Morske Orgulje i Pozdrav Suncu

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CROATIA HRVATSKA





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Croatia

La Biennale di Venezia11th International Architecture ExhibitionOUT THERE: ARCHITECTURE BEYOND BUILDING

Nikola BašiþSEA ORGAN & GREETING TO THE SUNZadar, Croatia

September 14th - November 23rd 2008 Artiglierie, Arsenale

Hrvatska

La Biennale di Venezia11. Meāunarodna izložba arhitektureOUT THERE: ARCHITECTURE BEYOND BUILDING

Nikola BašiþMORSKE ORGULJE I POZDRAV SUNCUZadar, Hrvatska

14. 9 - 23.11. 2008. Artiglierie, Arsenale





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Branko Silaāin

OUT THERE: ARCHITECTURE BEYOND BUILDING

IN ZADAR

The Croatian display aims to support the initial theses of Aaron Betsky in its own interpretative way, as a possible

reading of his inspiringly open title, “Out There: ArchitectureBeyond Building”. The motto of the Croatian display – “Weare positive that we can destroy our world, yet we do notgive up easily the idea that we can improve it. ... Into the seaof possibilities we jump and swim” – a quote from architectGoran Rako, formulated in the process of conceiving theexhibition, refers to objective boundaries and possibilities inpractice of Croatian architects searching for the answers tothe questions Betsky poses to both architects and architec-ture. These questions entail finding new ways, in particular

conceptualizing adequately the contemporary architecturalpraxis, nowadays increasingly facing the dilemma of thealmost unlimited possibilities of technology against the un-even development of social relations and ever more evidentecologic needs. Degraded to the level of design, with thetechnological era as an alibi, architectural practice resultsnot only in the disconnection of the surface from structure,the bases of architecture, but also of space and its function,namely the failure of the new, contemporary spaces to pro-vide the comfort required and expected of them. The presentevidently requires that architects re-interpret human livingneeds and the use of space, but also to face the ever morenecessary need of finding a satisfactory relation with space– with nature.The expected – perhaps even required – reactions to Betsky’shypothesis are visions and visionary projects, but Croatiadisplays a miniature, the very realization of which confirmsthe potentials of the theses of this year’s Biennale, but also of the motto of the Croatian exhibition. By the contemporaneityof pleasure, this miniature substantiates the potential of thesearch for the new ways of architectural practice in creating aspace truly of our times.

Branko Silaāin

OUT THERE: ARCHITECTURE BEYOND BUILDING

U ZADRU

Hrvatski nastup nastoji na svoj naĀin, no Āitljivo, podržatiinicijalne teze Aarona Betskyog, odnosno jednog Āitanja

njegovog inspirativno-otvorenog naslova “Ondje: Arhitekturaonkraj graāenja”. Moto hrvatske izložbe - „Pouzdano znamoda svijet možemo pokvariti, ne odustajemo olako od uvjeren-ja da ga možemo popraviti. ... u more moguþnosti skaĀemoi plivamo.“ - citat je arhitekta Gorana Rake, nastao tijekomstvaranja koncepcije nastupa, govori o realnim granicamai moguþnostima djelovanja hrvatskih arhitekata u traženjuodgovora na pitanja koja Betsky postavlja arhitektima iarhitekturi. A pitanja traže putove, pa i formuliranje prim-jerenih putova suvremenog arhitektonskog djelovanja, koji

su danas sve Āešþe u nedoumici izmeāu skoro neograniĀenihmoguþnosti tehnologije, neravnomjernog razvoja socijal-nih i društvenih odnosa te sve jasnijih ekoloških potreba. Arhitektonski postupak spušten na nivo dizajna s alibijemraĀunalnog doba što rezultira ne samo nepovezanošþu ovoj-nice i strukture, osnovica arhitekture, veþ prostora i njegovefunkcije odnosno izostanka željene i oĀekivane ugode novihprostora današnjeg vremena. Današnje vrijeme oĀito tražiod arhitekata nove interpretacije Āovjekovih životnih potrebakorištenja prostora, ali i sve nužnije potrebe primjerenogodnosa s prostorom - s prirodom.OĀekivane reakcije (možda i tražene) na Betskyjeve teze suvizije i vizionarski projekti no Hrvatska prezentira realiziranuminijaturu, koja upravo svojom materijalizacijom potvr āujepotencijale teza ovogodišnje biennalske izložbe, ali jednakotako i mota hrvatskog nastupa. Minijatura suvremenošþupostignute ugode, potvr āuje potencijale traženja novihputova arhitektonskog djelovanja u stvaranju prostora uistinunašeg vremena.NeobiĀna uspješnost realizacije javnog urbanog prostora uZadru, arhitekta Nikole Bašiþa, Āini ludiĀka, u biti nemateri-jalna, interpretacija prirodnih elemenata morskih valova i



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The extraordinary success of the public urban space cre-ated in Zadar by architect Nikola Bašiþ consists of a ludic,essentially non-material interpretation of the elements of nature – sea waves and solar energy – into an ever new andexciting scene of sound and vision. The intervention turned

the inactive, marginal space of the historic core of the city of Zadar into an essential place of everyday meetings, socialis-ing, meditation – a key point of urban identity and a must-see tourist sight, an important urban monument to life on the Adriatic, from the antiquity and the roots of Croatian historyto this very day.The Croatian architectural scene has for a number of yearshad a respectable “laboratory” undertow persistently andpatiently questioning the essence and role of the architecturalpraxis today. One such visionary installation, by Peneziþ and

Rogina, eminent proponents of that current, is on display atthe “Hall of Fragments” exhibition in the adjoining Corderia,a “Strada Futurissima” of sorts of this year’s Biennale.The Croatian exhibition could be a contribution to the inter-pretation of this year’s Biennale intriguing theses, but also achance to show and present Croatian architectural identityand the recognizability of the local space, culture, and thedistinctive potentials of spiritual and material possibilities of Croatian society.

sunĀane energije u uvijek novu uzbudljivu scenu zvuka i slike.Nikada aktivan rubni prostor povijesne jezgre Zadra, tomintervencijom postao je nezaobilazno mjesto svakodnevnogokupljanja, druženja, meditacije, kljuĀno mjesto urbanogidentiteta i neizostavni cilj posjetitelja Zadra, znaĀajnog

urbanog spomenika životu na Jadranu od Antike i korijenahrvatske povijesti do danas.Hrvatska arhitektonska scena veþ dugi niz godina sadržava irespektabilnu “laboratorijsku“ struju, koja uporno i strpljivopreispituje srž i ulogu arhitektonskog djelovanja danas. Paistaknuti predstavnici te struje Peneziþ i Rogina izlažu jednutakvu svoju vizionarsku instalaciju u susjednoj Corderiji naizložbi “Hall of Fragments”, svojevrsnoj “Stradi Futurissimi“ovogodišnje biennalske manifestacije.Nastup hrvatskih arhitekata može biti doprinos u interpretaciji

intrigantnih ovogodišnjih biennalskih teza, ali i prilika da seprepoznatljivošþu ovog prostora, ove kulture, specifiĀnostimai potencijalima duhovnih i materijalnih moguþnosti hrvatskogdruštva ukaže i prezentira hrvatski arhitektonski identitet.



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Željka ÿorak

THE PLACE WHERE THE ENDLESSMEETS THE DEFINITE

Since all the world is a stage, all the world is architecture.

We have been moved away from this realisation by the factthat we have not yet in full embraced it with our geometry,framed it within our own dimensions and proportions. Thearchitecture of the world is for us an inarticulate language.This language is known to all the world traditions and itsunderstanding is recognised as a gift and a privilege of thefew. We only need to recall Borges and his perception of ornaments on the leopard’s fur as a script. A city (and may it consist of only one house) is a focus of thehuman world, geometry, dimensions and proportions „on a

human scale“. A city progresses in such a way that it turnsthe stars off through the abundance of its light, it neutralisesnuances with fluorescent, metallic, intensified colours, iteliminates the perception of silence through the competitionof decibels. Around it, however, begins the vertiginous heightof the universe, indefinite gaps in the dark, incomprehensiblebarking and chirping, the sound of the wind in which onlynative people can recognise inaudible registers and in themthe language of their gone ones. The virtual reality technolo-gy protects us from these dangerous real zones of the lack of

clarity, and also naturally from the effort of its understanding.To raise awareness of the city as the place where the in-comprehensible meets with the clear, the forgotten withthe evoked, the endless with the limited, the transient withthe halted, was the purpose of the architect Nikola Bašiþ’sintervention into the Zadar city coast. His “Sea Organ” andthe “Greeting to the Sun” make a complex micro urban workcomposed equally of space and time/history. Walking bythe sea in Bašiþ’s interpretation becomes a composition of melody and harmony: the line of passing and pausing; mo-

ments of visual contemplation; moments of hearkening andlistening; moments of remembering; moments of intensified

Željka ÿorak

MJESTO GDJE SE BESKRAJNOSUOÿ AVA S ODREéENIM

Buduþi da je sav svijet pozornica, sav svijet je arhitektura. Od

te spoznaje udaljava nas Āinjenica da ga još nismo u cjeliniobuhvatili svojom geometrijom, kadrirali ga u svoje dimen-zije i proporcije. Arhitektura svijeta za nas je nemušti jezik.Takav jezik poznaju sve svjetske tradicije i njegovo razumi-jevanje priznaju kao dar i povlasticu malobrojnih. Iz autorskeliterature sjetimo se samo Borgesa i njegova viāenja šara naleopardovu krznu kao pisma.Grad (ma sastojao se on i od jedne kuþe) žarište je ljudsk-oga svijeta, geometrije, dimenzija i proporcija “po ljudskojmjeri”. Grad napreduje tako da obiljem svoje svjetlosti gasi

zvijezde, da fluorescentnim, metaliziranim, pojaĀanim bo-jama neutralizira nijanse, da nadmetanjem decibela eliminirazamjeþivanje tišine. Uokolo meāutim poĀinje vrtoglava visinasvemira, neodreāeni razmaci u tami, nerazumljivi laveži cvrkut, šum vjetra u kojemu još samo primitivni narodiprepoznaju neĀujne registre i u njima govor svojih nestalih.Tehnologija virtualne stvarnosti štiti nas od tih opasnih stvar-nih zona nejasnoþe, a dakako i od napora njihova razumi-jevanja.Osvijestiti grad kao mjesto gdje se nerazumljivo suoĀava s

jasnim, zaboravljeno s dozvanim, beskrajno s omeāenim,prolazno sa zaustavljenim, bio je smisao zahvata arhitektaNikole Bašiþa u obalu grada Zadra. Njegove “Morske or-gulje” i “Pozdrav Suncu” složeno su mikrourbanistiĀko djelokoje za svoju graāu jednako uzima prostor i vrijeme/povijest.Šetnja uz obalu u Bašiþevoj interpretaciji postaje melodijskii harmonijski sklop: linija prolaženja i zastajanja; trenucivizualne kontemplacije; trenuci osluškivanja/slušanja; trenuciprisjeþanja; trenuci intenziviranog postojanja (“Svatko stojisam na srcu zemlje/proboden zrakom sunca…”).

