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CROATIAHRVATSKA

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Under the auspices of the Ministry of Culture Republic of Croatia

Pod pokroviteljstvom Ministarstva Kulture Republike Hrvatske

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Croatia

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

Nikola BašiSEA ORGAN & GREETING TO THE SUNZadar, Croatia

September 14th - November 23rd 2008Artiglierie, Arsenale

Hrvatska

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

Nikola BašiMORSKE ORGULJE I POZDRAV SUNCUZadar, Hrvatska

14. 9 - 23.11. 2008.Artiglierie, Arsenale

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Branko Sila in

OUT THERE: ARCHITECTURE BEYOND BUILDINGIN 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: Architecture Beyond Building”. The motto of the Croatian display – “We are positive that we can destroy our world, yet we do not give up easily the idea that we can improve it. ... Into the sea of possibilities we jump and swim” – a quote from architect Goran Rako, formulated in the process of conceiving the exhibition, refers to objective boundaries and possibilities in practice of Croatian architects searching for the answers to the questions Betsky poses to both architects and architec-ture. These questions entail finding new ways, in particular conceptualizing adequately the contemporary architectural praxis, nowadays increasingly facing the dilemma of the almost unlimited possibilities of technology against the un-even development of social relations and ever more evident ecologic needs. Degraded to the level of design, with the technological era as an alibi, architectural practice results not 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 present evidently requires that architects re-interpret human living needs and the use of space, but also to face the ever more necessary need of finding a satisfactory relation with space – with nature.The expected – perhaps even required – reactions to Betsky’s hypothesis are visions and visionary projects, but Croatia displays a miniature, the very realization of which confirms the potentials of the theses of this year’s Biennale, but also of the motto of the Croatian exhibition. By the contemporaneity of pleasure, this miniature substantiates the potential of the search for the new ways of architectural practice in creating a space truly of our times.

Branko Sila in

OUT THERE: ARCHITECTURE BEYOND BUILDINGU ZADRU

Hrvatski nastup nastoji na svoj na in, no itljivo, podržati inicijalne teze Aarona Betskyog, odnosno jednog itanjanjegovog inspirativno-otvorenog naslova “Ondje: Arhitektura onkraj gra enja”. Moto hrvatske izložbe - „Pouzdano znamo da svijet možemo pokvariti, ne odustajemo olako od uvjeren-ja da ga možemo popraviti. ... u more mogu nosti ska emoi plivamo.“ - citat je arhitekta Gorana Rake, nastao tijekom stvaranja koncepcije nastupa, govori o realnim granicama i mogu nostima djelovanja hrvatskih arhitekata u traženju odgovora na pitanja koja Betsky postavlja arhitektima i arhitekturi. A pitanja traže putove, pa i formuliranje prim-jerenih putova suvremenog arhitektonskog djelovanja, koji su danas sve eš e u nedoumici izme u skoro neograni enihmogu nosti tehnologije, neravnomjernog razvoja socijal-nih i društvenih odnosa te sve jasnijih ekoloških potreba. Arhitektonski postupak spušten na nivo dizajna s alibijem ra unalnog doba što rezultira ne samo nepovezanoš u ovoj-nice i strukture, osnovica arhitekture, ve prostora i njegove funkcije odnosno izostanka željene i o ekivane ugode novih prostora današnjeg vremena. Današnje vrijeme o ito traži od arhitekata nove interpretacije ovjekovih životnih potreba korištenja prostora, ali i sve nužnije potrebe primjerenog odnosa s prostorom - s prirodom. O ekivane reakcije (možda i tražene) na Betskyjeve teze su vizije i vizionarski projekti no Hrvatska prezentira realiziranu minijaturu, koja upravo svojom materijalizacijom potvr ujepotencijale teza ovogodišnje biennalske izložbe, ali jednako tako i mota hrvatskog nastupa. Minijatura suvremenoš upostignute ugode, potvr uje potencijale traženja novih putova arhitektonskog djelovanja u stvaranju prostora uistinu našeg vremena. Neobi na uspješnost realizacije javnog urbanog prostora u Zadru, arhitekta Nikole Baši a, ini ludi ka, 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 Baši consists of a ludic, essentially non-material interpretation of the elements of nature – sea waves and solar energy – into an ever new and exciting 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 history to this very day.The Croatian architectural scene has for a number of years had a respectable “laboratory” undertow persistently and patiently questioning the essence and role of the architectural praxis today. One such visionary installation, by Penezi and Rogina, eminent proponents of that current, is on display at the “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 a chance to show and present Croatian architectural identity and the recognizability of the local space, culture, and the distinctive potentials of spiritual and material possibilities of Croatian society.

