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KRSTARICATHE CRUISER

U desetak godina su, po narudžbi istog investitora – Vojno građevinske direkcije, nastale u Zagrebu tri građevine značajnih dimenzija, tipološki slične i sve tri visoke arhitektonske razine.Galerijska zgrada Ive Geršića (1950.) na raskrižju Drži ćeve i Vukovarske ulice kao da je izvađena iz funkcionalističko-konstruktivističkog kataloga 30-ih (Baršć, Vladimirov, Ginsburg). Svojom jedno-stav nošću i elegancijom plijeni pažnju, doduše više pro laznika i promatrača, a manje korisnika skromnih gale rijskih stanova.Kompleksna galerijska zgrada Drage Galića u Vuko-var skoj, alias Proleterskih brigada, alias Moskov-skoj, alias Varaždinskoj br. 35A iz 1953. (“Ne daj se, Ines... “) je sa Catalanovom modulacijom stana, Le Corbusierovim oblikovnim principom i Galićevom

Pursuant to the order of the same investor – the Military Construction Department – three buildings of significant size were made in the same decade, typologically similar and at a high architectural level.The deck access building made by Geršić (1950), standing on the corner of the streets of Držićeva and Vukovarska, seems to be taken from a func-tionalist/constructivist catalogue of the ’30s (Baršć, Vladimirov, Ginsburg). Its simplicity and elegance attract attention, but more from the passers-by and sightseers than from the inhabitants of the humble deck-access flats.The complex deck-access building made by Galić in Vukovarska Street (formerly Proleterskih Brigada, Moskovska and Varaždinska), No. 35A, from 1953 (the year of the song “Ne daj se Ines...”), using Cata-

STAMBENA ZGRADAHOUSING BLOCKzagreb, hrvatska croatia 1961.

tekst written by TOMISLAV ODAKfotografija photo by DAMIR FABIJANIĆ

branko raos slavko jelinek

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strogošću i dosljednošću u interpretaciji totala i detalja postala paradigmom stambene zgrade kolektivnog stanovanja.Raosova galerija u Zorkovečkoj ulici, posljednja u trolistu, projektirana je 1961. godine. Urbanistički gledano, radi se o krstarici koja se usidrila između brodica trešnjevačke periferije, između “vrtova ma lih kuća... na kraju perspektive”, a scena i mizan scena u dugih četrdeset i nešto godina nije se promijenila i Bogu hvala da je tako.Park, zelena ploha sa južne strane odvojila je pri gradsku usitnjenu gradnju od respektabilnog volu mena kao element pomirenja dvaju različitih princi pa organizacije i korištenja prostora. Različiti volu meni i intenziteti u kreativnom međuodnosu samo dobivaju: sitna izgradnja, urbano disci-plinirana ali amorfna u svojoj “tepih” interpretaciji, Raosovom kućom dobiva završni identifikacijski i oblikovni akord, a nova zgrada dobivaju pitomi okoliš kojim superiorno vlada, no s druge strane u drugom mjerilu i drugim izražajnim i organizaci-jskim sredstvima, vertikalnim adiranjem stambenih jedinica nastavlja zatečenu funkcionalnu matricu.Umjesto crkve, škole, socijalne ustanove dogodio se “stambenjak” koji u sebi sadržava potencijale razvoja zajedničkih i javnih prostora, što se naknad-no i dogodilo. Koliko je Raos sudjelovao u oblikovanju mizanscene nije poznato, ali je vidljivo da se radi o smišljenom i brižljivo pripremljenom zahvatu u prostoru.Odnosom prema tlu i nebu, znači osnovnim orisima, definiran je arhitektonski volumen. Igra između ta dva horizonta može biti suzdržana ili bogata, puna detalja ili jednostavna, ovisno o sadržaju, impera-ti vi ma koji iz njega proizlaze, temperamentu i svje-to nazoru autora, itd. Sve to može biti arhitek tonski