“Morske orgulje” i “Pozdrav Suncu” savršeno su komple-mentaran binom. “Morske orgulje” rafiniranom tehnologi-



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existence (“Everyone stands alone at the heart of the earth/stabbed by the ray of the sun…”).The “Sea Organ” and the “Greeting to the Sun” are a per-fectly complementary binomial. Using the refined technology,the “Sea Organ” translate the “motion of the sea” into the

music recognisable by humans, sounds into tones, wind andwaves into rhymes, random passing of ships and seagullsflying down into unexpected aleatoric effects. The greatcomposer sends out unexpected voices, strong, quiet, fast,horizontal like the oscillogram of a dying heart. Nothing canescape to this perfect diary, just like “the God’s eye alwayswatches and nothing can hide away from it”. The composi-tion cannot be repeated, much like the time of our lives.Whereas the “Sea Organ” work with the depth and thedistance, the “Greeting to the Sun” works with the distant

past and the height. Big, deep blue glass circle uses sensorsto collect the energy of the Sun and emits it when the nightstarts falling on the world. The light dance is then dependanton our shadows, the kaleidoscopic outcome on our grain.The rim of the circle is inscribed with the names of thirty sixancient Zadar saints days, and astronomical, historical andgeographical data. These were taken from one of the larger number of the medieval Zadar calendars scattered aroundEurope, from St. Krševan’s calendar which belongs to theoldest ephemerid documents, and is kept today in Oxford,

recalling the ancient presence of the city of Zadar in theEuropean cultural and civilisational exchanges.The “Sea Organ” and the “Greeting to the Sun” are anachievement of the exceptional and high ambitions of therelationship between the man and the space. It brings recog-nition to the uniqueness of a geographical point, the unique-ness of its history and the uniqueness of existential testimony.It also recalls of the infinity of the unread worlds and givesimpetus to the sharpening of the ability to read.This unusual work of the architect Nikola Bašiþ could be

considered as the greatest undertaking in translation: transla-tion from the inarticulate to the human language. It is full of almost medieval symbolism. It also speaks about the abilityof the Croatian city of Zadar to actively inherit its rich heri-tage from various periods and civilisations, and to add to itthe value of modern times.

jom prevode “ponašanje mora” u ljudski prepoznatljivuglazbu, šumove u tonove, vjetar i valove u ritmove, sluĀajnaprolaženja brodova ili slijetanja galebova u neoĀekivanealeatoriĀne efekte. Veliki kompozitor odašilje neoĀekivaneglasove, jake, tihe, brze, vodoravne poput oscilograma

zamiruþeg srca. Tom savršenom dnevniku ništa ne izbjegava,kao što “Božje oko uvijek gleda kom se sakrit ništa ne da”.Kompozicija se ne može ponoviti, kao ni vrijeme naših života.Dok “Morske orgulje” suraāuju s dubinom i daljinom, “Poz-drav Suncu” suraāuje s davninom i visinom. Veliki, modristakleni krug senzorima sakuplja SunĀevu energiju i isijavaje kad svijetom zavlada sumrak. Tada svjetlosni ples ovisi onašim sjenama, kaleidoskopski ishod o našem zrncu. Naobodu kruga ispisana su imena trideset i šest starih zadarskihblagdana, s astronomskim, povijesnim i geografskim po-

dacima. Podaci su uzeti iz jednoga od veþeg broja zadarskihsrednjovjekovnih kalendara raspršenih po Europi, iz Kalen-dara sv. Krševana koji spada meāu najstarije efemeridskedokumente uopþe, a danas se Āuva u Oxfordu, napominjuþidrevnu prisutnost grada Zadra u europskim kulturnim i civili-zacijskim razmjenama.“Morske orgulje” i “Pozdrav Suncu” ostvarenje su iznimnih ivisokih ambicija odnosa Āovjeka i prostora. Ono afirmira je-dinstvenost zemljopisne toĀke, jedinstvenost njezine povijesti ijedinstvenost egzistencijalnog svjedoĀenja. Ono takoāer na-

pominje beskraj neproĀitanih svjetova i potiĀe na izoštravanjesposobnosti Āitanja.To neobiĀno djelo arhitekta Nikole Bašiþa moglo bi sesmatrati najveþim prevodilaĀkim pothvatom: prevoāenjems nemuštog na ljudski jezik. Ono je puno gotovo srednjo-vjekovne simbolike. Ujedno govori o sposobnosti hrvatskogagrada Zadra da svoju bogatu baštinu razliĀitih epoha i civi-lizacija naslijedi aktivno, dodajuþi joj vrijednost današnjegadana.



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Leo Modr Āin

ON THE EDGE OF SENSES

…Rome was at every step the most disturbing proof that an altar has never been built that has not been destroyed. Time plays with churches as it does

with all creations of man, and carries them into the clouds as the wind playswith autumn leaves. All human efforts vanish into space as does the dust onthe roads along which man passes with the conviction that a human being’spath is specially chosen according to a higher meaning. Man is deceived inhis most fundamental assumption that the purpose of life centers on him or his prejudices.

Miroslav Krleža: On the Edge of Reason, translated by Zora Depolo1

The hero of “On the Edge of Reason”, a modernist novelby the Croatian writer Miroslav Krleža snaps away fromthe conformist and comfortable embrace of the social elitehe belongs to by exposing a simple truth, for which he isincarcerated and excommunicated from the society. He endsup finding his redemption by discovering the city of Rome.For this architectural layman it took an act of rebellion andthe embrace of architecture to find the higher purpose, theuniversal. As Krleža writes, architecture reaches beyond itsphysical presence and permanence to provide a meaningand a space of spiritual and sensory well being. As architects, we use this obviously biased take on the act of defiance to propose an argument: a true experiment in archi-tecture cannot emerge from a normative practice of architec-ture, but it ought to be based on a break from the traditionalways or of running things. A practice involved in regular,market driven production of architecture, no matter how in-novative or influential, can hardly be considered experimen-tal, unless it establishes its own terms of engagement.Or, perhaps disengagement. One could propose thatexperimental architecture is almost impossible in the normalrelationship between an architect and a client, albeit themost enlightened patron or institution. A true experimentcan occur only if there is a complete independence of an

Leo Modr Āin

NA RUBU ÿULA

…Rim, kao slika vjeĀnosti i neprolaznosti, bio mi je na svakom korakuupravo najuznemireniji dokaz kako ni jednog žrtvenika nema, i nikada nije

bilo koji nije oboren, i kako ni jedne graāevine nema koja ne dokazuje daje bilo bezuslovno potrebno da se razori ona koja je tu stajala na ovommjestu prije ove današnje koja u nama budi udivljenje vjeĀnosti. Vrijemese poigrava crkvama kao i svim tvorevinama ljudskim i nosi ih u oblacimakao vjetar lišþe jesenje, i svi se napori ljudski dime u prostoru kao prah nacestama kojima prolazi Āovjek, ne snalazeþi se u tim zbrkama, uvjeren kakoje njegov ljudski put naroĀito odabran po višem smislu, i obmanjujuþi se unajosnovnijoj pretpostavci kao da je svrha života usredsreāenja na Āovjekaili na ispravne ljudske predrasude.

Miroslav Krleža: Na rubu pameti, roman, 1938.1

Bezimeni junak Krležinog modernistiĀkog romana “Na rubupameti” otkaĀi se od konformistiĀkog i udobnog zagrljajadruštvene elite kojoj pripada samo zato jer je razotkrio goluistinu, a zbog toga je i zatoĀen. OdbaĀen od svih, iskupljenjetraži u Rimu. Univerzalnu bit i smisao postojanja ovaj arhi-tektonski laik nalazi u zagrljaju arhitekture, koja kako pišeKrleža, poseže van fizikalnosti i trajnosti da bi nam pružilasmisao i duhovne i osjetilne blagodati.Kao arhitekti, koristimo ovo oĀigledno pristrano Āitanje

i interpretaciju Krležinog Āina pobune kako bi nam toomoguþilo sljedeþi argument: istinski eksperiment u arhi-tekturi ne može proizaþi iz normativnog naĀina bavljenjaarhitekturom, veþ može jedino proizaþi iz odmaka od tradi-cionalnog pristupa struci. Arhitektonska praksa temeljenana uobiĀajenoj arhitektonskoj produkciji uvjetovanoj tržišnimuvjetima, pa kada je i najinventivnija ili pak najutjecajnija,teško se može smatrati eksperimentalnom ako ne uspostavipotpuno nova, nezavisna pravila sudjelovanja u procesugraāenja.Ili pak potpuno odustajanje od sudjelovanja u takvomprocesu. Sugeriramo da je eksperimentalna arhitektura



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architect and the pragmatic circumstances of her or his work,where all the parameters and methods are established by thearchitect regardless of the external forces. The towering opusof Lebbeus Woods has been a benchmark in this regard anda global influence on contemporary architecture, mostly built

by others, in both ideas and space making. In the context of Croatian architecture one would look into work by architectssuch as Vjenceslav Richter and Andrija Mutnjakoviþ. Withinthe “ordinary” practices of architecture there are however moments of revelation, singular episodes of truth, when thereason is often replaced by senses, and when these experi-ments push the boundaries of architecture, and indeed our whole picture of the world and ourselves.Nikola Bašiþ has a distinguished presence in the Croatian ar-chitecture, and his singular act of architecture on the edge of

the city of Zadar is certainly one such successful experiment.Zadar is a quintessential Roman city on the eastern coast of Adriatic. It could be considered, if it were not for its 2000year plus old and complex urban vitality and even its recentprosperity and a new architectural renaissance as a city, oneof those Calvinoesque cities, a perfect ideal city on a rectan-gular peninsula protruding into azure Adriatic. One wouldjust have to choose which metaphorical layer to work with inweaving a particular allegory or abstraction. This could beIadera of the perfect original Roman grid with its cardo and

decumanus, perhaps a “dark” medieval city with its sprinklingof the almost perfect pre-Romanesque, Romanesque, gothic,renaissance churches and monasteries, the city of gold, later the Italian Zara with the collection of architectural objectsas tokens of cultural occupation, or even the memorablecollection of the austere post 2nd WW buildings that filledin the holes left by the war end’s destruction, or the city–sieveperforated by the senseless urbicidal mortar fire of the mostrecent war. The urban matrix, like a perpetual Sim City videogame, has seen it all.

