja i gradnje always interested us, and the expression we use is editing or
potrebno im je Urbano Ureivanje / Editiranje. Ne mora svaka urban renovation. Lack of interest in this topic can be simply in-
arhitektonska intervencija zavriti s jo vie izgraenih struk- terpreted as socially, economically and culturally irresponsible.
tura, s jo vie nove arhitekture. Imamo ve toliko izgraenog For example, urban blocks of our cities have exceptional po-
okolia, toliko naputenih zgrada, tvornica, ustanova, obinih tential for development, deconstruction, annexing and con-
kua, stanova... Sve je to na posao, sve je to arhitektura: mi sestruction, and are in need of Urban Renovation/Editing. Each
kao arhitekti bavimo prostorom i radimo za ljude. architectural intervention does not necessarily have to end up
Jedan od boljih primjera rekonstrukcije novoga u starome with more construction, with more new architecture. Our built
jest Palais de Tokyo u Parizu, rad arhitekata Lacaton & Vassal. environment is so widely spread; there are so many abando-
Oni su jedni od najboljih, ali i najsvjesnijih arhitekata, vrlo osjet-
ned buildings, factories, institutions, ordinary houses and apar-
ljivih za teme kojima se bave, u svakom pogledu: socijalnom tments. All of this is our business, all that is the architecture: we
i ekonomskom. Projekt u Parizu dokazao je da se s vrlo malo are dealing with space and work for the people.
sredstava, i ekonomskih i arhitektonskih, uz odlino planiranje One of the better examples of the reconstruction, i.e. of the
i suradnju s vrlo svjesnim klijentom, moe u jednom starom, new inside the old, is Palais de Tokyo in Paris by architects Laca-
vrlo velikom volumenu napraviti prostor za suvremenu krea- ton & Vassal. They are one of the best, but also the most aware
tivnost, kako ga vole zvati. Palais de Tokyo postao je iznimno architects, very sensitive to the themes dealt with, in every res-
popularno mjesto i jedno od omiljenih okupljalita parikih kre- pect: both social and economic, but also they have been known
ativaca, kao prostor koji omoguuje razliite dogaaje i razno- for their intelligent architectural thinking. Paris project has pro-
like aktivnosti. ved that in an old, very large area, and with very few resources,
Time su arhitekti pokazali da su gustoa, pregovaranje/komuni- both economic and architectural, with excellent planning, but
kacija i mjeovita namjena elementi dobre arhitekture. also a very aware client, it is possible to make space for con-
temporary creativity, as they call it. Palais de Tokyo has beco-
Saa Begovi, 3LHD arhitekti, docent i gostujui profesor na Arhi- me extremely popular, has become one of the most important
tektonskom Fakultetu u Splitu, gostujui profesor na fakultetu za places for creative individuals of Paris, with a space that allows
arhitekturu u Ljubljani very different events and activities. They have shown what we
also think, that the density, negotiation / communication and
mixed uses are elements of good architecture. Palais de Tokyo, Pariz, Lacaton & Vassal
Palais de Tokyo, Paris, Lacaton & Vassal
20 presjek 2013. 8 presjek 2013. 8 21

intervju - odnos prema graditeljskoj batini danas interview today's a ttitudes towards architectural heritage intervju - odnos prema graditeljskoj batini danas interview today's a ttitudes towards architectural heritage
Zora Salopek Baleti, Drveni neboder, drago ibler Zora Salopek Baletic, wooden skyskraper, drago ibler
Projektira se za budunost, tako da se vodi rauna o dragocje- Designing the future, one has to rely on the valuable experi-
nim iskustvima prolosti. Pristrana sam po tom pitanju. Odrasla ences of the past. Im biased on this issue, since I grew up in a
sam u fantastinoj drvenoj korablji staroj 350 godina, pristojno fantastic, 350 years old, wooden house, decently renovated to
obnovljenoj da udovoljava svim suvremenim zahtjevima, a ta- meet all modern requirements, and, as such, in turn fitting into
kva se pak uklapa u sve mogue postulate zelene gradnje, re- all possible postulates of green building, just as described, for
dom kako ih opisuje primjerice LEED sustav. Na alost, kako to example, in the LEED system. Unfortunately, as it tends to hap-
kod nas inae biva, ta dobra kua izgorjela je tijekom rata deve- pen in Croatia, this beautiful house was burned down during
desetih. Kasnije sam uvijek traila neto staro, novo mi je uvijek the war in the 90s. Later, I was always looking for something
predefinirano i konano. Nepristojno je i rasipno mijenjati novo, old, seeing new as predefined and final. It is rude and wasteful
dok staro zove i vapi za intervencijom, trai da ga se prilagodi to change what is new, and old, on the other hand, requires
svojim potrebama i novom vremenu. interventions and adaptations to fit our needs and our time.
U potrazi za stanom, suprug i ja imali smo sreu i sluajno nale- Searching for an apartment for ourselves, my husband and I
tjeli na stan u Iblerovu drvenom neboderu. Pogled na cijeli grad, were lucky enough to accidentally run into an apartment in
ljubav na prvi pogled. Dvije godine kasnije imam svjeu vijest za Iblers wooden skyscraper. View of the entire city, love at first
Presjek: skele za obnovu nebodera diu se za koji mjesec. Put sight. Two years later, I have fresh news for Presjek journal,
do obnove zapravo je trajao mnogo dulje. Za poetak je uvi- scaffolding for the reconstruction of the skyscraper will be lif-
jek potrebno da neki entuzijast ima ideju i volju. itav postupak ted in a few months. Reconstruction time actually lasted much
pokrenuo je ivahni inenjer strojarstva u mirovini, predstavnik longer. For starters it is always necessary that some enthusiast
stanara, uporni gospodin Maras. Naruena je projektna doku- has an idea and will. Persistent Mr. Maras, lively retired mecha-
mentacija od arhitekta Stanka Stergareka, dobivene su sve po- nical engineer and a representative of the tenants, initiated the
trebne dozvole i novac za obnovu koji je Grad Zagreb obeao entire process. Project documentation was commissioned from
jo 2008. godine. No kako je put obnove utrka s preponama architect Stanko Stergarek, all the necessary permits obtained,
ostale zapreke prevladane su tek u ovoj posljednjoj etapi puta. the money for the reconstruction that was promised by The
Zahvaljujui malobrojnoj ali vrlo zainteresiranoj grupici (B. Bale- City of Zagreb for the first time in 2008, but given that recon-
ti, M. Bernfest, M. Kodi, V. Maras), ponovno je pokrenut cijeli struction time is a hurdle-race, other obstacles to the finish line barokni park, dvorac eltz, vukovar
proces: dobiven je novac iz sredstava spomenike rente koji je were overcome only in this final stage of the event. baroque park, castle eltz, vukovar
pokrio pola trokova obnove, na nizu iscrpljujuih sastanaka Thanks to a small but very interested little group (B. Baletic, M.
dogovoreno je da e se ostatak financirati putem kredita koji e Bernfest, M. Kodzic, V. Maras), the whole process was started su doista bile izvedene u 18. stoljeu, o emu svjedoi jedan the proportions were corrected, as well as separate relations in
se vraati sredstvima iz iskoritene priuve sljedeih 8 do 10 go- again. The reconstruction was to be financed partly from the crte Vukovara iz toga vremena koji prikazuje vizuru grada iz the geometry of particles, the width of the trails and the like. The
dina, vie od 95% stanara potpisalo je ugovor o obnovi i proces monument annuity funds and on a series of gruelling meetin- smjera Dunava, na kojemu pred proeljem dvorca jasno vidi- plan misses only the most important detail of the original pro-
samo to nije krenuo. Kao posebni dodatak, tvrtka Planetaris gs it was agreed that the other half would be financed from mo i ornamentaciju parka. ject, with a rich ornamentation of grotesque boxwood hedge in
izradila je energetsku analizu zgrade, koja je pokazala da e se the loans which would be repaid from the maintenance reser- Vrijednost baroknog parka u okviru projekta obnove kom- four central fields of the park. However, to the fact that the gro-
sredstva izdvojena za obnovu vratiti kroz utedu u segmentu ve funds for the next 8 10 years. More than 95% of tenants pleksa naalost nije prepoznata. Iznesena je tvrdnja da projekt tesques were completed in the 18th century, testifies particularly
grijanja. Na temelju ove analize, pokuavaju se dobiti i dodatna have signed the contract of the reconstruction and the process parka moda i nije bio realiziran te da zapravo i nije rije o ba-a drawing of Vukovar from the time with a view of the city, which
sredstva iz Fonda za energetsku uinkovitost. is about to start. As a bonus, the company Planetaris develo- roknom dvorcu, nego o dvorcu s kraja 19. i poetka 20. stoljea, clearly displays the ornamentation of the park before the front
Ovoj se zgradi obnovom vraaju stari sjaj i funkcija. Ne vjerujem ped an energy analysis of the building, according to which it pa je primjerenije da park bude izveden u duhu 19. stoljea. of the castle. Within the project of reconstruction of the com-
u beivotne zgrade, okamenjene u vremenu. Zgradu na ivotu appears that the funds allocated for the reconstruction will be No onda je prihvaen projekt koji s parkovnim rjeenjem iz 19. plex, the value of the baroque park has not been recognized. A
odravaju mali pomaci koji ne mijenjaju njezinu sr. returned through savings in the heating segment. Based on this stoljea ima samo jedan zajedniki element: slinu sredinju claim was presented that the project actually might have never
analysis, we are trying to get additional funds from the Energy travnatu ovalnu povrinu. Sve ostalo je zapravo posve novo been realized, and also that after all it is not really a baroque castle,
Zora Salopek Baleti, Matrica, Palaa Lei-Dimitri, Korula, Kua Efficiency Fund. rjeenje: veina povrine poploena je betonskom galanteri- but a castle from the 19th and early 20th century, so that it was
za odmor Bua, Betina, sjedite Sisake nadbiskupije, Veliki Kaptol, Through reconstruction, the building has regained its former jom i ukraena suvremenim cvjetnim aranmanima, a osobi- more appropriate to design the park as a park of the 19th centu-
Sisak splendour and function. I do not believe in lifeless buildings, pe- to se istiu (projektu naknadno dodani) novi kolasti stupovi ry. However, a project was accepted subsequently, which shares
trified in time, by small improvements that do not alter its core elektrine rasvjete, gusto rasporeeni oko ovalne povrine. only the approximately similar central grassy oval surface with
Zlatko Uzelac, barokni park, dvorac eltz, vukovar keep it alive. the park solution of the renovation of the park in the 19th cen-
U naoj batini parkovne arhitekture preostao je jedinstveni Zlatko Uzelac, povjesniar umjetnosti i urbanist, Ministar- tury. Everything else is actually a completely new solution with
dokument: izvorni projekt baroknog parka dvorca Eltz u Vu- Zlatko Uzelac, baroque park, castle eltz, vukovar stvo kulture, autor tvrave Slavonski Brod, autor urbanistiko- large areas paved with concrete products and accessories of the
kovaru, koji je sredinom 18. stoljea bio ureen pred dvorinim In our heritage of landscape architecture a single document has konzervatorske studije prostora bastione trase i vanjskog contemporary resolved floral arrangements and especially with
proeljem kompleksa, s pogledom na Dunav. Rjeenje parka, u remained: the original design of the baroque park of the castle utvrenja, Osijek the new electric light poles (added later in the project) densely
osnovnim karakteristikama kao i u nizu specifinih detalja koji Eltz in Vukovar, which was arranged in the mid-18th century in distributed around the oval surface.
su posve u duhu svog vremena, vjerno odraava svoj uzor: park front of its back faade open to the Danube. Dino Krizmani, leonid zuban Trg i loa, Sv. Petar u
dvorca Belvedere, princa Eugena Savojskog. U posjedu smo i Entirely in the spirit of its time, the solution of the park, in its umi, Eligio Legovi Dino Krizmani, Leonid zuban Trg i loa, Sv. Petar u umi,
razmjerno precizne arhitektonske snimke tadanjeg postoje- basic characteristics, as well as a number of specific details, is Kulturna batina. Diskurs graditeljske batine dosad se uglavnom Eligio Legovi
eg stanja cijelog kompleksa dvorca poetkom 19. stoljea, koja relying on a great role model in the park of the Belvedere Castle bavio oblicima, pri emu se dominantna rasprava vodila oko pi- Cultural Heritage. Discourse on architectural heritage has traditi-
ukljuuje i snimku izvedenog geometrijskog rasporeda staza of Prince Eugene of Savoy. From the beginning of the 19th cen- tanja stila i povijesnog razdoblja, reducirajui batinu na samo onally dealt with forms, whereby the dominant discussion led to
te ostalih detalja u parku. Taj prikaz svjedoi da je park u svo- tury comes a considerably precise architectural plan showing jedan kriterij pojavnost. Prostor i njegovi dijelovi integralni questions about style and historical period, reducing the heritage
joj izvedbi u odnosu na izvorni projekt bio poneto izmijenjen, the then existing state of the entire castle complex, which also su dijelovi memorije, te nematerijalne kategorije univerzalne i to a single criterion appearance. Space and its parts are integral
ali da je ipak zadrana osnovna ideja, osobito izgled sredinjeg includes a plan of the completed geometric layout of trails, as nezamjenjive vrijednosti, jer prostor je naposljetku najvanije parts of memory and intangible categories of value that is univer-
krinog geometrijskog motiva, poloenog u osi simetrije proe- well as some other details in the park. It proves that the park obiljeje arhitekture kroz koje prepoznajemo njezinu autenti- sal and irreplaceable, because, after all space is the most impor-
lja baroknog dvorca. Korigirane su samo proporcije, pojedini od- was slightly altered in its completion compared to the original nost. Naalost, unutar uvrijeene valorizacije graditeljskog na- tant characteristic of architecture which defines its authenticity.
nosi geometrije estica, irina staza i slino. Na snimci nedostaje design, but also that it has retained the basic idea, especially slijea najvie je zastupljena arhitektonska vrijednost, a manje Unfortunately, within the established evaluation of architectural
samo najvaniji detalj izvornog projekta: bogata ornamentacija the central cross geometric motif whose position emphasizes se pozornosti obraa pitanjima kao to su namjena, kontekst heritage the major factor is architectural value, and issues such as
groteski ivica imira u etiri sredinja polja parka. No groteske the axis of symmetry of the front of the baroque castle. Only ili suglasje. the purpose, context and harmony are given less relevance.
22 presjek 2013. 8 presjek 2013. 8 23