sun ane energije u uvijek novu uzbudljivu scenu zvuka i slike. Nikada aktivan rubni prostor povijesne jezgre Zadra, tom intervencijom postao je nezaobilazno mjesto svakodnevnog okupljanja, druženja, meditacije, klju no mjesto urbanog identiteta i neizostavni cilj posjetitelja Zadra, zna ajnogurbanog spomenika životu na Jadranu od Antike i korijena hrvatske povijesti do danas.Hrvatska arhitektonska scena ve dugi niz godina sadržava i respektabilnu “laboratorijsku“ struju, koja uporno i strpljivo preispituje srž i ulogu arhitektonskog djelovanja danas. Pa istaknuti predstavnici te struje Penezi i Rogina izlažu jednu takvu svoju vizionarsku instalaciju u susjednoj Corderiji na izložbi “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 se prepoznatljivoš u ovog prostora, ove kulture, specifi nostimai potencijalima duhovnih i materijalnih mogu nosti hrvatskog društva ukaže i prezentira hrvatski arhitektonski identitet.

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Željka orak

THE PLACE WHERE THE ENDLESS MEETS THE DEFINITE

Since all the world is a stage, all the world is architecture. We have been moved away from this realisation by the fact that we have not yet in full embraced it with our geometry, framed it within our own dimensions and proportions. The architecture of the world is for us an inarticulate language. This language is known to all the world traditions and its understanding is recognised as a gift and a privilege of the few. 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 the human world, geometry, dimensions and proportions „on a human scale“. A city progresses in such a way that it turns the stars off through the abundance of its light, it neutralises nuances with fluorescent, metallic, intensified colours, it eliminates the perception of silence through the competition of decibels. Around it, however, begins the vertiginous height of the universe, indefinite gaps in the dark, incomprehensible barking and chirping, the sound of the wind in which only native people can recognise inaudible registers and in them the 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 with the evoked, the endless with the limited, the transient with the halted, was the purpose of the architect Nikola Baši ’sintervention into the Zadar city coast. His “Sea Organ” and the “Greeting to the Sun” make a complex micro urban work composed equally of space and time/history. Walking by the sea in Baši ’s interpretation becomes a composition of melody and harmony: the line of passing and pausing; mo-ments of visual contemplation; moments of hearkening and listening; moments of remembering; moments of intensified

Željka orak

MJESTO GDJE SE BESKRAJNO SUO AVA S ODRE ENIM

Budu i da je sav svijet pozornica, sav svijet je arhitektura. Od te spoznaje udaljava nas injenica da ga još nismo u cjelini obuhvatili 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 autorske literature sjetimo se samo Borgesa i njegova vi enja šara na leopardovu krznu kao pisma. Grad (ma sastojao se on i od jedne ku e) žarište je ljudsk-oga svijeta, geometrije, dimenzija i proporcija “po ljudskoj mjeri”. Grad napreduje tako da obiljem svoje svjetlosti gasi zvijezde, da fluorescentnim, metaliziranim, poja anim bo-jama neutralizira nijanse, da nadmetanjem decibela eliminira zamje ivanje tišine. Uokolo me utim po inje vrtoglava visina svemira, neodre eni razmaci u tami, nerazumljivi lavež i cvrkut, šum vjetra u kojemu još samo primitivni narodi prepoznaju ne ujne registre i u njima govor svojih nestalih. Tehnologija virtualne stvarnosti štiti nas od tih opasnih stvar-nih zona nejasno e, a dakako i od napora njihova razumi-jevanja.Osvijestiti grad kao mjesto gdje se nerazumljivo suo ava s jasnim, zaboravljeno s dozvanim, beskrajno s ome enim,prolazno sa zaustavljenim, bio je smisao zahvata arhitekta Nikole Baši a u obalu grada Zadra. Njegove “Morske or-gulje” i “Pozdrav Suncu” složeno su mikrourbanisti ko djelo koje za svoju gra u jednako uzima prostor i vrijeme/povijest. Šetnja uz obalu u Baši evoj interpretaciji postaje melodijski i harmonijski sklop: linija prolaženja i zastajanja; trenuci vizualne kontemplacije; trenuci osluškivanja/slušanja; trenuci prisje anja; trenuci intenziviranog postojanja (“Svatko stoji sam 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 and waves into rhymes, random passing of ships and seagulls flying down into unexpected aleatoric effects. The great composer sends out unexpected voices, strong, quiet, fast, horizontal like the oscillogram of a dying heart. Nothing can escape to this perfect diary, just like “the God’s eye always watches 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 the distance, the “Greeting to the Sun” works with the distant past and the height. Big, deep blue glass circle uses sensors to collect the energy of the Sun and emits it when the night starts falling on the world. The light dance is then dependant on our shadows, the kaleidoscopic outcome on our grain. The rim of the circle is inscribed with the names of thirty six ancient Zadar saints days, and astronomical, historical and geographical data. These were taken from one of the larger number of the medieval Zadar calendars scattered around Europe, from St. Krševan’s calendar which belongs to the oldest ephemerid documents, and is kept today in Oxford, recalling the ancient presence of the city of Zadar in the European cultural and civilisational exchanges. The “Sea Organ” and the “Greeting to the Sun” are an achievement of the exceptional and high ambitions of the relationship 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 gives impetus to the sharpening of the ability to read.This unusual work of the architect Nikola Baši 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 ability of the Croatian city of Zadar to actively inherit its rich heri-tage from various periods and civilisations, and to add to it the value of modern times.