lano’s flat modulation, Le Corbusier’s design principle and Galić’s strict and consistent interpretation of the whole and its details, has become a paradigm of collective housing building.The last and the most recent member of the trio is the building in Zorkovečka, made by Raos in 1961. From the aspect of urbanism, it is a cruiser anchored between boats in the outskirts of Trešnjevka, among the “gardens of small houses... at the end of the perspective”. The scenery and background have not changed in these forty-something years, thank God.A park, which is the green surface in the south, separated suburban small-scale constructions from this considerable volume, forming an element of reconciliation between two different principles of the organization and use of space. The different volumes and intensities profit from their creative interaction: the small-scale houses, with their urban discipline but amorphous in their “carpet” interpretation, get their final identification and form in the Raos house, while the new building gets a cultivated environment where it can reign supremely. On the other hand, it uses a different size and expressive and organizational methods – vertical stacking of residential units – to continue the old functional matrix. Instead of a church, school or social care institution, there came a housing block with the potentials to develop common and public spaces, which subse-quently did happen. It is not clear how much Raos participated in designing the background, but it was obviously a planned and carefully prepared interven-tion in space.The relation with the ground and sky, in other words, the basic outlines, define the architectural volume. The interplay between those two horizons can be restrained or rich, full of details or simple, as it de-

Drago Galić, stambena zgrada / residential building, Vukovarska 35a, 1953.

Ivo Geršić, stambena zgrada / residential building, Vukovarska-Držićeva, 1950.

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više ili manje uspješno, ali pogreška u osnovnim od nosima je nepopravljiva.Raosova krstarica je upravo u tom smislu sjajna. Pri zemlje je transparentno i primjerenom visinom us po stavlja prirodan, ležeran odnos prema tlu. Trans for ma cije koje su tijekom eksploatacije nasta-le nisu nau dile cjelini. Sadržaji koji su bili isključivo u funkciji stam bene zgrade (ne stano va nja, nego zgrade) zami jenjeni su javnim i trgovačkim prosto-rima, ali se ništa bitno nije dogodilo u osnovnoj proporciji. Glede urastanja u funkcionalnu i socijalnu strukturu šireg okoliša pozitivan pomak je nesumnjiv. Osobina dobrog projekta je da daje životu šansu... Ona će biti iskorištena na nama nepredvidiv ali životan način.Nasuprot mekom i transparentnom prizemlju atika dimenzijom, geometrijom i likovnom interpretaci-jom neopozivo, čvrsto definira gornji rub okvira u koji je smješten “ostatak” od osam katova zgrade. Malo brojni otvori atike naznačuju da se iza čiste, ravne plohe nalaze svrsishodni prostori koji mjes-timično diskretno proviruju u svijet horizonta, a ne isključivo neba.Između prizemlja i atike postoje samo dinamične horizontale - galerija na sjeveru i lođa sa ostakljenim

pends on the content, its resulting imperatives and the author’s temperament and world view, which can all be more or less successful from the architectural aspect; however, a mistake in basic relations would be irremediable.It is precisely in that sense that the Raos cruiser is great. A transparent ground floor level has an ap-propriate height that establishes a natural, relaxed relationship with the ground. Transformations made during exploitation have not harmed the whole. Con-tents that were meant exclusively for the residential building (not for residents, but for the building) have been replaced by public and commercial premises, but there were no important modifications to the basic proportions. Undoubtedly, a step forward has been made with regard to growing into the functional and social structure of the wider surroundings. A good project always gives life a chance... It will be used in an un-foreseeable but living way.Opposite the soft and transparent ground floor, the at-tic uses its dimension, geometry and visual interpreta-tion irrevocably and strongly to define the upper edge of the frame that houses the “rest” of eight floors. The few openings in the attic indicate that the pure,

tlocrt 9. kata / 9th floor plan

tlocrt karakte -rističnog kata / typical floor plan

tlocrt prizemlja / ground floor plan

presjek / section

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ogradama na jugu. Na prvi po-gled čini se da je zgrada bez sit-ne strukture pročelja – pro zo-ra, vrata i svih onih neiz bjež nih, uglavnom remetilačkih ele-me nata. Čak su se i pregrade lo đa između stanova zagubile u materijalu (staklu) i obliku. De talj, tamo gdje se pojavljuje, dis kretan je, u funkciji cjeline. Ostakljenje i zaštita stubišta na galeriji doimlju se pomič-nim; minimalističkim jezikom proporcije, obli ka i materijala. Još je jednom pokazano da ma-nje može biti više.Unutarnja struktura je jedno-stav na, konstrukcija skeletna, stambena struktura ujedna-če na, na razini standarda voj-no-građevinske direkcije. Dimenzioniranje i i dispozicija prostora su solidni. Zadatak je postavljen i savla-dan na razini Geršića, Galića, Vitića, Rašice, dakle onih koji su imali privile giju projektirati za tada najvažnijeg investitora – vojsku.Stanovi u okviru poznatih she-ma za odabranu tipo logiju – sjever komunikacija i servis, jug boravljenje, spavanje i vanj-ski prostori. Solidan standard.Da je standard solidan, blizu potreba i zahtjeva korisnika, po kazuje činjenica da je una-toč vremeš no sti građevine vrlo malo intervencija koje su inače dio folklora i koje s jedne stra-ne pokazuju manjak na kontu kulture prostora i njegove kon-tro le, a sa druge na nedostatak prostornog i inog standarda ko-ji se nekontroliranim interven-ci jama krpa i “po pravlja”.Pri kraju priče: boja. Boja je sa-stavni dio arhitek ton ske inter-pre tacije. Po definiciji crna i bi jela nisu boje, nego ekstremi na granicama spektra, gdje je-dan sve apsorbira, a drugi sve reflektira.Ipak u ovom slučaju bijeli seg ment spektra, primi jenjen