projekti projects
projekti projects
28 76 114
stari grad, ljubljana glazbena kola i muzej, ormo muzej grada, ljubljana
old town, ljubljana music school and museum, ormo city museum, ljubljana
KUPUJTE NA RATE UZ
VISA CLASSIC KARTICU!
Na jednostavan nain odgodite naplatu i rasteretite svoj kuni budet - koristite
52
lauba - kua za ljude i umjetnost, zagreb
lauba - house for people and art, zagreb
88
plesni centar, zagreb
dance center, zagreb
122
drutveni centar zajednice
talijana, vinjan
social centre of the italian
community, vinjan
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pogled u prolost blast to the past
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arsenal, zadar palaa lei-dimitri, korula crkva svete marije, zadar
www.hypo-alpe-adria.hr info telefon 0800 14 14 Blog Hypo savjetnik arsenal, zadar palace lei-dimitri, korula the church of saint mary, zadar
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Pratite nas na Twitteru @HypoBankaHR
26 presjek 2013. 8 presjek 2013. 8 27

projekti projects stari grad, ljubljana old town, ljubljana
stari grad, ljubljana old town, ljubljana Kad smo birali projekte za temu "Novo u starom", meu prvi- When we looked at the projects for the topic The New Inside
ma vrlo se jasno izdvojio Stari grad u Ljubljani. to taj projekt the Old, among the first to stand out very clearly was the Old
autor Ambient author Ambient ini tako osobitim je li to kompleksnost, studioznost, sim- Town of Ljubljana. What makes this project so special is it the
Edo Ravnikar ml., Majda Kregar, Miha Kerin Edo Ravnikar Jr., Majda Kregar, Miha Kerin bolika, dosljednost, duljina trajanja izrade projekta, ljepota complexity, meticulousness, symbolism, consistency, duration
ili slojevitost? Stari grad ivotni je projekt slovenskog ureda of the project design, beauty or complexity? The Old Town is
Ambient o kojemu su nam s toliko ara priali arhitekti Majda a living project of Ambient Slovenian office, about which archi-
Kregar i Miha Kerin, vodei nas kroz povijesne slojeve i pritom tects Majda Kregar and Miha Kerin talked to us with so much
otkrivajui da projekt jo uvijek traje, navjeujui potrebne fervour, leading us through the layers of history and thereby
sanacije i mogue programe. revealing that the project is still in progress and pointing to the
Smjeten na brijegu usred Ljubljane, Stari grad dominira necessary rehabilitations and possible programmes.
SITUACIJA M 1:5000
okolnim prostorom te otkriva povijesnu i sadrajnu vanost. Located on a hill in the midst of Ljubljana, the Old Town domi-
SITE PLAN S 1:5000
Osvrtanjem na povijesni razvoj, analizama i vrednovanjem nates the surrounding area and reveals the historical and con-
pokuavamo shvatiti znaaj "starog" i anticipirati "novo". textual importance. By referring to the historical development,
Najstarije naselje, takoer okrueno zidinama, datira iz ka- analyzing and evaluating, we are trying to understand the sig-
snog bronanog doba, tonije iz 12. st pr. Kr. Najstariji dvorac nificance of the old and anticipate the new.
sagraen je ve u 9. stoljeu. U 12. stoljeu lokacija se spomi- The oldest settlement, also surrounded by walls, is dating from
nje kao feudalno imanje koje je pripadalo vojvodama od Ko- the Late Bronze Age, specifically the 12th century BC. The oldest
rintije, obitelji Spanheim. Vei dio njezina dananjeg gabarita castle was built already in the 9th century. In the 12th century
see u 15. stoljee, kada je bila u vlasnitvu vladara Habsbur- the location is referred to as a feudal estate that belonged to
ke Monarhije. Osim gradskih obodnih zidina, kapele sv. Jurja, the Duke of Corinthia, family Spanheim. Much of its present di-
tornjeva na uglovima i dva ulazna tornja, ostali dijelovi zgra- mensions dates back to the 15th century, when it was owned
de dvorca bili su sagraeni u 16. i 17. stoljeu. Dvorac posta- by the ruler of the Habsburg Monarchy. Apart from the citys
je vojno uporite i sjedite guvernera pokrajine. Naknadnim perimeter walls, the Chapel of St. George, the towers at the cor-
dogradnjama dvorac se postupno barokizira. Ovim je inter- ners and two front towers, other parts of the building of the
1 GRAD vencijama korpus bio u cijelosti dovren. Potkraj 18. stoljea castle were built in the 16th and 17th century. The castle became
2 UKOPAN ENERGETSKI OBJEKT beka vlada odluila ga je sruiti zbog loeg stanja u kojemu a military stronghold and seat of the provincial governor. With
3 SPREMNIK ZA VODU se nalazio. Poetkom 19. stoljea, tijekom okupacije Francuza, subsequent additions, the castle gradually becomes a baroque
4 USPINJAA
5 SERVISNI PRILAZ
Stari grad polako se transformira u prostor s vojnim funkci- building. With these interventions the corpus was entirely com-
6 PLATO jama. Godine 1814. prostor je pod austrijskom vlau prena- pleted. In the late 18th century Viennese government has de-
7 ULAZ ZA POSJETITELJE mijenjen u zatvor, kada gubi svoj barokni i obrambeni izgled. cided to break it down due to its poor condition. In the early 19th
1 CASTLE U 20. stoljeu otkupile su ga gradske vlasti, ali se planirana century, during the French occupation, the Old Town is slowly
2 UNDERGROUND POWER PLANT prenamjena u kulturni centar izjalovila, pa ovaj prostor ustu- being transformed into a space for military functions. In 1814,
3 WATER TANK
4 LIFT
pa mjesto socijalnom stanovanju. under Austrian rule the area was turned into a prison, when it
5 SERVICE ENTRANCE Nakon to su 60-ih godina 20. stoljea njegovi stanovnici loses its baroque and defensive appearance. In the 20th century,
6 CASTLE PLATEAUS naposljetku iseljeni, otvorio se prostor novom projektu. Go- the city authorities have purchased the castle, but the planned
7 MAIN VISITORS ENTRANCE dine 1968. organiziran je natjeaj za obnovu Starog grada, a conversion into a cultural centre backfired, so this space gives
28 presjek 2013. 8 presjek 2013. 8 29

stari grad, ljubljana old town, ljubljana stari grad, ljubljana old town, ljubljana
TLOCRT M 1:2000
PLANS S 1:2000
1 ENERGETSKO POSTROJENJE 1 POWER PLANTS