In one prominent yet descret spot on its barren edge betweenthe city and the sea, where once massive stone walls keptguard, Nikola Bašiþ designed two architectural instruments,the “Sea Organ” and the “Greeting to the Sun”. The twointerconnected projects profoundly changed the relationshipof the city and its margins, and shifted the focus from the or-derly, Roman mathematical space, the space of reason, intoa singular architectural space built by sensory means insteadof physical enclosure.The keyboards of the organ are the steps by which to reachthe water, perhaps soak your feet, lay down, escape. Thesteps soften the power of jugo, the local southern wind, and

gotovo nemoguþa u uobiĀajenom odnosu izmeāu arhi-tekta i naruĀitelja, pa Āak i onih najprosvjeþenijih mecena iinstitucija. Pravi eksperiment se može ostvariti tek u trenutkupotpune odvojenosti arhitekata i pragmatiĀnih okolnostikoje uvjetuju njenu ili njegovu arhitektonsku produkciju i

gdje su svi parametri i metode rada definirane od stranesamog arhitekte bez utjecaja vanjskih Āimbenika. Neizbježanprimjer ovdje je monumentalni opus Lebbeusa Woods kojise doživljava kao svojevrsni kamen meāaš na cesti eksperi-mentalne arhitekture, i to u smislu ideja i same produkcijeprostora koja toliko utjeĀe na suvremenu globalnu arhi-tekturu, a koju ponajĀešþe grade drugi a ne on sam. Ukontekstu hrvatske arhitekture može se pronaþi takav pristuparhitekturi u djelima arhitekata poput Vjenceslava Richtera i Andrije Mutnjakoviþa. I unutar “obiĀne” arhitektonske prakse

pojavljuju se trenuci otkrivenja, jedinstvene epizode istine,u kojima je razum Āesto zamijenjen Āulima i u kojima seekperimentiranjem pomiĀu granice arhitekture, a time i našsvjetonazor I smisao sebe.Nikola Bašiþ ima snažnu prisutnost u hrvatskoj arhitekturi, anjegov jedinstveni arhitektonski Āin na rubu grada Zadra jezasigurno uspjeli arhitektonski pokus. Zadar je prototipiĀanrimski grad. Usprkos svoje dvotisuþljetne složene povijesti iurbane vitalnosti pa i recentnog prosperiteta i arhitekton-skog preporoda, Zadar se može Āitati kao jedan od ikoniĀkih

gradova Itala Calvina, gotovo idealni grad na pravokutnompoluotoku zabodenom u zaljev modrog Jadrana. Koji godmetaforiĀki sloj izaberemo, možemo satkati cijeli niz ale-gorijskih ili apstraktnih gradova. Može to biti Iadera, gradsavršene geometrije sa svojim rimskim cardom i decum-anusom, možda “mraĀni” srednjovjekovni grad isprepletengotovo savršenim predromaniĀkim, romaniĀkim, gotiĀkim,renesansnim, itd., crkvama i samostanima, grad zlata isrebra, kasnija talijanska Zara sa svojom kolekcijom arhi-tektonskih objekata kao simbola kulturne okupacije, ili Āak

antologijska zbirka strogih modernistiĀkih zgrada koje supopravile razrušeni grad nakon drugog svjetskog rata, pa dograda-sita bezrazložno izrešetanog urbicidnim mitraljezima uovom posljednjem ratu. Zadarska je urbana matrica, poputsvojevrsne kompjuterske igre Sim City prošla kroz svašta.Na prominentnoj toĀki ogoljelog ruba izmeāu mora i gradanekad branjenog teškim zidovima, arhitekt Nikola Bašiþprojektirao je dva povezana arhitektonska instrumenta kojesu zauvijek revidirala odnos grada i njegovih margina teodmaknuli njegovo ishodište van rimskog matematiĀkog

prostornog reda, prostora razuma, u jedinstveni arhitektonskiprostor koji je umjesto fiziĀkom ovojnicom izgraāen senzor-skim sredstvima.



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articulate the moment of transition by physical means, thestone, the light and shadow. They smooth out and blur theedge of the city by pixelating the mass of stone into a simplejagged plane. The sound effects - one might call it music- appear at the moment of collision when the true, watery,

physical waves touch upon embedded and invisible organpipes.The photovoltaic disc of the “Greeting to the Sun” accumu-lates the electricity only to release it in the most appealingvisual spectacle, the spectral symphony only Wagner or theRussian composers could match. The simple transition of day and night is again transformed into a transformation of energy of music into a visual databank.The graphic, physical bits of stone are supplanted by thesound waves transformed into the quantum bits of light

rendered as colorful frequencies. The tourists here are Ein-stein, Bohr, Wittgenstein, the beach towels and cameras areideas and concepts, and the purpose of visit is acquisition of knowledge by means of senses.The “Sea Organ” and the “Greeting to the Sun” are theultimate examples of “situated technologies”2, ubiquitousnetworking technology that is embedded in all aspects of our built environment. It is an interface design connectingwater and the analog organ pipe producing sounds, thendigitized, transformed into a dome of light run by the power

collected by the photovoltaic disc, a new-age digital Stone-henge of sorts. But beyond the metaphoric titles and indeedthe straightforward functioning of Bašiþ’s digital instrumentsencased in stone and glass - a sound machine and a dancefloor with the lightshow - the project appears connected, or perhaps more to the point, has the unknown relatives in theartistic research in places such as MIT Lab, the ITP programat New York University, the early web art as propagated byartist such as Vuk ýosiþ, the Rhizome web page, the WhitneyMuseum, Ars Electronica in Linz and other original fori at the

forefront of the contemporary digital art that emerged at theonset of the internet.Coincidentally on much more local scale, it was preciselyin Zagreb, Croatia in the early 70’s that the early computer generated art was promoted by the New Tendencies group,an international group of artists and architects such asRichter, BonaĀiþ and followed by the theorists such as Argan,Lea Vergine, Umberto Eco, Matko Meštroviþ.3 Because of the limited processing power of the early computers, or thelimited bandwidth of the early internet, these art had to be

rather primitive, elemental, atomized, minimal. Reduced to itsconceptual clarity and tectonic logic, nothing to much, noth-

U ovim orguljama, tipke su kamene stepenice kojima sesilazi do mora, mogu se umoĀiti noge, leþi, pobjeþi odstvarnosti, a služe i da ublaže snagu juga i tako artikulirajuprijenos energije jednostavnim fiziĀkim sredstvima: ka-menom, svjetlom i sjenom. Stepenice smanjuju oštrinu ruba

rive i pikselizacijom pretvaraju kamenu masu u jednostavnunazupĀanu ravninu. ZvuĀni efekti - glazba za neke - pojavlju-ju se u vrijeme kolizije kada pravi, vodeni, dakle fiziĀki valovidotiĀu ugraāene i nevidljive cijevi orgulja.FotovoltaiĀni disk “Pozdrava Suncu” akumulira struju kakobi je pretvorio u atraktivni spektakl, spektralnu simfoniju pomjeri jednog Wagnera ili pak ruskih kompozitora. Jed-nostavna smjena dana u noþ transformira energiju glazbe uvizualnu datoteku.GrafiĀki, prostorni bitovi kamena su nadopunjeni zvuĀnim

valovima koji su transformirani u kvantne Āestice svjetla kojese manifestira kao šarene frekvencije. Turisti koji zapravodolaze ovamo su Einstein, Bohr, Wittgenstein, kamere iruĀnici su zamijenjeni idejama i konceptima, a svrha posjeteje stjecanje znanja putem Āula.“Morske orgulje” i “Pozdrav Suncu” su izvanredni primjeri“ugraāenih“ tehnologija2, sveprisutnih umreženih tehnologijakoje su ugraāene u sve pore naše izgraāene okoline. To susuĀelja koja povezuju more i analogne cijevi orgulja kojeproizvode zvukove, zatim su digitalizirane i pretvorene u

svjetlosnu kupolu pogonjenu energijom samog Sunca. To jenovovjeki digitalni Stonehenge. Povrh svih ovih metaforiĀkihnaziva i zapravo vrlo jednostavne uĀinkovitosti Bašiþevih digi-talnih instrumenata ugraāenih u kamen i staklo, a može ihse smatrati i jednostavnim muziĀkim instrumentom i plesnimpodijem, ovaj se Bašiþev projekt doima potpuno povezan,a Āak bi mogli reþi da ima i svoje nepoznate roāake uumjetniĀkim istraživanjima u institucijama poput MIT Laba,programa interaktivnih tehnologija (ITP) na SveuĀilištu NewYork, najranijom internetskom umjetnošþu koju su propagi-

rali umjetnici poput Vuka ýosiþa, stranica Rhizome na mreži,rane izložbe muzeja Whitney, Ars Electronice u Linzu te osta-lih originalnih foruma na zaĀetku internetske ere.SluĀajno, u lokalnim, mnogo bližim relacijama upravo je uZagrebu, u Hrvatskoj ranih sedamdesetih godina zapoĀelapromocija novih ideja kompjuterske umjetnosti i prostornihinstalacija Novih tendencija, udruge hrvatskih i inozemnihumjetnika i arhitekata poput Richtera i BonaĀiþa, a podu-prta teoretiĀarima poput Argana, Lee Vergine, UmbertaEca i Matka Meštroviþa.3 Zbog ograniĀenih kapaciteta

ranih procesora, a i sporosti ranog interneta ta umjetnost jemorala ostati gotovo elementarna, atomizirana, minimalna.