jom prevode “ponašanje mora” u ljudski prepoznatljivu glazbu, šumove u tonove, vjetar i valove u ritmove, slu ajnaprolaženja brodova ili slijetanja galebova u neo ekivanealeatori ne efekte. Veliki kompozitor odašilje neo ekivaneglasove, jake, tihe, brze, vodoravne poput oscilograma zamiru eg 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” sura uju s dubinom i daljinom, “Poz-drav Suncu” sura uje s davninom i visinom. Veliki, modri stakleni krug senzorima sakuplja Sun evu energiju i isijava je kad svijetom zavlada sumrak. Tada svjetlosni ples ovisi o našim sjenama, kaleidoskopski ishod o našem zrncu. Na obodu kruga ispisana su imena trideset i šest starih zadarskih blagdana, s astronomskim, povijesnim i geografskim po-dacima. Podaci su uzeti iz jednoga od ve eg broja zadarskih srednjovjekovnih kalendara raspršenih po Europi, iz Kalen-dara sv. Krševana koji spada me u najstarije efemeridske dokumente uop e, a danas se uva u Oxfordu, napominju idrevnu prisutnost grada Zadra u europskim kulturnim i civili-zacijskim razmjenama. “Morske orgulje” i “Pozdrav Suncu” ostvarenje su iznimnih i visokih ambicija odnosa ovjeka i prostora. Ono afirmira je-dinstvenost zemljopisne to ke, jedinstvenost njezine povijesti i jedinstvenost egzistencijalnog svjedo enja. Ono tako er na-pominje beskraj nepro itanih svjetova i poti e na izoštravanje sposobnosti itanja.To neobi no djelo arhitekta Nikole Baši a moglo bi se smatrati najve im prevodila kim pothvatom: prevo enjems nemuštog na ljudski jezik. Ono je puno gotovo srednjo-vjekovne simbolike. Ujedno govori o sposobnosti hrvatskoga grada Zadra da svoju bogatu baštinu razli itih epoha i civi-lizacija naslijedi aktivno, dodaju i joj vrijednost današnjega dana.

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Leo Modr in

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 plays with autumn leaves. All human efforts vanish into space as does the dust on the roads along which man passes with the conviction that a human being’s path is specially chosen according to a higher meaning. Man is deceived in his 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 novel by the Croatian writer Miroslav Krleža snaps away from the conformist and comfortable embrace of the social elite he belongs to by exposing a simple truth, for which he is incarcerated and excommunicated from the society. He ends up finding his redemption by discovering the city of Rome. For this architectural layman it took an act of rebellion and the embrace of architecture to find the higher purpose, the universal. As Krleža writes, architecture reaches beyond its physical presence and permanence to provide a meaning and 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 traditional ways 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 that experimental architecture is almost impossible in the normal relationship between an architect and a client, albeit the most enlightened patron or institution. A true experiment can occur only if there is a complete independence of an

Leo Modr in

NA RUBU ULA

…Rim, kao slika vje nosti i neprolaznosti, bio mi je na svakom koraku upravo najuznemireniji dokaz kako ni jednog žrtvenika nema, i nikada nije bilo koji nije oboren, i kako ni jedne gra evine nema koja ne dokazuje da je bilo bezuslovno potrebno da se razori ona koja je tu stajala na ovom mjestu prije ove današnje koja u nama budi udivljenje vje nosti. Vrijeme se poigrava crkvama kao i svim tvorevinama ljudskim i nosi ih u oblacima kao vjetar liš e jesenje, i svi se napori ljudski dime u prostoru kao prah na cestama kojima prolazi ovjek, ne snalaze i se u tim zbrkama, uvjeren kako je njegov ljudski put naro ito odabran po višem smislu, i obmanjuju i se u najosnovnijoj pretpostavci kao da je svrha života usredsre enja na ovjekaili na ispravne ljudske predrasude.