2 SERVISNI PROSTORI 2 UTILITIES
3 USPINJAA I SERVISNI PROSTORI 3 LIFT AND UTILITIES
3a ULAZNI VESTIBUL 3A ENTRANCE VESTIBULE
4 SANITARNI PROSTORI 4 TOILETS
5 DVORANA STUPOVA - JAZZ KLUB 5 ROCKY HALL - JAZZ CLUB
6 BANKET 6 BANQUET
7 GARANO-SERVISNI PROSTORI 7 GARAGE
8 POVIJESNI MUZEJ SLOVENIJE 8 HISTORY MUSEM OF SLOVENIA
9 SKLADITE ZA KLUPE 9 CHURCH BENCH WAREHOUSE
10 VINOTEKA I SERVISNI PROSTORI 10 VINEYARD COTTAGE
11 PLEMIKA KAZNIONICA 11 ARISTOCRAT JAIL
12 GLAVNA KUHINJA I SERVISNI PROSTORI 12 MAIN KITCHEN
13 CISTERNA 13 DRAW WELL
14 RESTORAN 14 RESTAURANT
15 MOST 15 BRIDGE
16 VIENAMJENSKI PROSTOR 16 MULTIPURPOSE SPACE
17 MINI TEATAR 17 MINI THEATER
TLOCRT DRUGE PODZEMNE ETAE TLOCRT PRVE PODZEMNE ETAE 18 LAPIDARIJ 18 LAPIDARIUM
SECOND UNDERGROUND FLOOR PLAN FIRST UNDERGROUND FLOOR PLAN 19 BUNAR 19 WELL
20 KAPELA 20 CHAPEL
21 IZLOBENA GALERIJA 21 EXHIBITION SPACE
22 KAZEMATE - IZLOBE, PREDSTAVE - KOMUNIKACIJA 21 EXHIBITION SPACE
23 KAZNIONICA 23 JAIL
TLOCRT PRIZEMLJA TLOCRT PRVOG KATA
24 SKLADITE ORUJA 24 ARMOURY
GROUND FLOOR PLAN FIRST FLOOR PLAN
25 DVORITE 25 INNER YARD
26 SLASTIARNICA 26 PASTRY SHOP
27 KAFI 27 COFFEE BAR
28 KAZNIONICA - MUZEJSKA ZBIRKA 28 JAIL - MUSEUM COLLECTION
29 TRGOVINA 29 SHOP
30 GARDEROBA 30 CLOAKROOM
31 OKOLAterija 31 CHOCOLATE SHOP
32 SAJAM 32 FAIR
33 INFORMACIJE 33 RECEPTION
34 GALERIJA 34 GALERY
35 GOSTIONica 35 TAVERNA
36 SALA ZA VJENANJa 37 MARRIAGE REGISTRY OFFICE
37 OPHOD (OBRAMBENI) 37 RAMPART WALK
38 DVORANA za priredbe 38 THEATRE, BALLROOM
39 PALACIJ 39 PALATIUM - MULTIPURPOSE SPACE
40 IZLOBENI PROSTOR 40 EXHIBITION SPACE
41 VIDIKOVAC 41 PANORAMIC VIEW
42 TERASA 42 TERRACE
43 TEHNIKI PROSTORI 43 TECHNICAL UTILITIES
44 ADMINISTRATIVNI PROSTORI MUZEJA 44 MUSEUM ADMINISTRATION SPACE
45 VIRTUALNI MUZEJ 45 VIRTUAL MUSEUM
TLOCRT DRUGOG KATA TLOCRT TREEG KATA proelje M 1:5000

SECOND FLOOR PLAN THIRD FLOOR PLAN elevation S 1:5000
30 presjek 2013. 8 presjek 2013. 8 31

toranj sa satom clock tower izlobe i vienamjenski prostori EXHIBITION AND MULTIFUNCTIONAL SPACES PALACIJ PALATIUM HALL ULaz s mostom entrance with bridge
prva nagrada dodijeljena je Edi Ravnikaru ml. kojemu su se way to social housing. cije skrivene u zidu. Rekonstrukcija povijesnih zidova bio je present and at the same time create opportunities for future
pridruili Majda Kregar i Miha Kerin. Iako su naili na snano After its inhabitants were eventually evicted in the 1960s, a zahtjevan zadatak koji je bio ostvaren projektantski inovativ- changes. In this context, with a versatility of functions a place
protivljenje javnosti, ustrajno su se borili za svoje ideje. Glavni space has opened up for a new project. In 1968 a competition nim postupkom. Prije svega, to je znailo statiko ojaavanje for future development opens. All service programmes were
cilj njihova projekta bilo je ukljuenje nekadanje citadele u for the reconstruction of the Old Town was organized and the postojeih zidova sidrenjem i metodom vertikalnog i hori- transferred from the historic structures and located bellow the
ivot modernog grada na visokoj kulturnoj razini. U tom smi- first prize was awarded to Edi Ravnikar Jr. joined by Majda Kregar zontalnog prednaprezanja kako bi vanjski izgled strukture castle, and installations hidden in the wall. Reconstruction of the
slu bilo je potrebno osmisliti smjetaj novih funkcija koje e and Miha Kerin. Although they encountered strong opposition zidova ostao netaknut. S obzirom na to da se nalazi na bri- historical walls was a complicated task that has been accom-
biti odrive i koje e ovom prostoru udahnuti novi ivot. U ti- from the public, they persistently fought for their ideas. The jegu, bilo je potrebno da se ovaj prostor kvalitetno povee s plished thanks to an innovative design procedure. First of all, it
jeku ovih programskih transformacija, originalna obiljeja ove main goal of their project was the involvement of the former gradom, pa je osim kolnog i pjeakog pristupa bila predloe- meant structural improvement of the existing walls with an-
slabo ouvane batine trebala su biti revalorizirana i prezen- citadel in the life of a modern city on a high cultural level. In that na i gradnja uspinjae. choring and the method of vertical and horizontal prestressing
tirana javnosti. Cilj je bio omoguiti povijesti da koegzistira sa sense, it was necessary to accommodate new functions that will Nakon to se do vrha stigne uspinjaom, vrlo brzo ulazi se u so that the exterior walls of the structure would remain intact.
sadanjou i da istovremeno stvori mogunosti za budue be sustainable and will breathe new life into this space. During prostrani vienamjenski prostor suterena. Na samom ulazu Given the fact that the castle is situated on a hill, it was neces-
promjene. U tom kontekstu, polivalentnou funkcija otvara these programmatic transformations, the original features of postaju vidljiva podbetoniranja i upotreba korten eline kon- sary to connect this area with the city, so in addition to vehicle
se mjesto buduem razvoju. Svi servisni programi izmjeteni poorly preserved heritage had to be revaluated and presented strukcije. Ukazuju se detalji S-rubnog korten elementa koji se and pedestrian access, funicular construction was proposed.
su iz povijesnih struktura i smjeteni ispod dvorca, a instala- to the public. The goal was to allow history to coexist with the dosljedno provlai kroz prostor, obrubljujui betonsku plou Once we got to the top by funicular, were quickly led into a spa-
32 presjek 2013. 8 presjek 2013. 8 33