14

ing too little. The same words could coincidentally describethe essence of the Croatian modern architecture, contempo-raneous with Krleža’s novel, which knew how to transform thenegatives i.e. the relative modesty of means of a provincialculture into a coherent and original architectural expres-

sion, clearly connected with the world, decidedly its own andanything but marginal.Just as Bašiþ’s project challenges the reading of the city, italso challenges the notion of a localized, national architec-tural culture. Here we talk about the interconnected net-worked world, but this simple yet most advanced project thatso eloquently interfaces with the global state of the art, mightbe the most “Croatian” project amongst the recent Croa-tian architecture. Beyond the wanderings of the so calledarchitecture of transition, that is so much driven by the clash

of consumer nirvana and political myths and values of theprevious era, this project gets rid of any metaphor or flirtingwith the capitalist culture on a conceptual level, and goes for the essence, for the universal, timeless. The transition is over,and for the Croatian architecture Bašiþ’s architectural site isits graveyard.It is an idealistic site, and its ideal lies in the attempt todesign the ultimate machine: the sensory perpetuum mobile.Beyond the reason that is by definition the foundation of every act of building architecture, or beyond the self-fulfilling

and anticlimactic simulation of the hyper-realistic render-ing of architecture that does not need to be built, this sortof project requires venturing into the unknown. Only thena pure architecture can occur, architecture as the empire of senses, at the edge of reason and without buildings.We could always consider this but a prototypical publicspace project. Yes, there are benches, and light fixtures, anda bell is ringing form a distant bell tower.However, this is a site of a profound communion betweenarchitecture and individual self. It is a high noon for architec-

ture.

1 Miroslav Krleža: On the Edge of Reason, 1938, translated by Zora Depolo, New Directions, NewYork, 1995

2 “Situated technologies” is a term coined by Omar Khan, Trebor Scholz, Mark Shepard of the Center for Virtual Architecture, which together with Architectural League of New York organizes symposiaand projects that “bring together researchers, practitioners from art, architecture, technology andsociology to explore the emerging role of ‘’situated technologies’’ in the design and inhabitation of the contemporary city”.

3 See Jerko Denegri: “Umjetnost konstruktivnog pristupa: Exat 51 i Nove tendencije” , (in Croatianonly for now), Horetzky, Zagreb, 2000 and «Bit International i Nove Tendencije - kompjutorska ivizualna istraživanja» exhibition curated by Darko Fritz, Graz 2007

Reducirana na konceptualnu jasnoþu i tektonsku logiku, odnje se ne može ništa ni dodati ni oduzeti. Istim se rijeĀimasluĀajno može i definirati moderna hrvatska arhitektura kojaje nastajala baš u doba Krležinog romana. Ta je arhitekturauspjela pretvoriti ograniĀenja u prednosti i transformirati

relativnu skromnost resursa jedne provincijalne kulture ucjeloviti i originalni arhitektonski izraz koji je blizak svijetu aopet samosvojan, i sve samo ne marginalan.Kao što Bašiþev projekt preispituje Āitanje grada, isto tako iproblematizira pojam lokalne, nacionalne arhitektonske kul-ture. Govorimo do sada o našem povezanom, umreženomsvijetu, ali ipak se ovaj jednostavan, a tehnološki napredanprojekt, koji tako elokventno korespondira s najnovijimkretanjima u globalnoj umjetnosti i arhitekturi mora shvatiti ikao “najhrvatskiji” projekt suvremene hrvatske arhitektonske

produkcije. On prekida sa stranputicama tzv. arhitekturetranzicije, koje su uvjetovane svim srazovima potrošaĀke nir-vane i politiĀkih mitova i vrijednosti na ovom prostoru. Ovajprojekt odbacuje bilo kakvu metaforu ili hofiranje s kulturomkapitalizma na konceptualnoj razini, i okreþe se biti, univer-zalnom i bezvremenskom. Tranzicija je gotova, a u hrvatskojarhitekturi ovaj Bašiþev projekt postaje njeno groblje.Bašiþ je stvorio apstraktni prostor idealizma. Ideal ovdjeje projekt savršenog stroja, osjetilnog perpetuum mobila.Prostire se pred nama povrh razuma koji je po definiciji

temelj bilo kojeg Āina graāenja, i svakako povrh samo-dopadljive i antiklimaktiĀne simulacije koju nam pružajuhiperrealistiĀni digitalni prikazi arhitektonskih projekata kojegotovo i ne moramo izgraditi.Za ovakve projekte potreban je iskorak u nepoznato. Tektada se može pojaviti Āista arhitektura, zapravo carstvoĀula, na rubu pameti i bez zgrada. A uvijek se može Bašiþevprojekt interpretirati i kao jedan prototipski projekt javnogprostora. Ima tu i klupica, rasvjetnih tijela, a u daljini se Āujucrkvena zvona.

No ovo je ipak mjesto duboke povezanosti arhitekture i indi-vidualne osobnosti. Za arhitekturu toĀno je podne.

1 Miroslav Krleža “Na rubu pameti” ,1938, Biblioteka Jutarnjeg lista, 2004, str. 226

2 “Situirane tehnologije” je izraz kojeg su uveli Omar Khan, Trebor Sholtz I Mark Shepard iz Centraza virtualnu arhitekturu koji u suradnji sa Arhitektonskom ligom u New Yorku organizira simpozije iprojekte koji”okupljaju istraživaĀe i stvaraoce na polju likovnih umjetnosti, arhitekture, tehnologijei sociologije koji se bave rastuþom ulogom situiranih tehnologija u projektiranju i življenju u suvre-menom gradu”.

3 Jerko Denegri: Umjetnost konstruktivnog pristupa: Exat 51, Nove tendencije, Horetzky , Zagreb,

2000. i «Bit International i Nove Tendencije - kompjutorska i vizualna istraživanja» izložba i katalog,autor Darko Fritz, Graz 2007.





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Roman Forum complex according to the reconstruction of Dr. Mate Suiþ Rimski forum prema rekonstrukciji Dr. Mate Suiþa

Miljenko Domijan

ZADAR - 2500 GODINA I DALJE

Miljenko Domijan

ZADAR – 2500 YEARS AND BEYOND



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Morski valovi oplakivali su hridi i žalove južne obale rim-skog Jadera, kolonije Cezarovih veterana, poslije SalonenajznaĀajnijeg jadranskog grada, a sve dosadašnje pros-torne spoznaje ukazuju da je s te strane bio posve otvorenmoru, te je ono bivalo znaĀajnim Āimbenikom u njego-voj svakodnevnici. Tada je grad stekao svoje prostornoodreāenje koje se svojim obrisima dispozicijom nije bitno

promijenilo sve do naših dana.Blagi zefiri (po kojima grad prepoznaju antiĀki pisci), ilimirisavi i modri jadranski maestrali, hladili su vruþe zadarskeobale zacijelo veþ tada kada se moþna liburnska naseobinaIdassa, kao predvodnica domaþeg življa, uz obale otokaHvara 384. g. prije roāenja Kristovog, suprotstavlja gr Ākimkolonizatorima.Na sjevernoj strani bijaše emporij (luka) sa svim svojimnužnim sadržajima i prostorima. Na istoĀnoj moþni fortifi-kacijski sustav zidina i kula s trostrukim glavnim ulazom u

grad u Āijem se nastavku uzduž cijelog poluotoka protezalaglavna ulica “decvmanvs maximvus”. K južnoj obali, premaotvorenom moru, tvoreþi u križanju s uzdužnim dekumanimapravokutne, uglavnom stambene otoke (insule) vodilo je nizparalenih kraþih ulica - carda. Na otprilike treþini površinegrada, prema zapadnoj obali, a na križanju glavne popreĀnei uzdužne ulice, smjestio se forum, sklop javnih graāevina,nužnih prerogativa za odvijanje svih vidova javnog života.Gradska bazilika pozamašne veliĀine s polukružnim nazapadnoj i istoĀnoj strani imala je južno proĀelje, kako to

potvr āuju i rezultati posljednjih istraživanja bilo je arhitekton-ski pretenciozno artikulirano i zacijelo usmjereno otvorenommoru.

Zadar, utvr āena dalmatinska prijestolnica

Vrlo važna promjena za sve vidove života, dogaāa se poja-vom kršþanstva kao državne religije u prvoj polovini IV. st.Javni i kultni prostori antiĀkog rimskog grada pregraāuju seili ruše izgradnjom novih sakralnih kršþanskih bogomolja, te

Sea waves lapped at the cliffs and sands of the southerncoast of the Roman Iadera, a colony of Caesar’s veterans,which was after Salona the most important Adriatic town,and all the past spatial knowledge point that from that sideit was completely opened to the sea and it was becoming asignificant factor in its everyday life. Then the town gainedits spatial determination which with its outlines didn’t signifi-

cantly change with the disposition until these days.Mild zephyrs (the town is recognized by them by the ancientwriters), or the scented and deep blue Adriatic landwardbreeze cooled the hot Zadar coasts probably already whenthe powerful Liburnian colony of Idassa, as a leader of thenative population, confronts the Greek colonizers by thecoast of island Hvar in the year of 384 BC.On the northern side there was an emporium (a port) with allits necessary facilities and spaces. On the eastern side thereis a powerful fortification system of walls and towers with a

triple main entrance to the town in whose continuation alongthe whole peninsula the main street ‘’decvmanvs maximvms’’extends. Towards the southern coast, to the open sea, by cre-ating in the intersections with the longitudinal decumanumsrectangular and mostly residential islands (insulas), a row of parallel shorter streets – cardos – led. On the approximatelythird of the town surface, to the western coast, and at theintersection of the main diagonal and longitudinal street,there is a forum, a complex of public buildings, the neces-sary prerogatives for the development of all aspects of public

life. The town basilica, of a rather large size and with asemi circled exedras on the western and eastern side, had asouthern façade, as it is confirmed by the results of the latestresearch that it was architecturally pretentiously articulatedand probably directed to the open sea.