Miroslav Krleža: Na rubu pameti, roman, 1938.1

Bezimeni junak Krležinog modernisti kog romana “Na rubu pameti” otka i se od konformisti kog i udobnog zagrljaja društvene elite kojoj pripada samo zato jer je razotkrio golu istinu, a zbog toga je i zato en. Odba en od svih, iskupljenje traži u Rimu. Univerzalnu bit i smisao postojanja ovaj arhi-tektonski laik nalazi u zagrljaju arhitekture, koja kako piše Krleža, poseže van fizikalnosti i trajnosti da bi nam pružila smisao i duhovne i osjetilne blagodati.Kao arhitekti, koristimo ovo o igledno pristrano itanjei interpretaciju Krležinog ina pobune kako bi nam to omogu ilo sljede i argument: istinski eksperiment u arhi-tekturi ne može proiza i iz normativnog na ina bavljenja arhitekturom, ve može jedino proiza i iz odmaka od tradi-cionalnog pristupa struci. Arhitektonska praksa temeljena na uobi ajenoj arhitektonskoj produkciji uvjetovanoj tržišnim uvjetima, pa kada je i najinventivnija ili pak najutjecajnija, teško se može smatrati eksperimentalnom ako ne uspostavi potpuno nova, nezavisna pravila sudjelovanja u procesu gra enja.Ili pak potpuno odustajanje od sudjelovanja u takvom procesu. 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 the architect regardless of the external forces. The towering opus of Lebbeus Woods has been a benchmark in this regard and a 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 architects such as Vjenceslav Richter and Andrija Mutnjakovi . Within the “ordinary” practices of architecture there are however moments of revelation, singular episodes of truth, when the reason 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 Baši 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 2000 year plus old and complex urban vitality and even its recent prosperity and a new architectural renaissance as a city, one of those Calvinoesque cities, a perfect ideal city on a rectan-gular peninsula protruding into azure Adriatic. One would just have to choose which metaphorical layer to work with in weaving a particular allegory or abstraction. This could be Iadera of the perfect original Roman grid with its cardo and decumanus, perhaps a “dark” medieval city with its sprinkling of the almost perfect pre-Romanesque, Romanesque, gothic, renaissance churches and monasteries, the city of gold, later the Italian Zara with the collection of architectural objects as tokens of cultural occupation, or even the memorable collection of the austere post 2nd WW buildings that filled in the holes left by the war end’s destruction, or the city–sieve perforated by the senseless urbicidal mortar fire of the most recent war. The urban matrix, like a perpetual Sim City video game, has seen it all.In one prominent yet descret spot on its barren edge between the city and the sea, where once massive stone walls kept guard, Nikola Baši designed two architectural instruments, the “Sea Organ” and the “Greeting to the Sun”. The two interconnected projects profoundly changed the relationship of the city and its margins, and shifted the focus from the or-derly, Roman mathematical space, the space of reason, into a singular architectural space built by sensory means instead of physical enclosure.The keyboards of the organ are the steps by which to reach the water, perhaps soak your feet, lay down, escape. The steps soften the power of jugo, the local southern wind, and