presjeci s prikazom sidrenja i vertikalnog i horizontalnog prednaprezanja

section with anchoring and vertical horizontal prestressing
pogled na panoramu grada. Motiv asimetrinih kamenih klu- the city of Ljubljana. As all the doors in the castle complex, these
pica uz prozor zaokuplja panju i prieljkuje predah od svih are also unique and exceptional. The premises of the Estates
dojmova i informacija. Hall are actually two separate rooms. One has a broken layout,
Promiljanjem o nainu izvoenja i rekonstruiranja kompleksa through displacement of the floor it is divided into the circular
arhitekti su doli do zakljuaka, koje su u konanici i primijenili walkway area that surrounds the whole complex a former de-
pri izvoenju. Originalnu strukturu zida i arhitektonske ele- fensive system in the primary stage of the fort and the level
mente izveli su obrtnici koji su imali potrebne vjetine i zna- of multipurpose hall. From this hall stairs lead to Frederics room
nje o originalnim tehnikama gradnje. Te vjetine danas vie ne on the second floor, offering a panoramic view of the city. Motif
postoje. Zato su arhitekti pribjegli matematikim metodama of asymmetrical stone benches by the window attracts atten-
kako bi razrijeili taj problem. Jedan od primjera je izvedba tion and wants a break from all the impressions and information.
kamenih elemenata koninih lukova prozora. Izraivali su se Reflecting on the way of reconstructing the complex, the ar-
posebni konini kalupi da bi se na jednostavan nain iz nacr- chitects have come up with conclusions that were ultimately
ta prenijele dimenzije tih elemenata koji su na kraju spajani applied in the realization of the project. The original structure
usuho. Ugraen je pokrov od korten biber crijepa, i to zbog of walls and architectural elements were performed by crafts-
trajnosti, efikasnosti i inovativnosti. Klasini biber crijep od men who have the necessary skills and knowledge of the origi-
opeke zahtijeva kontinuirano odravanje, a upravo je odra- nal construction techniques. These skills no longer exist today.
vanje spomenika kulture kljuni problem obnove. Pokrov od Therefore, the architects resorted to mathematical methods to
korten crijepa trebao bi biti vjean, to potvruje i injenica resolve this problem. One example is execution of stone ele-
da posljednjih tridesetak godina jo uvijek nije bilo potrebe za ments of conical arch windows. Special conical moulds were
popravcima krovita u Starom gradu. Drugi razlog primjene made, so that the dimensions of these elements could easily
ovog materijala jest mogunost prilagoavanja nepravilnim, be transferred from the draft, and these stone elements were
sferinim krovnim plohama. Zbog toga su osmiljena tri glav- finally joined using dry construction technique. The cover is of
na elementa koji su se, ovisno o zahtjevima, kombinirali pri Corten plain tiles, due to durability, efficiency and innovation.
postavljanju na krov. Linija horizonta obnovljenog dvorca ba- Classic plain tiles brick requires continuous maintenance, and
zirala se na baroknom periodu, pa su i novi krovovi izvedeni the maintenance of cultural monuments is just the key issue
uz vei nagib konstrukcije i pokrova. of reconstruction. The cover of Corten tiles should be eternal,
Jedno od naela obnove je i minimalna upotreba razliitih i as evidenced by the fact that in the last thirty years there was
trajnih materijala koji ne zahtijevaju esto odravanje. Re- still no need for roof repairs in the Old Town. Another reason for
konstrukcija obrambenih zidova, obrambeni otvori, erkeri i the application of this material is the ability to adapt to irregular,
barokni zidovi izvedeni su od autentinog kamena. Stolari- spherical roof surfaces. For that reason, there are three main el-
ja iz ranog gotikog razdoblja nije bila ouvana, pa su nova ements which, depending on the requirements, were combined
rjeenja ukljuivala kombinacije kortena i drva uz naprednu on the roof. The skyline of reconstructed castle was based on
tehnologiju. Njihov dizajn i primjena podsjeaju na duh tog the Baroque period, so the new roofs were executed with great-
vremena. Svi novi funkcionalni elementi izvedeni su pomou er slope of construction and a greater inclination of the cover.
suvremenih materijala kortena, inoxa, drva i stakla uz pri- One of the principles of reconstruction is also minimal use of dif-
mjenu najnovije tehnologije, ali diskretno i jednostavno kako ferent and durable materials that do not require intensive main-
se moderno ne bi natjecalo s arhitektonskim naslijeem. tenance. Reconstruction of defensive walls, defensive openings,
Naposljetku, posjetitelj se uspinje na drugi kat kule. Ovjee- bay windows and baroque walls were made of authentic stone.
no elino stubite vodi u restoran gdje su zidovi ukraeni Woodwork from the early Gothic period was not preserved, so
grafitima koje je pedesetih godina 20. stoljea izveo arhitekt the new solutions include a combination of Corten and wood
Boris Kobe, prilikom tadanje faze obnove. Odatle se izlazi na with advanced technology. Their design and application are
vanjski prostor obrambenog ophoda s kojeg se prua pogled reminiscent of the spirit of the time. All new functional elements
na balkon. Barrisol strop od drvenih gredica moe se prema tional hall that has been freed of floor constructions, having na cijelo dvorite, s tornjem u sredini kompozicije. Zapravo, are made using modern materials - Corten, stainless steel, wood
potrebi sputati s rasvjetom, ovisno o funkciji prostora. Bjeli- thus acquired the characteristics of a basilica. Holes from the posjetitelj se moe diviti cijelom kompleksu koji je napokon and glass using the latest technology, but discreetly and sim-
na zidova smiruje prostor i usmjerava pogled prema odree- former floor constructions are still in the wall, and often they zaivio, nakon dugogodinjeg povijesnog zanemarivanja. On ply so that modern would not compete with the architectural
nim akcentima, od kamene obrade oko prozora do pozadin- were used for various functions. The hall provides a variety of i dalje svjedoi o povijesti, ali pritom eli stvoriti prostor za heritage.
skog kosog kamenog zida ulaznog prostora koji se vidi kroz possibilities of use: through remodelling, raising the auditorium, sadanje i budue dogaaje. Finally, the visitor climbs to the second floor of the tower. Sus-
velikoformatnu staklenu stijenu, to pridonosi scenografskoj lowering the defensive walkway to the level of the hall, so that pended steel staircase leads to the restaurant where the walls
dramatici pozadine i istie povijesne slojeve. Izraena je dra- the viewers could climb the stairs to the balcony. Barrisol ceil- maja huljev ton are decorated with graffiti which were done by the architect Bo-
matika zidova koji su rezani tehnologijom dijamantne pile. Ta ing of wooden beams can be lowered with lightning as needed, prilozi: konstantina kralj ris Kobe in the fifties of the last century, when a reconstruction
je tehnologija prije tridesetak godina imala svoja prostorna depending on the function of the space. The whiteness of the took place. From there you step out to the exterior part of the
ogranienja pa je mogla rezati samo do odreene dubine zida, walls calms the space and directs the visitors towards certain defensive walkway, from where opens a view of the entire yard,
dok bi unutranjost bila doslovce odlamana. Pod dvorane accents: the stone work around the windows, the sloping stone with a tower in the middle of the composition. In fact, the visitor
obloen je parketom koji, kao i strop, pridonosi toplini ovog background wall of the entrance space, which is visible through can admire the whole complex, which finally came to life, after
proienog i smirenog prostora. Na kraju dvorane nalaze se a large glass wall, which contributes to the dramatic scenery of a long history of neglect. It still bears witness to history, but is
metalna vrata sa zmajem koji je simbol grada Ljubljane. Kao the background and highlights the historical layers. The dramat- hoping to create a space for current and future events.
i sva vrata u kompleksu dvorca, i ova su unikatna i jedinstve- ics of the walls that were cut by diamond blade technology is
na. Prostorije Staleke dvorane zapravo su dvije odvojene very pronounced. About thirty years ago this technology had its maja huljev ton
prostorije. Jedna je lomljenog tlocrta, denivelacijom u podu limitations of space, so it could cut only up to a certain depth appendices: konstantina kralj
podijeljena na ophodni dio koji zaokruuje cijeli kompleks of the wall, while the inside of the wall was literally breaking off.
nekadanji obrambeni sistem u fazi primarne tvrave i ra- The hall is lined with parquet that, as well as the ceiling, contrib-
zinu multifunkcionalne dvorane. Iz ove dvorane stube vode u utes to the warmth of this refined and quiet space. At the end
Frederikovu sobu na drugom katu, odakle se prua predivan of the hall there is a metal door with a dragon, the symbol of
38 presjek 2013. 8 presjek 2013. 8 39

UZDUNI PRESJEK KROZ DVORITE i izlobenu galeriju M 1:100

LONGITUDINAL SECTION THROUGH COURTYARD and exhibition gallery S 1:100
1 MEUKATNA KONSTRUKCIJA AB ploa 44 cm vapour barrier 0,5 cm

kamene ploe 2 cm 4 POD NA TLU - PRILAZNA RAMPA RC concrete slab 15 cm
cementni mort 3 cm AB ploa 10 cm air layer
armirani estrih 5 cm zatita hidroizolacije 5 cm RC concrete vault
dvostruka Pe folija 2 x 0,1 mm dvostruka Pe folija 2 x 0,1 mm 3 COURTYARD FLOOR
hidroizolacija 0,5 cm hidroizolacija 0,5 cm stone cubes 3 cm
ekspandirani poliuretan 3 cm podloni beton 10 cm cement mortar 5 cm
perlit beton 5 cm 5 POD NA TLU RC concrete slab 10 cm
AB ploa 22 cm AB ploa 10 cm waterproof membrane protection 3 cm
2 POD TRIJEMA cementni estrih 5 cm double polyethylene layer 2 x 0,1 mm
kamene ploe 3 cm dvostruka Pe folija 2 x 0,1 mm waterproof membrane 0,5 cm
cementni mort 3 cm podloni beton 10 cm expanded polyurethane 8 cm
armirani estrih 5 cm 6 ELINA POtKONSTRUKCIJA vapour barrier 0,5 cm
dvostruka Pe folija 2 x 0,1 mm sloped concrete 12 - 0,5cm
hidroizolacija 0,5 cm 1 SLAB CONSTRUCTION RC concrete slab 44 cm
ekspandirani poliuretan 8 cm stone tiles 2 cm 4 FLOOR ON THE GROUND - ACCESS RAMP
parna brana 0,5 cm cement mortar 3 cm RC concrete slab 10 cm
AB ploa 15 cm reinforced screed 5 cm waterproof membrane protection 5 cm
zrani prostor double polyethylene layer 2 x 0,1 mm double polyethylene layer 2 x 0,1 mm
AB svod 8 cm waterproof membrane 0,5 cm waterproof membrane 0,5 cm
3 POD DVORITA expanded polyurethane 3 cm blinding concrete 10 cm
kamene kocke 3 cm perlite concrete 5 cm 5 FLOOR ON THE GROUND
cementni mort 5 cm RC concrete slab 22 cm RC concrete slab 10 cm
AB ploa 10 cm 2 PORCH FLOOR cement screed 5 cm
zatita hidroizolacije 3 cm stone tiles 3 cm double polyethylene layer 2 x 0,1 mm
dvostruka Pe folija 2 x 0,1 mm cement mortar 3 cm blinding concrete 10 cm
hidroizolacija 0,5 cm reinforced screed 5 cm 6 STEEL SECONDARY STRUCTURE
ekspandirani poliuretan 8 cm double polyethylene layer 2 x 0,1 mm
parna brana 0,5 cm waterproof membrane 0,5 cm
beton za pad 12 - 0,5 cm expanded polyurethane 8 cm
42 presjek 2013. 8 presjek 2013. 8 43