Zadar, a fortified Dalmatian capital

A very important change for all aspects of life happens withthe appearance of Christianity as a state religion in the



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Zadar, 1490.





prisutnost u gradu, koja kroz razliĀitu pojavnost traje upornoi konaĀno do danas, ostvariti hrvatski vladari. Kralj Petar Krešimir IV donator je i formalni utemeljitelj još uvijek živogsamostana bendiktinki sv. Marije, na Āijoj se crkvi najav-ljuju, a na kapitularnoj dvorani i zvoniku veþ 1105. god.(zadužbini Kolomana, novog kralja hrvatsko-maāarske per-

l ) bl

communes which have artistic and building expression of theRomanesque style as the first of the great integrating stylesof the western European art. Some of the sacral buildings,such as the churches of St. Lovre and St. Nediljica, are thebest examples in the region of the permeation of the stylisticexpressions of the east and west, and the pluteus of the altar f f S N d l h h h b l d d b A d



77

sonalne unije) ostvaruju u svim svojim emanacijama oblici

ovog stila. Katedrala, sada s novim titularom sv. Anastazije(Āije je moþi iz Konstantinopolisa u Zadar dopremio upravospomenuti biskup Donat), te sv. Krševan najznaĀajniji sudalmatinski romaniĀki spomenici XII. st.MletaĀka Republika prisutna je na ovim prostorima narazne naĀine veþ od poĀetka XI. st., a upravo se tragiĀno,iako posredno, oĀitovala 1202. g. križarskim osvajanjem,pustošenjem i rušenjem grada. Od tog vremena izmje-njuju se mletaĀka posezanja i osvajanja i zadarske pobune ioslobaāanja. Zadar ipak prednjaĀi i tada te se grade crkve

novog stila za nove redove franjevaca i dominikanaca, aprocvat koji se oĀituje u novom gotiĀkom stilu doživljavaod 1358. godine uspostavom hrvatsko-ugarske vlasti podvodstvom Ludovika Velikog Anžuvinca. Gradska su proĀeljatada zatvorena moþnim fortifikacijama, pa se upeĀatljivimi vrlo izražajnim može doživjeti zazivanje Boga za pomoþkrižarskih vojskovoāa u osvajanju ovako Āvrsto utvr āenoggrada. Naravno da je tada bilo utvrdama zatvoreno i južno,morsko lice grada.

Predturska mletaĀka utvrda

PolitiĀke promjene poĀetkom XV. st. dovode u Zadar mletaĀku upravu koja traje sve do pada Venecije za vrijemeNapoleonovih geostrateških i geopolitiĀkih odreāenja. Slikase grada na njegovom plaštu veþ tada dobrano mijenjaizgradnjom citadele na južnom i kaštela na sjevernom rubugrada. Podižu se neke nove posebno stambene graāevineu novom stilu mletaĀke cvijetne gotike (gotico fiorito) i ranerenesanse, dok se sakralne graāevine uglavnom na isti naĀinpregraāuju. Zrela renesansa ostavila je znaĀajna ostvarenjaizgradnjom javnih graāevina gradske lože i gradske straže.Turska neposredna opasnost pretvorila je grad u pravutvr āavu izgradnjom tada najmodernijeg fortifikacijskogsustava u Serenissimi. Projektiraju i grade najbolji državnivojni inženjeri i arhitekti Gianbatista Baglione, Michele San-micheli (remek djelo uspješnog spoja arhitekture i skulpturesu nova ulazna vrata u grad, tzv. Porta Terraferma) te velikupredgradsku utvrdu “Forte” Sforzza Palavicino. Moþni bas-tioni Citadele i sv. Frane zatvorili su južno lice grada gdje

fence from St. Nediljica church has been included by Andre

Marlaux in the imaginary museum of the European sculpture. At the very moment of the introduction of this style throughthe 11th century its political presence in the town, which lastspersistently and finally until today through its different pres-ence, will be carried out by the Croatian rulers. King Petar Krešimir IV is a donor and a formal founder of a still existentconvent of St. Mary’s Benedictines on whose church thereis an introduction, which is on the capitular hall and churchtower already in 1105 (and it is a pious endowment of Colo-man, the new king of the Croat-Hungarian personal union)

and in all its emanations the forms of this style are realized.The cathedral, which now has a new title of St. Anastasia(whose relics were brought from Constantinople to Zadar bythe already mentioned bishop Donat), and St. Krševan arethe most important Dalmatian Romanesque monuments inthe 13th century.Serenissima is in different ways present in these areas alreadysince the beginning of the 11th century, and it tragicallymanifested itself, although indirectly, in 1202 in the Cru-sades devastation and demolition of the town. From that timethe Venetian reaching out and conquesting alternate withZadar’s rebellions and emancipations. Still, Zadar precedesat the time and then the churches of the new style are beingbuilt for the new Franciscan and Dominican orders, and therevival which is manifested in the new Gothic style whichbegins from 1358 with the establishment of the Croatian-Hungarian reign under the leadership of Ludovic the Greatof the Angevin dynasty. Town’s front was then closed with thepowerful fortifications, so the invoking of God for the helpto crusader’s generals in their conquest of such a stronglyfortified town may seem distinct and very suggestive. Natu-rally, the southern sea face of the town was then closed withfortification.

Pre-Turkish Venetian fortification

Political changes at the beginning of 15th century bring the Venetian administration to Zadar which lasts until the fallof Venetia during Napoleon’s geostrategic and geopoliticalestablishments. The picture of the town in its cover is already



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Zadar, 1910.





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friškina, mirisom cvjetnih lijeha, gospodskih cigara i dam-skog parfema, maraskina i cherry brendija. Dobar se diogradskog svakovrsnog života na nju presilio i tu se zbivao.Iz nje su se otvarali trgovi u gradsku ponutricu na kojimabijaše i fontana, ali i zelenih tržnica sa slikovitim bodulskim imorlaĀkim puĀkim šarenilom.

and the street outlooks. Sacral building gets the spatial andimportant urban sign in the neostylistic bell-tower of the ca-thedral. In 1868 Zadar becomes the open town, bastions be-come comfortable, exactly the upper-class gardens, and themayor writes a letter to the imperial administration in Viennaso that they allow Zadar to have a healthy, hygienic and civi-lized living in the historical town, meaning that the defense



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Razaranja u Drugom svjetskom ratu i poslijeratna obnova

Povijesna jezgra Zadra je u serijskim bombardiranjimaanglo-ameriĀke avijacije od jeseni 1943. do jeseni 1944.godine znatno porušena, posebno je stradala Nova riva gdjesu iako ošteþene ostale saĀuvane samo palaĀa Borelli i Licejs kapelom sv. Dimitrija na južnom uglu grada. Uništen jeobalni rub i pristanišni gat.Nakon rata obnova je zapoĀela neprimjerenim uklanjanjemgraāevina, bez pretpostavke da se dobar dio njih mogao

konsolidirati i obnoviti, u želji da se izgradi novi gradotvorenijih prostora i prospekata s izolirano prezentiranimpojedinaĀanim znaĀajnim spomenicima. Takav je odnosipak ubrzo promijenjen i shodno novim regulacionim pla-novima obnova je izvršena uglavnom metodom interpolacijepoštivajuþi prostorna povijesna odreāenja kako u dispozicijitako i u volumenu.Nedostajalo je hrabrosti (možda više nego sredstava) dase na taj ili bilo koji drugi naĀin pristupi obnovi Nove rive.SaĀuvan je niz postojeþih crnika, a na mjestu spomenutih

palaĀa improvizirane su parkovne površine kao privremenorješenje u maniri “linije lakšeg otpora”. Meāutim te su sepovršine njegovale na odgovarajuþi naĀin i štoviše dopun-javale novim i kvalitetnijim hortikulturnim osobitostima, takoda su tijekom gotovo šezdeset godina postale kontinuiranidužobalni urbani park respektirajuþe vrsnoþe te svojevrsnaprijelazna poveznica s kamenom obalom i površinom morauĀinvši ga još prisutnijim u gradu.

Nova, Nova Riva

Zadar je ponovno dodirnuo rat, posljednji obrambeni,domovinski, ali ponovno i obnova te se tako izmjenjujutisuþljeþima kao njegova zla i dobra kob koja izrazitimprisustvom prožima sve sfere njegovog života u slobodnojdomovini.Zapadni ugao Nove rive nije nikada dovršen, a niti ob-novljen na odgovarajuþi naĀin i u nekakvoj je improvizaciji(oblikovnoj i sadržajnoj) funkcionirao kao dijelom šetnica,a dijelom pristanište meāunarodnih brodskih (u posljednje

vrijeme uglavnom trajektnih) linija.

ed v g e s o ca ow , ea g a e de e se

walls be pulled down because they are practically suffocat-ing the town, especially the ones from the southern and themost attractive side of the sea. The walls were pulled downand the New Riva was built and there is the sea in the townand there is the sea again in the daily events of putting toshore of the luxurious ship lanes along the coast and meet-ing them with the sounds of dancing bands from fashionablecafés and hotels. The New Riva became a symbol of regent’stown and its governance and it caused quite an amount of acampanilistic colored envy in all of Dalmatia, and especially

in Split. Despite the ready-made architecture of the inap-propriately big ‘’gescheft’’ or ‘’wohnung’’ army barrack, asthe row of fifteen big palaces was ironically called, Riva livedwith the beauty of new zephyrs, deep blue landward breezesand purple green contours of the islands, leuts and gajetas,elegant sailboats and sporting yachts, and with the smell of steamboat’s smoke and the freshness of the fish, the scent of flower-beds, high-class cigars and lady’s perfume, maraschi-no and cherry brandy. Quite a part of town’s various livingmoved to it and happened there. Squares opened from it to

town’s inside where fountains were, but also there were greenmarkets with picturesque island and Morlacs’ popular variety.