flat surface hides purposeful spaces that occasionally take a discreet look at the world of the horizon, not only the sky.Between the ground floor and the attic, there are only dynamic horizontals, a deck in the north and a loggia with glass-covered railings in the south. At the first glance, it seems that the build-ing does not have the intricate front structure – windows, doors and all those unavoidable elements that usually interfere. Even the partitions of loggias between flats disappeared in the material (glass) and form. When there are details, they are discreet, serving the whole. The glazing and protection of the deck staircase seem (re)mo va-ble; the minimalist language of proportions, forms and materi-als showed yet again that less can be more.The internal structure is simple, the structural framework, the residential structure is bal-anced, following the standards of the Military Construction Department. The dimensions and arrange-ments of the space are good. The task was set and resolved at the level of Geršić, Galić, Vitić, Rašica, those who were privileged to work for the most important investor of the time – the military.The flats follow the well-known schemes for the chosen typolo-gy – the north for communica-tions and ancillary rooms, the south for living room, bedroom and outside spaces. A good standard.The quality of the standard, close to the needs and require-ments of the users, is confirmed by the fact that the building in its advanced age has given very little cause for interventions, which are a part of folklore any-way, revealing on one hand the deficit in the culture and control

of space, and on the other the lack of spatial and other standards that are patched and “repaired” through unregulated activities.Finally, the colour. Architectural interpretation always includes colour. By definition, black and white are not colours, they are the extremes of the spectrum, one absorbing everything, the other reflecting everything.Still, in this case, the white segment of the spectrum, applied to all the visible surfaces of the front, makes it seem as if the building, with its railings of stained glass, is a transparent reflection dipped in whiteness. True, all those years and faulty maintenance have made it a little grey and worn out, but this is not such a bad thing.

na sve vidljive plohe pročelja, čini da zgrada sa mlječ nim staklom ograde postaje transparentni odsjaj umočen u bjelinu. Istina, kroz sve ove godine i manj kavo održavanje malo je posivjela i pohabala se, ali ni to nije loše.Elementi oblikovanja i organizacije prostora koje Raos koristi nisu originalni; sve je to već viđeno i dio je usvojenog arhitektonskog vokabulara svog vre mena, ali u datom kontekstu okoliša i građevine primijenjeno je senzibilno i promišljeno tako da možemo govoriti o rijetko postignutom suglasju namjere i rezultata ostvarenih jezikom i sredstvima svog vremena.Uostalom, umjesto beskrajnih analiza postavimo pitanje: Što bi bilo da Raosova krstarica otplovi?

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Odgovor će reći sve ono što o ovoj sjajnoj kući u ovom tekstu nije rečeno.Konačno, važno je naglasiti da je realizaciju Raoso vog idejnog projekta preuzeo biro arhitekta Slavka Jelineka koji je iskus tvom, organizacijskom razinom i profesionalnošću u razradi svim sigurno pridonio arhi tek tonskom i graditeljs-kom rezul tatu.

The elements for forming and organizing space used by Raos are not original. It was done be-fore, it belongs to the accepted architectural vocabulary of that age, but it was applied in the given context of surroundings and of the building itself with sensibility and consideration, achieving a rare harmony of intention and result by means of the language and means of its time.Anyway, instead of endless analyses, we could ask: what if Raos’ cruiser sailed away?The reply to that question will say everything that has not been said here about this great building.At the end, it must be noted that Raos’ design was realized by the office of the architect Slavko Je-linek, whose experience, organi-zational level and professional approach to the task certainly contributed to the architectural and constructional result.