popreni presjek kroz palacij M 1:100 DETALJ POMINIH STEPENICA U PALACIJU M 1:50
cross section through palatium hall S 1:100 DETAIL OF MOVABLE STAIRS IN PALACIJ S 1:50
1 GIPS-KARTONSKA PLOA 2 cm
2 KROVNA KONSTRUKCIJA
corten elini pokrov 15 mm
drvene letve 40 x 55 cm
drvena oplata 2 cm
hidroizolacija 0,5 cm
drvene oplata 2 cm
zrani prostor
mineralna vuna 14 cm
drvena oplata 2 cm
drvena greda 16 cm
PE folija 0,15 cm
gips-kartonske ploe 1,5 cm
3 ZID OD GIPS-KARTONSKIH PLOA I MINERALNE VUNE 10 cm
4 STROPNA KONSTRUKCIJA (podstrehom)
sintetika obloga 0,3 cm
perploa 120 x 120 x 1,5 cm
dvostruka PE ekspandirana folija 2 x 0,5 cm
iveral ploa 1,8 cm
drvene letvice 11 x 12 cm
dvostruka drvena daska 2 x 2 cm
drvene letvice 5/3/62,5 cm x 3 cm
savijeni C profil 5 x 10 cm
mogua pozicija ventilacijskog kanala 25 x 20 cm
aluminijska podkonstrukcija
luna inox cijev 16 mm
barrisol folija
elini profil za podizanje i sputanje 8 x 20 cm
drvene ljepljene gredice 8 x 20 cm
5 ZATEGA
6 POMINI POD
parket 2 cm
podizna platforma 32 cm
AB ploa 17 cm
AB izravnavajui sloj 0,3 - 18 cm
svod od opeke 15 cm
7 CIJEV ZA UPUHIVANJE ZRAKA 80 mm
8 EKSTRUDIRANI POLISTIREN 13 CM
1 GYPSUM BOARDS 2 cm
planned ventilation duct position 25 x 20 cm 1 INOX ELEMENT ZA PRIVRIVANJE
2 ROOF CONSTRUCTION
aluminium secondary structure STEPENICA S KOTAIMA
corten steel tiles 15 mm
arched inox pipe 16 mm 2 SAJLA ZA PODIZANJE STEPENICA
wooden lattice 40 x 55 cm
barrisol foil 3 INOX KOLOTUR ZA SAJLU
board lining 2 cm
raising and lowering steel profile 8 x 20 cm 4 INOX CIJEV 34 mm
waterproof membrane 0,5 cm
laminated wooden beams 8 x 20 cm 5 INOX GREDA 34 x 12 mm
board lining 2 cm
5 CLEWLINE 6 INOX ZATEZNIK
air space
6 LIFTING FLOOR 7 NATEGNUTA SAJLA 3 mm I 4 mm
mineral wool 14 cm
parquet flooring 2 cm 8 KOMPRIMIRANA STEZALJKA SAJLE
board lining 2 cm
lifting platform 32 cm
timber beam 16 cm
RC concrete slab 17 cm 1 INOX FASTENING ELEMENT WITH WHEELS
polyethylene layer 0,15 cm
RC concrete leveling layer 0,3 - 18 cm 2 STAIRS RAISING CABLE
gypsum boards 1,5 cm
brick vault 15 cm 3 INOX CABLE PULLEY
3 GYPSUM AND MINERAL WOOL WALL 10 cm
7 AIR BURST PIPE 4 INOX PIPE 34 mm
4 ceiling construction
8 EXTRUDED POLYSTYRENE 13 CM 5 INOX BEAM 34 x 12 mm
synthetic lining 0,3 cm
6 INOX FOLD
plywood 120 x 120 x 1,5 cm
7 STRETCHED CABLE 3 mm AND 4 mm
double polyethylene expanded layer 2 x 0,5 cm
8 COMPRESSED CABLE TERMINAL
chipboard 1,8 cm
double wooden board 2 x 2 cm
wooden lattice 5/3/62,5 cm x 3 cm
gypsum boards 1,25 mm
mineral wool 10 cm
curved C profile 5 x 10 cm
44 presjek 2013. 8 presjek 2013. 8 45

UZDUNI PRESJEK KROZ PALACIJ M 1:100

LONGITUDINAL SECTION THROUGH PALACIJ S 1:100
1 CORTEN ELINA STIJENA 2,5 CM

2 ZID OD GIPS-KARTONSKIH PLOA I KALJENOG
STAKLA 12 cm
3 GIPS-KARTONSKA PLOA 2 cm
4 KROVNA KONSTRUKCIJA
drvena oplata 2 cm
drvene oplata 2 cm
zrani prostor
drvena oplata 2 cm
drvena greda 16 cm
PE folija 0,15 cm
5 STROPNA KONSTRUKCIJA (podstrehom)
iveral ploa 1,8 cm
aluminijska podkonstrukcija
luna inox cijev 16 mm
barrisol folija
elini profil za podizanje i sputanje 8 x 20 cm
drvene ljepljene gredice 8 x 20 cm
6 INOX OGRADA 30 mm
7 EMAJLIRANO STAKLO 1 cm
8 INOX STABILIZATOR 12 x 120 mm
9 INOX ZATEGA 12 mm
10 INOX STABILIZATOR 12 x 120 - 360 mm
11 POMINI POD
parket 2 cm
podizna platforma 32 cm
AB ploa 17 cm
AB izravnavajui sloj 0,3 - 18 cm
svod od opeke 15 cm
12 MEUKATNA KONSTRUKCIJA
daani pod 3/5 cm x 1,8 cm
masa za izravnavanje 0,2 cm
betonski estrih 7,5 cm
Pe folija 0,15 cm
ekstrudirani polistiren 3 cm
ekspandirana folija 0,5 cm
postojea AB ploa 15 cm
postojee AB grede 14 x 20 cm 1 CORTEN STEEL WALL 2,5 CM gypsum boards 1,5 cm aluminium secondary structure RC concrete leveling layer 0,3 - 18 cm RC concrete slab 15 cm
13 POD NA TLU 2 GYPSUM AND TEMPERED GLASS WALL 12 cm 5 ceiling construction arched inox pipe 16 mm brick vault 15 cm gravel 23 cm
aluminijska mrea i nabita zemlja 6 cm 3 GYPSUM BOARDS 2 cm synthetic lining 0,3 cm barrisol foil 12 SLAB CONSTRUCTION 14 FLOOR ON THE GROUND
glina 6 cm 4 ROOF CONSTRUCTION plywood 120 x 120 x 1,5 cm raising and lowering steel profile 8 x 20 cm floorboards 3/5 cm x 1,8 cm aluminium mesh 60 x 60 x 60 cm and colored
AB ploa 15 cm corten steel tiles 15 mm double polyethylene expanded layer 2 x 0,5 cm laminated wooden beams 8 x 20 cm leveling compound 0,2 cm concrete 6 cm
ljunak 23 cm wooden lattice 40 x 55 cm chipboard 1,8 cm 6 INOX FENCE 30 mm concrete screed 7,5 cm concrete screed 6 cm
14 POD NA TLU board lining 2 cm wooden lattice 11 x 12 cm 7 ENAMELED GLASS 1 cm polyethylene layer 0,15 cm extruded polystyrene 8 cm
aluminijska mrea 60 x 60 x 60 cm waterproof membrane 0,5 cm double wooden board 2 x 2 cm 8 INOX INOX STABILIZER 12 x 120 mm extruded polystyrene 3 cm waterproof membrane 0,5 cm
i bojani beton 6 cm board lining 2 cm wooden lattice 5/3/62,5 cm x 3 cm 9 INOX CLEWLINE 12 mm expanded foil 0,5 cm RC concrete slab 15 cm
betonski estrih 6 cm air space gypsum boards 1,25 mm 10 INOX INOX STABILIZER 12 x 120 - 360 mm existing RC concrete slab 15 cm gravel 15 cm
ekstrudirani polistiran 8 cm mineral wool 14 cm mineral wool 10 cm 11 LIFTING FLOOR existing RC concrete beam 14 x 20 cm
hidroizolacija 0,5 cm board lining 2 cm curved C profile 5 x 10 cm parquet flooring 2 cm 13 FLOOR ON THE GROUND
AB ploa 15 cm timber beam 16 cm gypsum boards 1,25 cm lifting platform 32 cm aluminium mesh and huddled soil 6 cm
ljunak 15 cm polyethylene layer 0,15 cm planned ventilation duct position 25 x 20 cm RC concrete slab 17 cm clay 6 cm
46 presjek 2013. 8 presjek 2013. 8 47

DETALJ MEUKATNE KONSTRUKCIJE palacija S OvJEENOM AKUSTINOM STROPNOM OBLOGOM M 1:20 1 INOX PROFIL ZA KANAL 13 x 16 cm
DETAIL OF SLAB CONSTRUCTION of palatium hall WITH ACOUSTICAL CEILING HUNG LININGS S 1:20 2 ELINI PROFIL ZA PODIZANJE I SPUTANJE 8 x 20 cm
3 BARRISOL FOLIJA
4 LUNA INOX CIJEV 16 mm
5 ALUMINIJSKA POtKONSTRUKCIJA
6 DRVENE LJEPLJENE GREDICE 8 x 20 cm
7 STROPNA KONSTRUKCIJA
iveral ploa 1,8 cm
1 INOX CANAL PROFILE 13 x 16 cm

2 RAISING AND LOWERING STEEL PROFILE 8 x 20 cm
3 BARRISOL FOIL
4 ARCHED INOX PIPE 16 mm
5 ALUMINIUM SECONDARY STRUCTURE
6 LAMINATED WOODEN BEAMS 8 x 20 cm
7 CEILING CONSTRUCTURE
synthetic lining 0,3 cm
plywood 120 x 120 x 1,5 cm
double polyethylene expanded layer 2 x 0,5 cm
chipboard 1,8 cm
double wooden board 2 x 2 cm
wooden lattice 5/3/62,5 cm x 3 cm
gypsum boards 1,25 mm
mineral wool 10 cm
curved C profile 5 x 10 cm
planned ventilation duct position 25 x 20 cm
DETALJ SPOJA PODA S POSTOJEIM KAMENIM ZIDOM M 1:10 1 RAZDJELNIK 34 x 104 x 4 mm DETALJ SPOJA MEUETANE AB PLOE S POSTOJEIM KAMENIM ZIDOM M 1:10
DETAIL OF THE JOINT BETWEEN FLOOR AND EXISTING STONE WALL S 1:10 2 ELINI PROFIL 50 x 4 mm DETAIL OF THE JOINT BETWEEN RC CONCRETE SLAB AND STONE WALL S 1:10
3 ELINI NOSA 124 x 100 x 4 mm
4 POD
mikrobeton 10 cm
mrea Q257
trapezni lim duljine 150 cm
dvostruki stirodur 2 x 8 cm
1 MEUKONSTRUKCIJA
AB ploa 10 cm
parket 2 cm
postojei pod
cementna glazura 2 cm
5 POSTOJEI KAMENI ZID
6 ARMATURA 25 mm
AB ploa 20 cm
7 STIRODUR 2 cm
anker 24 mm
8 STIRODUR 5 cm
elini profil 8 mm
9 PODLONI BETON oko 6 cm
2 ELINI PROFIL 6 mm
10 AB GREDA 15 x 16 cm
3 POSTOJEI KAMENI ZID 60-70 cm
4 ELINI PROFIL 8 mm
1 SPLITTER 34 x 104 x 4 mm
2 STEEL PROFILE 50 x 4 mm
1 SLAB CONSTRUCTION
3 STEEL SUPPORT 124 x 100 x 4 mm
parquet flooring 2 cm
4 FLOOR
cement glaze 2 cm
microconcrete 10 cm
mesh Q257
RC cencrete slab 20 cm
trapezoidal sheet 150 cm length
anchor 24 mm
double styrodur 2 x 8 cm
steel profile 8 mm
RC concrete slab 10 cm
2 STEEL PROFILE 6 mm
existing floor
3 EXISTING STONE WALL 60 - 70 cm
5 EXISTING STONE WALL
4 STEEL PROFILE 8 mm
6 REINFORCEMENT 25 mm
7 STYRODUR 2 cm
8 STYRODUR 5 cm
9 BLINDING CONCRETE 10 cm
10 RC CONCRETE BEAM 15 x 16 cm
48 presjek 2013. 8 presjek 2013. 8 49