Devastations in the Second World War and the post-war rebuilding

Zadar’s historical center was quite pulled down in the serialbombardments of the Anglo-American aviation from the fallof 1943 until the fall of 1944. And especially ruined was theNew Riva where, although they were damaged, Borelli pal-

ace and the Boarding school with a chapel of St. Dimitriuson the southern outskirts of the town. The edge of the coastand the pier were ruined. After the war the rebuilding began with an inappropriateremoval of the buildings, and without an assumption that agood part of them could be consolidated and rebuilt, and allthat was done with a desire to build a new town with moreopen spaces and outlooks with the single significant monu-ments which are being isolated. That kind of relationship wassoon changed and as a result of the new regulation plans the



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Projektirana i izvedena dopuna Nove rive prostorno ioblikovno logiĀno je dovršila ovaj dio zadarske obale teje uz suvislo rješenje novih pristana za više vrsta i veliĀinabrodova pokušala, a izgleda i uspjela prema reakcijamaZadrana i dobronamjernih došljaka, s novim instalacijama‘’Morskih orgulja’’ i ‘’Pozdrava Suncu’’, bez novih graāevina,vratiti obali onaj ludiĀki segment kojega je za cijelog svojeg

rebuilding was done mostly with a method of interpolation byrespecting the spatial and historical determinations both indisposition and volume.There was a lack of courage (more than the funds) to ap-proach, that way or any other, the rebuilding of New Riva.The row of the existing holm-oaks was saved, and at theplace where there were the mentioned palaces park areas



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trajanja do Drugog svjetskog rata posjedovala, a kojega nijeostvarivala u onoj, nazovimo je, «zelenoj» obnovi, kojoj jenaprosto nedostajalo i nedostaje bilo kakvog dogaāanja ielementarne puĀke radosti u bivanju.Na kraju malo (možda ponekom i puno) radosti u gledanjus najljepše rive najljepšeg zalaska sunca, uz zvukove morskihorgulja i milovanje blagih zefira kako to bijaše prije više oddvije tisuþe godina, a kad sunce ode onda ga vratimo odomradosnog sjeþanja u magiĀnom krugu nalik kaleidoskopukroz kojega svi u nekim nevinijm godinama zurismo.

were improvised as a temporary solution in the manner of ‘’the line of least resistance’’. Still, these areas were culti-vated in a proper way and, what is more, they were filledwith new and of more quality horticultural specialties, andas a result during sixty years they became urban park alongthe coast by respecting the quality, and a specific transitiveconnection with the stone coast and the surface of the sea bymaking it even more present in the town.

The New, New Riva

Zadar came once again in contact with the war, the last one,Croatian War of Independence, but also once again withthe rebuilding, and so for thousands of years they alternateas its bad and good fortune which by its prominent presencepermeate all spheres of its life in the free country.The western corner of the New Riva has never been finishedor rebuild in a proper way and in some kind of an improvisa-tion (formal and substantial) it functioned partly as a prom-enade and partly as a pier for the international ship (lately

mostly of the ferries) lanes.The designed and completed complement of the New Rivaspatially and formally logically completed this part of Zadar’scoast and with a meaningful solution of new piers for differ-ent kinds and sizes of the ships, it tried, and it seems that itsucceeded according to the reactions of Zadar’s townspeo-ple and well-meaning newcomers, with the new installationsof the ‘’Sea Organ’’ and the ‘’Greeting to the Sun’’, andwithout new buildings, to return to the coast a ludic segmentwhich was possessed by it until the Second World War, and

which wasn’t realized by it in, let’s say, ‘’green’’ rebuilding,which was simply missing and is missing any event and anelementary popular happiness in the existence.In the end there is (maybe to someone a lot of) happinessin looking from the most beautiful Riva of the most beautifulsunset, with the sound of the sea organs and the caressingof the mild zephyrs as it was more than two thousand yearsago, and when the sun is gone we get it back with an odeof happy remembrance in a magical circle which is like akaleidoscope through which all of us stare in some moreinnocent years.



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Branko Silaāin

BAŠIý AND ZADAR

Branko Silaāin

BAŠIý I ZADAR



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The return of Bašiþ to Zadar in 1981 marks the beginning of his intense, temperamental, and fruitful presence in the reali-sation of diverse architectural projects and urban planningassignments in the city. The adrenaline rush this city triggersoff, combined with the talent and the individuality of thearchitect, created – and are still creating – clear and effectivecontributions to the materialisation of the contemporary life

of Zadar.Reconstruction and revitalisation of the city lodge (1), as wellas the extraordinarily accomplished temporary installation onthe occasion of Pope’s visit (4) represent the almost enterieur miniatures of a visibly present and recognisable charge, acharge culminating in the ludic urban installation of the ‘’SeaOrgan’’ and the ‘’Greeting to the Sun’’, which has not onlyclaimed the heretofore inactive space of the Zadar shoreline,but has also become a destination of every tourist in the city,of equal importance as any of its historical landmarks.

The housing projects, dating back to the very beginning of Bašiþ’s work in Zadar (2), and the new TIZ residential-busi-ness complex (8,9), represent indispensable contributions tothe new identity of Zadar.The shopping centre (3), conceived together with architectUglešiþ, won the shopping mall architectural contest in1981, and has since developed into a significant and impor-tant core of the agglomeration of central urban functions,namely the superb realisation of the enclosed swimming pool(5) adjacent to Hržiþ’s sports arena, in itself a nucleus of a

new agglomeration on Višnjik.Spatial visions of the urban entity and potentials of individualcentral and marginal spaces result in a number of urbanplanning proposals that open the ever new ways of thedevelopment of the city (6,7). Due to its clarity and superior simplicity, among these stands out the proposal for the solu-tion of the Ravnice (10) complex which creates a completelynew experiential, affirmative, and functional interplay of thehistorical entity and a living contemporary city.Bašiþ and Zadar = Zadar and Bašiþ

Dolaskom u Zadar 1981. godine zapoĀela je intenzivna,njegova temperamentna i plodonosna prisutnost u realizaci-jama najraznovrsnijih arhitektonskih, urbanistiĀkih i planer-skih zadataka u gradu. Adrenalin koji pobuāuje ovaj graduz talent i individualnost arhitekta stvorili su, bolje reĀenostvaraju vidljivo jasne i uspješne doprinose materijalizacijiživota suvremenog Zadra.

Rekonstrukcija i revitalizacija gradske lože(1), neobiĀnouspješna privremena instalacija u povodu Papina posjeta(4) gotovo su interijerske minijature ali vidljivo prisutnogi prepoznatljivog naboja što kulminira u ludiĀkoj urbanojinstalaciji morskih orgulja i pozdrava suncu koja ne samoda je osvojila nikada urbano aktivan prostor zadarske obaleveþ je postala, povijesnim spomenicima, ravnopravna metainteresa svakog posjetioca Zadra.Projekti stanovanja na samom poĀetku zadarskog djelovan-ja (2) kao i novi stambeno poslovni kompleks TIZ (8,9)

neizostavni su doprinosi identitetu novog Zadra.TrgovaĀki centar (3), zapoĀet s arhitektom Uglešiþem pob-jedom na natjeĀaju za Robnu kuþu godine 1981. razvija seu važni i znaĀajni kumulus centralnih gradskih funkcija kaošto je sjajna realizacija zatvorenog bazena (5) uz Dvoranuarhitekta Hržiþa, jezgra novog kumulusa na Višnjiku.Prostorne vizije gradske cjeline i potencijala pojedinihcentralnih i rubnih prostora rezultiraju nizom urbanistiĀkihi planerskih prijedloga koji iniciraju nove putove razvojagrada (6,7). Tu se posebno svojom jasnoþom i superiornom

jednostavnošþu istiĀe prijedlog urbanistiĀkog rješenja kom-pleksa Ravnice (10) kojim se stvara potpuno novi doživljajniafirmativni i funkcionalni odnos povijesne cjeline i živogsuvremenog grada.Bašiþ i Zadar = Zadar i Bašiþ



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BIOGRAFSKE BILJEŠKEBIOGRAPHICAL NOTES



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NIKOLA BAŠIý, arhitekt

Nikola Bašiþ (Murter, Hrvatska, 1946).Diplomirao na Arhitektonsko-urbanistiĀkom fakultetu uSarajevu 1972. godine. Od 1976. do 1981. zaposlen kaoasistent na Arhitektonskom fakultetu u Sarajevu. Od 1981.

živi i radi u Zadru, od 1991. vodi vlastiti projektantski ured.Od 2005. voditelj arhitektonske radionice na graāevinsko-arhitektonskom fakultetu u Splitu.

Važnije realizacije:

1975 Gradski dispanzerski centar Sarajevo1975 Privredno-športski centar “Mejdan” u Tuzli1985 Marina Hramina, Murter 1988 Košarkaški klub Zadar

1988 Gradska loža Zadar 1989 Blok 9 u naselju Bili Brig, Zadar 1991 NautiĀki centar “Zlatna luka”, Bibinje- Sukošan1991 Kompleks “SAS”, Zadar 1991 Marina u Betini1998 Poslovno-stambena zgrada “Vrbik” – Zagreb1998 Crkva Gospe od Karmela, Okit – Vodice1999 Crkva Sv. Josipa, Ražine – Šibenik2000 Trgovinski centar u Zadru2000 Svetište “Sveta Mati Slobode”, Jarun – Zagreb

2001 Samostan sestara franjevki od Bezgriješne, Šibenik2002 Poslovno-stambena zgrada Maksimirska 34, Zagreb2003 Marina Hramina – sanitarni Āvor 2003 Papina pozornica na Forumu2005 Morske orgulje Zadar 2005 Stambeno-poslovni kompleks TIZ Zadar 2006 Crkva i samostan sv. Ante, Šubiþevac, Šibenik2007 Zatvoreno plivalište Zadar 2008 Pozdrav suncu

NIKOLA BAŠIý, architect

Nikola Bašiþ (Murter, Croatia, 1946)Graduated from the Faculty of Architecture in Sarajevo1972. Between 1976 and 1981 an assistant at the Faculty of Architecture in Sarajevo. Since 1981 he has been living and

working in Zadar, since 1991 he is heading his ownarchitectural office. Since 2005 employed as lecturer at Fac-ulty of Architecture and civil engineering in Split.

Major realizations:

1975 City Health Center in Sarajevo, Bosnia andHerzegovina

1975 Mejdan Business and sports Center, Tuzla, Bosniaand Herzegovina

1985 Hramina marina, Murter 1989 Residential block “9” in the Bili Brig settlement,Zadar

1991 Golden Harbour Marina, Zadar,1991 Marina Betina, isl. Murter 1998 Business – residental block “Vrbik”, Zagreb1998 Our Lady of Carmelite Church, Okit, Vodice,1999 St. Joseph Church, Ražine, Šibenik2000 Trade Centre in Zadar 2000 Holy Mother of Freedom Sanctuary, Jarun – Zagreb

2001 Convent of the Franciscan Nuns of the ImmaculateConception in Šibenik2002 Business – residental block in Maksimirska 34,

Zagreb2003 Stage for the Pope in Zadar 2005 Business/residential block “TIZ” Zadar 2005 Sea organ, Zadar 2006 Franciscan Convent and church St. Ante, Šibenik2007 Indoor competition pool at Sport Center “Višnjik”,

Zadar

2008 Greeting to the sun

Nagrade:

Nagrada “Collegium artisticum”, Sarajevo,1980.Godišnja nagrada “Vladimir Nazor” 1991.Nagrada “VeĀernjeg lista” za najbolje arhitektonsko ostva-renje u 1991.Nagrada “Drago Galiþ” za stambenu arhitekturu u 1991. g.

P P ( B M ) b k k

Awards:

Collegium Artisticum Award, Sarajevo, 1980;Drago Galiþ Award for residental arhitecture 1991; Annual Vladimir Nazor Award 1991 and 1994;Grand Prix of the 35th Zagreb Salon, 2000;Bernardo Bernardi 2005;

C C 2006



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Priznanje Piranesi (s B. Marovom) za benzinsku crpku umarini “Zlatna luka”,1992.Godišnja nagrada “Vladimir Nazor” za 1994.Nagrada “32 zagrebaĀkog salona” za prijedlog obnovesakralnog graditeljstva, 1997. Velika nagrada “35. zagrebaĀkog salona”, 2000.Nagrada “Bernardo Bernardi” za 2004. g.Nagrada “Kamen u arhitekuri”, BraĀ 2005.Nagrada D!BEST 2006 Dizajncentra HrvatskaGraditeljska nagrada CEMEX Hrvatska 2006

European prize of urban public space 2006 / CCCB,BarcelonaCemex international building award 2006, Monterrey,MexicoIzabrani rad Mies van der Rohe Award 2007, Barcelona

Cemex Croatia 2006;European prize for urban public space 2006 (CCCB) Barce-lona;Cemex international building award 2006, Monterrey,Mexico;Selected work Mies van der Rohe Award 2007, Barcelona.

ŽELJKA ÿORAK

Željka ÿorak, art historian and author, was born in Zagreb in1943. She received her PhD for a thesis on modern archi-tecture and urban planning. She is a senior adviser at theInstitute for Art History and associate member of the Croatian Academy of Sciences and Arts. She has published eleven

b k t d lit t ll thi t b k f lit

ŽELJKA ÿORAK

Željka ÿorak, povjesniĀarka umjetnosti i književnica, roāenaje u Zagrebu 1943. Doktorirala je iz podruĀja modernearhitekture i urbanizma. Znanstvena je savjetnica na Institutuza povijest umjetnosti i Ālan-suradnik Hrvatske akademijeznanosti i umjetnosti. Objavila je jedanaest knjiga iz likovnog

i k již d Āj t k ā i t i t k ji k již ih



89

books on arts and literature, as well as thirteen books of liter-ary translations and theory. She has won many Croatian andinternational awards for her work in both areas.

MILJENKO DOMIJANHead Conservator in the Administration for the Protection of Cultural Heri-tage at the Ministry of Culture of the Republic of Croatia

Miljenko Domijan, Professor, was born in Rab on 24th of March 1946. He finished the Construction-Technical HighSchool in Rijeka within which he specialized in Architecture.He completed the course on Fine Arts at the Academy of Pedagogy in Rijeka. At the Faculty of Philosophy in Zadar he graduated Historyof Art and Philosophy. He also finished a specialized post-graduate course on the Protection of Architectural Heritageat the ICCROM International Centre for the Protection of Monuments in Rome. Since the beginning of the 1970s hehad been working in the Zadar Conservation Departmentof the Ministry of Culture, and in 1977 he was appointeddirector of the Department. Since the middle of the 1990she has been working as a head conservator in the Republicof Croatia. From April 1999 till July 2001 he had been As-sistant Minister for the Protection of Cultural Heritage. He isthe president of the National ICOMOS Commission (inter-national non-governmental organization for the protectionof cultural heritage), and also the president of the Expert-Ad-visory Commission for the renovation of Dubrovnik ci ty. Hehas been participating in numerous expert commissions andwas heading many works on the protection of cultural monu-

ments in the middle Dalmatia (one of Croatia’s regions). As an expert on Art History and researcher of HistoricHeritage he wrote a number of scientific articles. Especiallyimportant is his monography ‘Rab – the City of Art’. He wasalso the author of numerous projects and international exhi-bitions on Croatian cultural heritage.For his work he received many acknowledgments, of whichspecial place hold the award ‘Pasquale Rotondi’ for the pro-tection of cultural heritage, significant on the European level,and the Free Dalmatia Daily award ‘Vicko Andriþ’ for the

protection of Croatian cultural heritage on the national level.

i književnog podruĀja, a takoāer i trinaest knjiga književnihprijevoda i teorijske literature. Za oba podruĀja svoga bav-ljenja dobila je mnoga domaþa i meāunarodna priznanja.

MILJENKO DOMIJANGlavni konzervator u Upravi za zaštitu kulturne baštine Ministarstva kulture

Republike Hrvatske

Miljenko Domijan, prof., roāen u Rabu 24. 03. 1946.

Graāevinsko-tehniĀku školu, arhitektonski smjer završio uRijeci, te na Pedagoškoj akademiji završio likovnu umjetnost,a potom na Filozofskom fakultetu u Zadru povijest umjetnostii filozofiju. Na Internacionalnom centru za zaštitu spomenikaICCROM u Rimu završio specijalistiĀki poslijediplomski studijza zaštitu graditeljskog nasljeāa.PoĀetkom 70-ih godina radi u Zavodu za zaštitu spomenikakulture u Zadru, od 1977. godine imenovan je za ravnateljaZavoda. Sredinom 90-ih godina imenovan je glavnimkonzervatorom u Republici Hrvatskoj, a od travnja 1999. do

srpnja 2001. obavlja dužnost pomoþnika ministra kulture zazaštitu kulturne baštine, predsjednik je Nacionalne komisijeICOMOS-a (meāunarodna nevladina organizacija za zaštitukulturne baštine) i predsjednik je StruĀno-savjetodavnekomisije za obnovu Duborvnika. Sudjeluje u radu brojnihstruĀnih komisija i voditelj je mnogih zaštitnih zahvata naspomenicima kulture na podruĀju srednje Dalmacije.Kao povjesniĀar umjetnosti i istraživaĀ povijesne baštine na-pisao je niz Ālanaka, a posebno se istiĀe monografija „Rab –grad umjetnosti“. Autor je brojnih projekata i meāunarodnih

izložbi o hrvatskoj kulturnoj baštini.Za svoj rad nagraāen je brojnim priznanjima, od kojihtreba istaþi nagradu „Pasquale Rotondi“ na europskoj raziniza oĀuvanje kulturne baštine i nagradu „Vicko Andriþ“ zaoĀuvanje hrvatske kulturne baštine.

LEO MODRÿIN, Architect

Leo Modr Āin is an architect working in Croatia and USA.His practice uRED Architecture is based in New York andRijeka, Croatia. Modr Āin designed 59E59 Theaters in NewYork, which shared 2005. Viktor KovaĀiþ Prize. He alsodesigned POS Housing project in Kraljevica, Croatia. He

graduated from Faculty of Architecture University of Zagreb(B A h 1984) d P I B kl N Y k

LEO MODRÿIN, arhitekt

Leo Modr Āin je arhitekt koji je svojim radom prisutan uHrvatskoj i SAD. Sjedište njegove arhitektonske prakse suuRED Architecture u New Yorku I Ured ovlaštenog arhitektau Rijeci. Autor je Kazališta 59E59 u New Yorku, koje dijeliNagradu Viktor KovaĀiþ za 2005. godinu. Modr Āin je au-

tor idejnog rješenja stambenog objekta POS u KraljeviciD l A h k k f k l Z b 1984



90

graduated from Faculty of Architecture, University of Zagreb,(B.Arch,1984) and Pratt Institute in Brooklyn, New York(M.Arch, 1988),where he also taught design studios. In 1997organized and taught at the Borderline Architectural Work-shop in Kraljevica in collaboration with Lebbeus Woods andRIEA. Modr Āin is author of numerous architectural competi-tion entries. Awards include 1st prize at the 11th MembraneDesign Competition in Japan, 1996, for the Old Bridge inMostar and 2nd prize for the Public Library in Rijeka,2005.His projects and writing on architecture are regularly pub-

lished in Croatian and international publications. In 2006 hetaught at the University at Buffalo-SUNY. In 2008. he joinedthe Faculty of Architecture, University of Zagreb.