DETALJ KROVNOG LIJEBA M 1:20

DETAIL OF ROOF GROOVE S 1:20
1 DVOSTRENI KROV
drvena oplata 2 cm
drvena oplata 2 cm
zrani prostor
drvena oplata 2 cm
drvena greda 16 cm
2 PREDNJI I STRANJI RAZDJELNIK 40 x 40 mm
3 DRVENA OPLATA 2 cm
4 GORNJA CORTEN ELINA MASKA 16 mm
5 DONJA CORTEN ELINA MASKA 16 mm
6 INOX LiJEB 1 mm
7 CORTEN ELINI PROFIL 16 mm
8 KAMENI ELEMENT VIJENCA
9 POSTOJEI KAMENI ZID
10 DRVENA GREDA 18 cm
11 DRVENI ELEMENT 20 cm
12 DRVENA LETVICA 2 x 21 cm
13 AB PLOA 14 cm
1 GABLE ROOF
corten steel tiles 15 mm
board lining 2 cm
board lining 2 cm
air space
mineral wool 14 cm
board lining 2 cm
timber beam 16 cm
2 FRONT AND BACK SPLITTER 40 x 40 mm
3 BOARD LINING 2 cm
4 UPPER CORTEN STEEL MASK 16 mm
5 LOWER CORTEN STEEL MASK 16 mm
6 INOX GROOVE 1 mm
7 CORTEN STEEL PROFILE 16 mm
8 STONE CORNICE ELEMENT
9 EXISTING STONE WALL
10 TIMBER BEAM 18 cm
11 TIMBER ELEMENT 20 cm
12 WOODEN LATTICE 2 x 21 cm
13 RC CONCRETE SLAB 14 CM
50 presjek 2013. 8 presjek 2013. 8 51

lauba - kua za ljude i umjetnost, zagreb lauba - house for people and art, zagreb
projekti projects
lauba - kua za ljude lauba - house for people U prostornom obuhvatu biveg tvornikog kompleksa TKZ-a In the spatial scope of the former TCZs (Textile Conglomerate Za-
(Tekstilni kombinat Zagreb), uz Ulicu baruna Filipovia nalazi greb) factory complex, along the Street of baron Filipovic is a rid-
i umjetnost, zagreb and art, zagreb se zgrada jaione sagraena 1910. godine kao dominantni dio ing school building, built in 1910 as a dominant part of the Calvary
graditeljskog sklopa Konjanike vojarne. Zgrada jaione izdva- barracks architectural complex. Riding school building stands out
autorI: Alenka Gai-Pojatina, Ana Krstulovi, authors: Alenka Gai-Pojatina, Ana Krstulovi, ja se zbog vrijednosti i prepoznatljivosti izvornih graditeljskih i because of the values and recognisability of the original architec-
Branka Petkovi, Morana Vlahovi Branka Petkovi, Morana Vlahovi oblikovnih obiljeja te specifine namjene. U jedinstveni volu- tural and aesthetic features of this specific purpose. Later (in 1960)
men zgrade jaione kasnije je (1960.godine) interpolirana etaa, the floor was interpolated into a single building volume, window
izmijenjeno ostakljenje prozora, dograen sjeverni prizemni dio glazing was altered, northern part of the ground floor added to the
uz aneks i juno vanjsko stubite za evakuaciju kao prilagodba annex and south staircase for evacuation as an adjustment to the
novoj, proizvodnoj namjeni. Unato tome, ove kasnije adapta- new, productive use. However, these later adaptations have not
cije nisu u bitnome izmijenile izvorna obiljeja graevnog kor- substantially altered the original characteristics of the construc-
pusa i oblikovnih elemenata zgrade. tion corps and formal elements of the building.
Zavod za zatitu spomenika kulture i prirode stavio je pod pre- Institute for Protection of Cultural Monuments and Nature placed
ventivnu zatitu zgradu jaione, te su dane propozicije prema the riding school building under preventive protection, and propo-
kojima je zgradu potrebno obnoviti i prenamijeniti za sadraje sitions were given according to which it was needed to rebuild and
koji omoguuju optimalnu prezentaciju njenih oblikovnih i gra- refit the building for the facilities that enable the best presentation
diteljskih karakteristika. Kao konzervatorske smjernice, u smislu of its landscape and architectural characteristics. Conservation
mjera zatite povijesne graditeljske strukture s obiljejima kul- guidelines, in terms of measures for the protection of historical
52 presjek 2013. 8 presjek 2013. 8 53

projekti projects arsenal, zadar arsenal, zadar
arsenal, zadar arsenal, zadar

AUTOR: ANTE ANDROVI Author: ANTE ANDROVI
Glavni projektant: KRISTIJAN VOJNI lead designer: KRISTIJAN VOJNI
SITUACIJA M 1:2500
SITE PLAN S 1:2500
Veliki Arsenal, sagraen u 18. stoljeu kao skladite oruja voj- Located on the Zadar Peninsula, the Arsenal was constructed
ne flote Mletake Republike, nalazi se na zadarskom poluoto- in the 18th century as a weapons storage for the Venetian war
ku. Ime je dobio po venecijanskom brodogradilitu koje se u 16. fleet. Its name is derived after the Venetian shipyard which was
stoljeu nalazilo na istom lokalitetu. Propau Venecije, Arsenal originally situated on the same site in the 16th century. After
je izgubio prvotnu funkciju, te je nastavio ivjeti prihvaajui the collapse of the Venetian Republic, the Arsenal lost its prima-
sadraje (tvornike, trgovake, skladine), esto bezobzirno na- ry function but was still used for other often ruthlessly forced
metnute. upon purposes (be they industrial, commercial or storage).
Danas, u 21.stoljeu, Arsenal je spomenik nulte kategorije i mje- Today in the 21st century, the Arsenal is a proclaimed world
sto spomenike batine, no ujedno i sjecite drutvenog i kul- Heritage site and architectural heritage locality, but also an im-
turnog ivota. Naziva se Veliki Arsenal kako bi se razlikovao od portant social and cultural center. It is called the Big Arsenal
Malog Arsenala, nedaleko udaljenog. Smjeten je blizu Trga tri (Veliki Arsenal) as a distinction from the nearby smaller Arsenal
bunara s crkvom i perivojem Gospe od Zdravlja, uz gradske be- building. Close to the Square of the Three Wells with the Church
deme, i nedaleko od gradske luke. and the Park of Our Lady of Good Health, it is situated near the
Tijekom nove revitalizacije, upravo je blizina luke uvjetovala city walls and not far from the city port.
odabir sadraja koji je usmjeren na zadovoljavanje potreba go- It is precisely the vicinity of the city port that had a decisive
stiju iz luke, ali i graana Zadra. role in the selection of Arsenal's offer during the new restora-
Tijekom duge povijesti postojanja, Arsenal je preivio mnoga tion, which now focuses on accommodating the demands of
razaranja. Za vrijeme Drugog svjetskog rata i saveznikog bom- the port visitors, as well as the citizens of Zadar.
bardiranja grada u potpunosti je izgorio krov, dok su galerije i During its long lifetime, the Arsenal was a witness to much dev-
zidovi urueni te na kraju stradali nezatieni od atmosferilija. astation. During the World War II and the Allied bombing of the
Prva se obnova dogodila 1948. godine kada je zdanje kon- city, its roof completely burned down, while the unsheltered
struktivno konsolidirano i rekonstruirano. Zadrana je vanjska galleries and the walls became dilapidated under the effects
kamena opna s baroknim fasadnim stubitem, dodana elina of weather conditions. The first renovation effort took place
reetka, kao nosa obnovljenog krovita te galerije povezane in 1948 when the building was structurally consolidated and
unutranjim stubitima s prizemljem. Unato kvalitetnoj ine- reconstructed. Exterior stone membrane and baroque facade
njerskograevinskoj obnovi, no odabirom neadekvatnog sa- stairway were retained; steel grate was added as reinforcement
draja, prostor nije oivio. for the renovated roof and for the gallery connected with the
Druga se obnova dogaa 2005. godine, kada je revitalizacijom ground floor through interior staircases. However, despite the
udahnut novi ivot Arsenalu. Za razliku od nekih adaptacija u good quality of engineering and civil works, due to the inap-
kojima je naglaena komercijalna ambicija, ovdje se ostvaruje propriate selection of facilities, the space unfortunately never
poneto drugaija tenja: naglaava se znaenje spomenike came to life.
batine i njezine arhitektonsko-dizajnerske obnove. Privatni in- The second renovation took place in 2005 when new life was
vestitor ulaganjem je elio oivjeti naputeno skladite tepiha brought into the Arsenal through revitalization. As opposed to
na vrijednoj gradskoj lokaciji, u emu je i uspio. Dobra suradnja adaptations having primarily commercial aspirations, the em-
investitora, arhitekata i konzervatora rezultirala je prostorom phasis was placed other aspects such as the importance of ar-
javnog karaktera, namijenjenog primjereno profiliranoj upotre- chitectural heritage and the architectural and designer recon-
bi, svojevrsnim zatvorenim gradskim trgom. Od samog poetka struction. The private investor wanted to transform the aban-
nametnuo se kao nezaobilazna postaja Zadrana i njihovih go- doned carpet storage at a valuable location into an important
stiju te kao jedno od sredita javnog i kulturnog ivota grada. venue, and in that he succeeded. Good cooperation between
Kvalitetnom razradom arhitektonskog koncepta, vrednovanjem the investor, architect and conservator resulted in creation of
povijesnih markera te potivanjem naela UNESCO-a i ICO- a public space that was shaped as a covered square area, de-
MOS-a, postojea struktura ostala je netaknuta. U potpunosti signed for specialized use. From the very beginnings, the Arse-
64 presjek 2013. 8 presjek 2013. 8 65