BRANKO SILA éIN

Born in Sl.Konjice, Slovenia, 1936. Graduates from Facultyof Architecture, University of Zagreb, Croatia, 1962. Resi-

dence and work in (West) Germany, 1961-1970. Works asan independent architect in Zagreb, 1970-1989. Editor of architectural jurnal “ÿovjek i prostor”, 1983-1988. Editor of architectural jurnal “Arhitektura”, 1989-1991. Editor of ar-chitectural jurnal “Piranesi”, 1992-1996. Establishes ‘Odak& Silaāin’ - architectural practice partnership with TomislavOdak, 1989. Awards: ‘Viktor KovaĀiþ’ award, 1985, 2002. Zagreb ‘Sa-lon’, 1985, 1988, 1991. ‘Borba’ award, 1987. Belgrade‘Salon’, 1988. Piranesi award, 1989, 1999. Award by the

president of the Republic of Croatia, 1996, 1999. ‘Vladimir Nazor’ award, 1999.City of Zagreb award, 1999. Licht+Bau award, FrankfurtMesse, 2002. Cultural heritage preservation reward, 2007.

tor idejnog rješenja stambenog objekta POS u Kraljevici.Diplomirao je na Arhitektonskom fakultetu u Zagrebu 1984.1988.godine magistrirao je na Institutu Pratt u Brooklynu(New York) gdje je i predavao projektiranje. 1997.godine jes Lebbeusom Woodsom i RIEA pokrenuo i vodio Arhitekton-sku radionicu Borderline u Kraljevici. Autor je mnogobrojnihnatjeĀajnih radova. Nagraāeni projekti ukljuĀuju: Mem-brane nove generacije /Stari most u Mostaru (1.nagrada,11th Membrane Design Competition, Japan, 1996) i Grad-ska knjižnica Rijeka (2.nagrada, 2005). Redovito publicira

svoje radove i napise o arhitekturi u vodeþim hrvatskim imeāunarodnim publikacijama. 2006. predaje na SveuĀilištu

u Buffalu-SUNY, a 2008. postaje docent na Arhitektonskomfakultetu SveuĀilišta u Zagrebu.

BRANKO SILA éIN

Roāen je 1936.godine. Diplomirao je na Arhitektonskomfakultetu u Zagrebu 1962. godine. Od 1961. do 1969. živi

i radi u NjemaĀkoj, a od 1969. djeluje kao slobodni arhi-tekt u Zagrebu. Od 1982. do 1987. urednik je Āasopisa

“ÿovjek i prostor” te Āasopisa “Arhitektura” Āiji je aktualniurednik od 1999. godine. ÿlan je organizacijskog od-bora meāunarodnog seminara u Piranu, te Ālan uredništvaĀasopisa “Piranesi”.Sudjelovao je na više od 100 natjeĀaja uzemlji i inozemstvu (dobio je 16 I nagrada).Priznanja: nagrada ”Viktor KovaĀiþ” 1985., 2002.,ZagrebaĀki Salon 1985., 1988., 1991., nagrada ”Borba”1987., Beogradski Salon 1988., nagrada ”Piranesi” 1989.,

1999., nagrada predsjednika Republike Hrvatske 1999.,1999., nagrada ”Vladimir Nazor” 1999., nagrada GradaZagreba 1999., nagrada LICHT+BAU frankfurtskog sajma2002., Godišnja nagrada za izvanredan doprinos u zaštitikulturne baštine, 2007., Javno priznanje UHA-e za vrijedandoprinos radu Udruženja i javnoj afirmaciji rada arhitekata,2008.



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92

CONTENTS SADRŽAJ



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07Branko SilaāinOUT THERE: ARCHITECTURE BEYOND BUILDING

IN ZADAR

09Željka ÿorakTHE PLACE WHERE THE ENDLESS MEETS THE DEFINITE

11Leo Modr ĀinON THE EDGE OF SENSES

73Miljenko DomijanZADAR – 2500 YEARS AND BEYOND

85Branko SilaāinBAŠIý AND ZADAR

87BIOGRAPHICAL NOTES

07Branko SilaāinOUT THERE: ARCHITECTURE BEYOND BUILDING

U ZADRU

09Željka ÿorakMJESTO GDJE SE BESKRAJNO SUOÿ AVA S ODREéENIM

11Leo Modr ĀinNA RUBU ÿULA

73Miljenko DomijanZADAR - 2500 GODINA I DALJE

85Branko SilaāinBAŠIý I ZADAR

87BIOGRAFSKE BILJEŠKE

publisher izdavaĀHDLUMARINA PROJEKT d.o.o., Zadar

editor-in-chief odgovorni urednikBRANKO FRANCESCHI (HDLU)BARBARA BAŠIý STELLUTI (Marina projekt d.o.o. Zadar)

catalogue editors

drawing (pg. 4,5)crtež (str. 4,5)NIKOLA BAŠIýSea Organ and Greeating to The SunMorske orgulje i Pozdrav suncuink on paper, 2005/2008tuš na papiru, 2005./2008.

photo credits

fotografijaDAMIR FABIJANIý (str. 39)



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catalogue editorsurednici katalogaBRANKO SILA éIN VLADIMIR MATTIONI

commissioner povjerenikBRANKO SILA éIN

assistant commissioner pomoþnik povjerenikaHRVOJE HRABAK

curator kustosBRANKO FRANCESCHI

essaysesejiŽELJKA ÿORAKMILJENKO DOMIJANLEO MODRÿINBRANKO SILA éIN

translationprijevodRENATA HACE CITRA LEO MODRÿINSANJA PETROVIýLADA SILA éINBRANKA ŽAJA

proof readinglekturaSANJA PETROVIý

graphic design of catalogue and invitation cardgrafiĀko oblikovanje kataloga i pozivnice VLADIMIR MATTIONI

preprintgrafiĀka priprema VOJMIR ŽIVNY

printtisakHGZ

DAMIR FABIJANIý (str. 39) VELID JAKUPOVIý (str. 40, 41, 80, 82)MAJA JELENKOVIý (str. 68, 69)MLADEN RADOLOVIý (str. 31)BRANKO SILA éIN (str. 86)STIPE SURA ý (the other photos / ostale fotografije)

film and DVD productionproizvodnja filma i DVD-aproizvodnja / production: Digital Film d.o.o., Šibenikdirector / redatelj: Davor Šariþeditor / montažer: Tomislav Rupiþsound / ton: Krešimir Mr Āelacinematography / snimatelj: Davor Šariþ

soundzvukHRT Radio Zadar

instalmentpostavBRANKO SILA éIN

postav zvuka i slike

audio and video instalmentSLAVEN TAHIRBEGOVIý

pavilion set uptehniĀki postavJADRANKAMEN d.d., PuĀišþa ALUKÖNIGSTAHL d.o.o., ZagrebINTERLIGHT d.o.o., SplitBONAVENTURA d.o.o., ZagrebDICROIC d.o.o., SplitT - Hrvatski Telekom

administrationadministracijaHDLU

public relationsodnosi s javnošþuHDLU

editionnaklada1000

HDLU, Zagreb 2008.

AcknowledgmentsZahvale

Ministry of Culture Republic of CroatiaMinistarstvo kulture Republike Hrvatskemr.sc. Božo Biškupiþ, ministar mr.sc. Nina Obuljen, državna tajnicaJasminka Lokas Strpiþ, ravnateljicaUprave za meāunarodnu suradnju

Consulate General of the Republic of Croatia in

Croatian Pavilion was made possible thanksto the donations by:Hrvatski paviljon omoguþen je donacijama:

ALUKÖNIGSTAHL d.o.o., Zagreb ARSENAL HOLDINGS d.o.o., Zadar BONAVENTURA d.o.o., ZagrebDICROIC d.o.o., SplitDIGITAL FILM d.o.o., Šibenik

DUCA d.o.o., Zadar ELAN MOTORNI BRODOVI d.o.o., Obrovac



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pthe Italian Republic, TriesteGeneralni konzulat Republike Hrvatske uTalijanskoj Republici, TrstIvan Lackoviþ, generalni konzul

City of Zadar / Grad Zadar dr. Živko Kolega, gradonaĀelnikdipl.ing.arh. Nives Kozulic, Ālanica poglavarstva za prostornoplaniranje, graditeljstvo i zaštitu okolišaBoris Artiþ, proĀelnik ureda gradonaĀelnika

FASSA d.o.o., ObrovacFEAL d.o.o., Široki BrijegFRANTO d.o.o., Zadar GORTAN d.d., Zadar HERES d.o.o., Vir HGK Županijska komora, Zadar HRT Radio Zadar HRVATSKI GRAFIÿKI ZAVODHYPO ALPE-ADRIA-BANK, Podružnica Zadar IGH d.d., ZagrebINDUSTROGRADNJA d.d., ZagrebINTERLIGHT d.o.o., SplitIZGRADNJA OBROVAC d.o.o., ObrovacJADERA d.o.o., Zadar JADRAN INVEST d.o.o., Zadar JADROLINIJA d.d., RijekaJADRANKAMEN d.d., PuĀišþaKAMEN d.d., PazinKERATEK d.o.o., ZagrebLAV ÿEVIý d.d., SplitLEUROCOM GmbH, WinnendenLUÿKA UPRAVA ZADARMARINA HRAMINA d.o.o., Murter

MARINAPROJEKT d.o.o., Zadar OTP bankaPUNTA SKALA d.o.o., Falkensteiner SAS STROJOGRADNJA d.o.o., Zadar TANKERKOMERC d.d., Zadar TANKERSKA PLOVIDBA d.d., Zadar TEHNO d.o.o., Zadar T - HRVATSKI TELEKOMTENOS d.o.o., Zadar TURISTHOTEL d.d., Zadar TURISTIÿKA ZAJEDNICA ZADARSKE ŽUPANIJETURISTIÿKA ZAJEDNICA GRADA ZADRA

ZRA ÿ

NA LUKA ZADAR d.o.o, Zadar

ISBN 978-953-6508-44-0

CIP zapis dostupan u raĀunalnom katalogu Nacionalne i sveuĀilišneknjižnice u Zagrebu pod brojem 673995.

HRVATSKO DRUŠTVO LIKOVNIH UMJETNIKA CROATIAN ASSOCIATION OF ARTISTSTrg žrtava fašizma, 10000 Zagreb, Croatiatel + 385 1 46 11 818, 46 11 819fax + 385 1 45 76 831

e-mail: [email protected] www.hdlu.hr



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