arsenal, zadar arsenal, zadar arsenal, zadar arsenal, zadar
se zadralo izvorno barokno kameno zie te funkcionalni ele- nal imposed itself as an unavoidable stop for the citizens and vine se nalaze ispod galerijskog prostora i modularno su podije- wooden roof soffit, supported by a translucent" steel grating
menti prve obnove. Arhitektonska pria postaje strogo slojevita visitors of Zadar, and as one of the more popular public and ljene drvenim preklopnim panoima, kako bi se ovisno o potrebi structure which has further been emphasized by new lighting,
izraena je prepoznatljivost starog i funkcionalnost novog. Ti- cultural centers. mogle iriti. and is now visible in the central two-level and gallery parts.
jekom prve obnove dodatnim je pregraivanjem negirana pro- High quality architectural design concept, evaluation of histori- Otvorena galerijska zona namijenjena je izlobenim i turisti- The total of 1800 m2 surface area is functionally divided into
stornost, te se ovoga puta nastoji vratiti jedinstvenost prostora. cal parameters and compliance with the UNESCO and ICOMOS ko-informativnim sadrajima koji omoguuju pristup korisnim ground and gallery level. Ground level accommodates catering,
Jedan od naina postizanja zadanih ciljeva bilo je otkrivanje i standards ensured that the existing structure remained intact. informacijama o gradu i gradskim aktivnostima. Primarni izlo- exhibition and commercial zone with a large lounge bar, kitchen
obnavljanje podgleda drvenog krovita, kojeg nosi "prozrana" The original baroque stone walls and functional elements used beni prostor je galerijska zona, a ovisno o potrebi cijelo zdanje and service rooms, a children's playcenter and many boutique
elina reetkasta konstrukcija, naglaena novom rasvjetom, te in the first renovation were preserved in their entirety. The ar- Arsenala moe se pretvoriti u izlobeni prostor. Sredinji dvoe- shops selling autochthonous local products. The shops are lo-
vidljiva u sredinjem dvoetanom i galerijskom dijelu. chitectural story thus unravels its layers by emphasizing the tani prostor, u kojem se na jednom mjestu vizualno okupljaju cated directly under the gallery and are modularly separated
Prostor od 1800 m2 svojom se funkcijom dijeli na prizemnu i distinctiveness of the old and the functionality of the new. The svi sadraji Arsenala, ovisno o potrebama, transformira se u u with wooden folding panels, in order to allow for their expan-
galerijsku etau. U prizemlju se nalazi ugostiteljsko-prezentacij- sense of spaciousness that was lacking as a result of adding polivalentan prostor razliitih namjena. sion if required.
ska i trgovaka zona s velikim lounge barom, kuhinjom i servi- the partitions during the first renovation, was this time sought Osobit je naglasak stavljen na materijalnost interijera. Jedan od The open gallery zone is designed as an exposition and tour-
snim prostorima te djejom igraonicom i nizom nia trgovake to be restored by recreating spatial unity. One of the ways to zidova ostavljen je memorijalan - originalan i neobukan, dok su ist information area providing access to useful information on
namjene, u kojima se prodaju autohtoni lokalni proizvodi. Trgo- achieve target objectives was to uncover and renovate the ostali obraeni bijelom bukom. the city and the available activities. It has been conceived as
66 presjek 2013. 8 presjek 2013. 8 67

projekti projects glazbena kola i muzej, ormo music school and museum, ormo
glazbena kola music school and Tema ovog broja Presjeka 'Novo u starom' gotovo da bi u The theme of this issue of Presjek The New Inside the Old
potpunosti mogla biti posveena radu arhitektice Marue Zo- could almost fully be devoted to the work of architect Marusa
i muzej, ormo museum, ormo rec. Oltar na otvorenom i obnova trga ispred crkve na Brezjama, Zorec. The altar in the open and reconstruction of the square in
kapela Franjevake crkve u Ljubljani, knjinica u Ravnama na front of the church at Brezje, Chapel of the Franciscan Church in
autorI: Marua Zorec i suradnici author: Marua Zorec and Associates Korokem ili pak rekonstrukcija palae sjedita prologodi- Ljubljana, library in Ravne na Koroskem or a reconstruction of the
nje prijestolnice kulture u Mariboru samo su neki od takvih palace the headquarters of the last years Capital of Culture in
projekata. No ve na samom poetku namee se jedno pitanje: Maribor these are just some of the projects. But at the very be-
kako unutar tako bogatog opusa posveenog upravo obnovi i ginning a question arises: how to choose just one project within
situacija m 1:1000 rekonstrukciji kulturne batine Slovenije odabrati samo jedan such a rich oeuvre dedicated precisely to the reconstruction and
site plan m 1:1000 projekt. Ovaj put odluili smo izdvojiti obnovu pomone zgrade rehabilitation of the cultural heritage of Slovenia. This time we de-
dvorca u Ormou, za koji su Marua Zorec i suradnici prole go- cided to single out the reconstruction of the castle auxiliary build-
dine dobili Preernovu nagradu. ings in Ormoz, which has earned Presern Award to Marusa Zorec
Ormo je mali grad na rijeci Dravi u sjeveroistonom dijelu Slo- and associates.
venije, neposredno uz granicu s Hrvatskom. Glavna gradska Ormoz is a small town on the Drava River in the northeast part
prometnica prati tok velike rijeke i blago krivudajui kroz grad of Slovenia, close to the Croatian border. The town's main road
prolazniku nudi tek uobiajene prizore jedne male sredine. Sve follows the course of the great river and gently meandering
1 GLAZBENA KOLA
2 ARHEOLOKO-ETNOGRAFSKI MUZEJ dok se pred vama ne otvori trg i naete se na umovitom bre- through the town offers to passers-by only the usual scenes of
3 PRILAZNI TRG uljku uz rijeku, licem u lice s ormokim dvorcem. a small community. All the while until a square opens before you
4 DVORAC ORMO Na rubu arobnog parka, pogledom obuhvaajui umu s jed- and you find yourself on a wooded hill by the river, face to face
1 MUSIC SCHOOL ne i stari gradski centar s druge strane, dolazite do kompleksa with the Castle of Ormoz.At the edge of the magical park, view-
2 ARCHAEOLOGICAL AND ETHNOGRAPHIC MUSEUM
dvorca koji se sastoji od nekoliko zgrada okupljenih oko unu- ing the forest on one side and the old town on the other, you
3 SQUARE
4 CASTLE ORMOZ tarnjeg dvorita i oblinje pomone graevine. Longitudinalnu come to the castle complex, which consists of several buildings
76 presjek 2013. 8 presjek 2013. 8 77

glazbena kola i muzej, ormo music school and museum, ormo glazbena kola i muzej, ormo music school and museum, ormo
tlocrt prizemlja m 1:200 tlocrt 1. kata m 1:500

ground floor plan s 1:200 first floor plan s 1:500
sluaju, upljikavom strukturom fasadne opeke omoguen je By drawing inspiration from the tradition, the author and her
prodor svjetla a samim time i itav splet razliitih svjetlosnih team are not only interested in the appreciation of the valuable
doivljaja u unutranjem prostoru, to dodatno naglaava sna- experiences of the past, but also to develop new on the old ba-
nu i neposrednu vezu interijera i eksterijera. sis, trying to discover new possibilities of brick as one of the best
Tehniko rjeenje ukljuivalo je standardno postavljanje toplin- materials from nature, which is used in creating the atmosphere
ske izolacije s vanjske strane betonskih zidova te horizontalno and detail. In this case, the porous structure of the brick faade
povezivanje opeke cementnim mortom i vertikalno sidrenje u has enabled the penetration of light and therefore the numerous
betonski zid. Kako se opeka djelomino nastavlja i preko sta- different lighting experiences in the interior space, which further
klenih povrina, samostojei zidovi od opeke stabilizirani su emphasizes the strong and direct connection between the inte-
vertikalnim elinim profilima, dodatno uvrenima u pod i rior and exterior.
stropnu plou, a postojei zidovi i svodovi od opeke injektirani Technical solution includes a standard set of thermal insulation
su betonom i zatieni od vlage. Sve prostorije u prizemlju po- on the outside of the concrete walls and the horizontal connec-
vezane su u jednu cjelinu lijevanim podom od klinker opeke kao tion brick cement mortar and vertical anchor in the concrete wall.
agregata, ime autori ostaju dosljedni prije svega konceptu, ali As the brick part continues through glass surfaces, freestanding
i tradiciji, materijalu pa i crvenoj boji. Dvije muzejske sobe jedi- brick walls are stabilized by the vertical steel profiles, further en-
ne su poploane bijelim kamenom, nudei poneto suzdraniji trenched in the floor and ceiling panels, and the existing brick walls
odgovor na zateeni svod i stupove. U interijerskom rjeenju and ceilings injected with concrete and protected from moisture.
dodatno je koriteno drvo u vidu obloga podova, zidova, stubi- All the rooms on the ground floor are connected into one unit
ta i namjetaja, ponajvie u glazbenoj koli i to zbog akustikih by clinker brick floor cast as aggregate, by which the authors re-
1 TRIJEM 1 porch
2 UAZ U GLAZBENU KOLU
karakteristika ali i odreene topline koju drvo kao prirodan ma- main true to the concept primarily, but also the tradition, material
2 entrance in music school
3 ULAZ U ARHEOLOKO-ETNOGRAFSKI MUZEJ terijal nesumnjivo prua. Svi su detalji jednostavni i, u skladu s and even the red colour. Two rooms of the museum are the only
3 entrance in archaeological and ethnographic museum
4 ZAJEDNIKA NADSVOENA DVORANA 4 entrance odabranim lokalnim materijalom, lieni nepotrebne tehnoloke paved with white stone, offering a somewhat more restrained
5 NOVA DVORANA GLAZBENE KOLE 5 new music hall for concerts sloenosti. response to the existing arch and pillars. In the interior solutions
6 UREDI GLAZBENE KOLE 6 officess Upravo se ta jednostavnost, u svoj svojoj mistinosti, ita kao wood has been further used in the form of paneling floors, walls,
7 STUBITE 7 stairs
8 POSTAV MUZEJA prepoznatljivi stil autorice istananog prostornog senzibiliteta. staircases and furniture, especially in the music school, and due to
8 museum
9 STUBITE 9 stairs
Obnovu smatra svojevrsnim osloboenjem ve stvorenog pro- the acoustic characteristics, and the specific warmth that wood
10 PROSTOR ZA KUSTOSE 10 curator stora, istiui timski rad kao i vanost intenzivne suradnje s kon- as a natural material undoubtedly provides. All the details are sim-
11 UIONICE GLAZBENE KOLE 11 classroom zervatorima na podruju zatite, valorizacije konteksta, odnosa ple and, in accordance with the selected local building material,
80 presjek 2013. 8 presjek 2013. 8 81

projekti projects plesni centar, zagreb dance center, zagreb
plesni centar, zagreb dance center, zagreb

autor: 3LHD author: 3LHD
88 presjek 2013. 8 presjek 2013. 8 89

projekti projects palaa lei-dimitri. korula palace lei-dimitri, korula
palaa lei-dimitri, palace lei-dimitri,

korula korula
AUTORI: ZORA SALOPEK BALETI AUTORI: ZORA SALOPEK BALETI
100 presjek 2013. 8 presjek 2013. 8 101

projekti projects muzej grada, ljubljana city museum, ljubljana
muzej grada, ljubljana city museum, ljubljana Povijest palae Auersperg izrazito je bogata i slojevita. Sadri The City Museum of Ljubljana is situated in Auersperg Palace,
elemente iz pretpovijesnog razdoblja, Rimskog Carstva i sred- which itself unravels an exceptionally rich and layered history
AUTORI: OFIS ARHITEKTI AUTHORS: OFIS ARHITEKTI njeg vijeka. Do 17. stoljea tlocrt je bio prilino reduciran u odno- ranging from prehistoric times over the Roman period and the
su na dananje stanje, a u sljedeih tristo godina palaa je doi- Middle Ages. Until the 17th century, the Palace floor-plan was
vjela nekoliko promjena, kao to su obnova fasade te izgradnja rather limited. The Palace however underwent several adapta-
sjevernog krila, novog stubita i dviju velikih dvorana. Konano, tions in the following 300 years, such as the renovation of the
1820. godine napravljeni su novi stropovi, a na fasadi su izvedeni faade, construction of the north wing, new stairway and two
novi prozori. U Palai je od 1935. godine smjeten Gradski mu- large halls. Finally, in 1820, new ceilings were constructed, and
zej. Prostor palae nakon Drugog svjetskog rata muzej dijeli s small windows were added to the facade. The Palace officially
knjinicom i arhivom. Obim grae i sadraj tih institucija postali became the City Museum of Ljubljana in 1935, and shared the
su prevelik teret za dotrajalu konstrukciju, to je gradske vlasti building with a library and an archive over the decades follow-
potaknulo da 2000. godine donesu odluku o obnovi palae. ing the World War II. The weight of these programs had become
Projekt obuhvaa obnovu i proirenje palae Auersperg, smje- too much for the deteriorating structure, and by 2000 the lo-
114 presjek 2013. 8 presjek 2013. 8 115

projekti projects drutveni centar zajednice talijana, vinjan social centre of the italian community, vinjan
drutveni centar social centre of the Na junoj padini zatiene jezgre Vinjana, s koje se otvara i- On the southern slope of the protected core of Visnjan, from
roki pogled na nizinu, nalazi se drutveni centar Zajednice Ta- which opens a wide view of the valley, there is a social centre of
zajednice talijana, italian community, lijana. Vinjan je tipian istarski gradi, smjeten na vrhu bre- the Italian Community. Visnjan is a typical Istrian town, situated
uljka. Kruna srednjovjekovna urbana struktura Vinjana nije on top of a hill. Circular medieval urban structure of Visnjan is
vinjan vinjan tako stroga kao u oblinjem Motovunu, ali je zato vizura prema not as strict as in the nearby Motovun, but the view of the city
gradu dio identiteta koji je bilo bitno sauvati. is part of the identity that was important to preserve.
autorI: Dino Krizmani, Leonid Zuban author: Dino Krizmani, Leonid Zuban Drutveni centar je relativno mala graevina ija ukupna povr- Community centre is a relatively small structure, with the gross
ina ne premauje 400 m2. Jednostavnog je prostornog kon- total area of no more than 400 m2, the simple spatial concepts
cepta, s definiranim programom primjerenim veliini i znaenju and a defined programme appropriate to the magnitude and
lokalne zajednice. Prizemlje ima javnu funkciju i sadri trijem- importance of the local community. The ground floor has a
lou, dvoranu i caffe bar sa prateim sanitarijama, a kat je pred- public function and includes a porch loggia, hall and a coffee-
vien za prostore Zajednice Talijana. shop with associated toilets, and the floor is designed for tar-
Arhitekti gotovo intuitivno sputaju objekt u odnosu na pristu- geted areas in the service of the Italian Community. Almost
pnu cestu, kako bi ouvali sliku grada. intuitively, the architects lower the building in relation to the
Umjesto uvrijeenog ponavljanja lokalnih i tradicijskih arhi- access road, in order to preserve the image of the city.
tektonskih oblika poput kamenih okvira prozora, baladura i Instead of the frequent use of local and traditional architectural
vijenaca, arhitekti se odluuju za reinterpretaciju urbanog ele- forms such as, stone window frames, porches, and cornices, the
menta loe, ime na zadani kontekst odgovaraju sadrajno architects choose to reinterpret the urban element of a loggia,
a ne formalno. thus corresponding to the particular context by content, not form.
122 presjek 2013. 8 presjek 2013. 8 123

pogled u prolost blast to the past crkva svete marije, zadar the church of saint mary, zadar
crkva svete the church of

marije, zadar saint mary, zadar
autor: stjepan plani autor: stjepan plani
Jedan od poznatijih primjera nove intervencije unutar zatee- Perhaps one of the most famous examples of new interven- lja bitnu oblikovnu karakteristiku zateenog, no pritom isputa repeatedly in many Catholic churches. The basic design of the
nog prostora novo u starom predstavlja dogradnja pjeva- tions within the current space, or the new inside the old, is an dekor. Na taj nain postie uklapanje novog u staro, potivajui choir is harmonized with undulating parapets of the matrone-
lita u crkvi svete Marije u Zadru. Njezin autor, arhitekt Stjepan addition to the choir at St. Marys Church in Zadar. The author raster lukova, tonije lukova prvog traveja na kojima poiva i um and essential formal characteristics of the current are re-
Plani eminentni je zagrebaki arhitekt razdoblja moderne, koji Stjepan Plani is a renowned Zagreb architect of the modern sustav raspona i kriita pjevalita. Pod pjevalita izveden je kao peated, excluding decor. In this way, integration of the new in-
iza sebe ve ima niz hvaljenih i uspjenih realizacija. Plani je period that has already had a number of critically acclaimed sustav drvenih mosnica preko kojih je postavljen drveni brodski side the old has been achieved, respecting the raster of arches,
1979. godine, kad je dogradnja izvedena, ve bio u poznim godi- and successful completed projects. The year of the addition pod, to je ujedno i najbolje rjeenje za redovniki zbor ili manje i.e. the arches of the first transept, on which the system range
nama premda iz ovog primjera to ne bismo mogli iitati. was 1979, when Plani was already in his late years, although sastave glazbenika. Dogradnja pjevalita povezana je s jo jed- and choir crossings rests. The floor of the choir is designed as
Crkva svete Marije dio je kompleksa samostana benediktinki iz this example proves the opposite. nim prostornim elementom vjetrobranom. Vjetrobran je obli- a wooden stringer system above which lie soft wood flooring
11. stoljea koji uva blago vjerske i svjetovne hrvatske povije- St. Marys Church is part of the complex of the Benedictine kovan kao staklena prizma s elinom nosivom konstrukcijom strips, which is the best solution to the religious congregation
sti, od neprocjenjive vrijednosti za na narod. Dananju crkvu monastery from the 11th century which keeps the invaluable koja sudjeluje i u statici pjevalita. Postavljanjem staklenih vrata, or smaller ensembles of musicians. Addition to the choir is as-
dogradili su Ivan Vitai i Dujam Rudii, kojima se pripisuje ju- treasures of religious and sacral Croatian history. Additions to mimokretnog smjera otvaranja, s rukohvatima koji su dostupni sociated with another physical element windshield. Wind-
gozapadno proelje s portalom iz prve polovice 16. stoljea. Ti- the church from the first half of the 16th century, specifically to ak i djeci, Plani dodaje novu vrijednost unutranjosti crkve. shield is shaped like a glass prism with a steel supporting struc-
jekom Drugog svjetskog rata i anglo-amerikog bombardiranja the southwest faade and portal, are attributed to Ivan Vitai Staklo ne predstavlja dodatni volumen u prostoru, odnosno ture that participates in the statics of the choir. Placing a glass
Zadra, teko je razruen cijeli kompleks crkve sa samostanom, and Dujam Rudii. In the period of World War II, during the njegova transparentnost omoguuje da se unutranjost crkve self-closing push door, with handles accessible even to children,
a u godinama koje su uslijedile ostaci su bili preputeni propa- Anglo-American bombing of Zadar complete church together turistiki razgleda ak i kad je crkva zatvorena za posjetitelje. Plani adds new value to the interior of the church. Glass does
danju. Nakon Drugog svjetskog rata bilo je nezahvalno obnav- with the monastery was heavily destroyed and the remains Prema svjedoenju suvremenika, arhitekt Plani nije realizirao not represent an additional volume in space, and its transpar-
ljati crkve i samostane, no 1971. godine stvoreni su preduvjeti za were left to decay in the years that followed. In the time after sve to je naumio elio je zamijeniti i crkvena ulazna vrata, jer ency allows tourists to see the interior of the church even when
obnovu. Krenulo se s radovima, a 1979. godine Stjepan Plani the Second World War it was unthankful to rebuild churches "ova postojea s novim vjetrobranom nikako ne idu". Stjepan the church is closed to visitors.
projektira pjevalite iznad ulaza koje se poinje izvoditi 1980. and monasteries, but in 1971 the conditions for reconstruction Plani umro je potkraj 1980. godine, a pjevalite u crkvi svete According to a contemporary, architect Plani has not real-
godine. Pukom sreom, ali i marljivim radom na dokumentira- were created. The works started and in 1979 Stjepan Planic de- Marije u Zadru bilo je njegovo posljednje djelo. ized everything he intended he wanted to replace the front
nju i rekonstruiranju, uspjeno su obnovljeni svi dijelovi crkve, signed the choir above the entrance, whose construction start- door of the church, because "this current does not go with a
a potreba za pjevalitem iznad ulaza stvorila je preduvjete za ed in 1980. By pure luck, but also hard work in documenting and ivan milonja new windshield." Stjepan Plani died in 1980 and the choir in St
novu intervenciju. reconstruction, all parts of the church have been successfully Marys Church was his last work.
Plani promilja osnovnu ideju ulaza u crkvu, viekratno primi- renewed, and it was the need for the choir above the entrance
jenjenu na brojnim katolikim crkvama. Osnovno oblikovanje that has created the preconditions for a new intervention. ivan milonja
pjevalita usklauje s valovitou parapeta matroneja i ponav- Plani reflects the basic idea of the entrance to the church, used
132 presjek 2013. 8 presjek 2013. 8 133

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