gotovo nemogu a u uobi ajenom odnosu izme u arhi-tekta i naru itelja, pa ak i onih najprosvje enijih mecena i institucija. Pravi eksperiment se može ostvariti tek u trenutku potpune odvojenosti arhitekata i pragmati nih okolnostikoje uvjetuju njenu ili njegovu arhitektonsku produkciju i gdje su svi parametri i metode rada definirane od strane samog arhitekte bez utjecaja vanjskih imbenika. Neizbježan primjer ovdje je monumentalni opus Lebbeusa Woods koji se doživljava kao svojevrsni kamen me aš na cesti eksperi-mentalne arhitekture, i to u smislu ideja i same produkcije prostora koja toliko utje e na suvremenu globalnu arhi-tekturu, a koju ponaj eš e grade drugi a ne on sam. U kontekstu hrvatske arhitekture može se prona i takav pristup arhitekturi u djelima arhitekata poput Vjenceslava Richtera i Andrije Mutnjakovi a. I unutar “obi ne” arhitektonske prakse pojavljuju se trenuci otkrivenja, jedinstvene epizode istine, u kojima je razum esto zamijenjen ulima i u kojima se ekperimentiranjem pomi u granice arhitekture, a time i naš svjetonazor I smisao sebe.Nikola Baši ima snažnu prisutnost u hrvatskoj arhitekturi, a njegov jedinstveni arhitektonski in na rubu grada Zadra je zasigurno uspjeli arhitektonski pokus. Zadar je prototipi anrimski grad. Usprkos svoje dvotisu ljetne složene povijesti i urbane vitalnosti pa i recentnog prosperiteta i arhitekton-skog preporoda, Zadar se može itati kao jedan od ikoni kihgradova Itala Calvina, gotovo idealni grad na pravokutnom poluotoku zabodenom u zaljev modrog Jadrana. Koji god metafori ki sloj izaberemo, možemo satkati cijeli niz ale-gorijskih ili apstraktnih gradova. Može to biti Iadera, grad savršene geometrije sa svojim rimskim cardom i decum-anusom, možda “mra ni” srednjovjekovni grad isprepleten gotovo savršenim predromani kim, romani kim, goti kim,renesansnim, itd., crkvama i samostanima, grad zlata i srebra, kasnija talijanska Zara sa svojom kolekcijom arhi-tektonskih objekata kao simbola kulturne okupacije, ili akantologijska zbirka strogih modernisti kih zgrada koje su popravile razrušeni grad nakon drugog svjetskog rata, pa do grada-sita bezrazložno izrešetanog urbicidnim mitraljezima u ovom posljednjem ratu. Zadarska je urbana matrica, poput svojevrsne kompjuterske igre Sim City prošla kroz svašta.Na prominentnoj to ki ogoljelog ruba izme u mora i grada nekad branjenog teškim zidovima, arhitekt Nikola Bašiprojektirao je dva povezana arhitektonska instrumenta koje su zauvijek revidirala odnos grada i njegovih margina te odmaknuli njegovo ishodište van rimskog matemati kogprostornog reda, prostora razuma, u jedinstveni arhitektonski prostor koji je umjesto fizi kom ovojnicom izgra en senzor-skim sredstvima.

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articulate the moment of transition by physical means, the stone, the light and shadow. They smooth out and blur the edge of the city by pixelating the mass of stone into a simple jagged 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 organ pipes.The photovoltaic disc of the “Greeting to the Sun” accumu-lates the electricity only to release it in the most appealing visual spectacle, the spectral symphony only Wagner or the Russian 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 the sound 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 are ideas 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 the ultimate examples of “situated technologies”2, ubiquitous networking technology that is embedded in all aspects of our built environment. It is an interface design connecting water and the analog organ pipe producing sounds, then digitized, 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 indeed the straightforward functioning of Baši ’s digital instruments encased in stone and glass - a sound machine and a dance floor with the lightshow - the project appears connected, or perhaps more to the point, has the unknown relatives in the artistic research in places such as MIT Lab, the ITP program at New York University, the early web art as propagated by artist such as Vuk osi , the Rhizome web page, the Whitney Museum, Ars Electronica in Linz and other original fori at the forefront of the contemporary digital art that emerged at the onset of the internet.Coincidentally on much more local scale, it was precisely in 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 as Richter, Bona i and followed by the theorists such as Argan, Lea Vergine, Umberto Eco, Matko Meštrovi .3 Because of the limited processing power of the early computers, or the limited bandwidth of the early internet, these art had to be rather primitive, elemental, atomized, minimal. Reduced to its conceptual clarity and tectonic logic, nothing to much, noth-

U ovim orguljama, tipke su kamene stepenice kojima se silazi do mora, mogu se umo iti noge, le i, pobje i od stvarnosti, a služe i da ublaže snagu juga i tako artikulirajuprijenos energije jednostavnim fizi kim sredstvima: ka-menom, svjetlom i sjenom. Stepenice smanjuju oštrinu ruba rive i pikselizacijom pretvaraju kamenu masu u jednostavnu nazup anu ravninu. Zvu ni efekti - glazba za neke - pojavlju-ju se u vrijeme kolizije kada pravi, vodeni, dakle fizi ki valovi doti u ugra ene i nevidljive cijevi orgulja.Fotovoltai ni disk “Pozdrava Suncu” akumulira struju kako bi je pretvorio u atraktivni spektakl, spektralnu simfoniju po mjeri jednog Wagnera ili pak ruskih kompozitora. Jed-nostavna smjena dana u no transformira energiju glazbe u vizualnu datoteku.Grafi ki, prostorni bitovi kamena su nadopunjeni zvu nimvalovima koji su transformirani u kvantne estice svjetla koje se manifestira kao šarene frekvencije. Turisti koji zapravo dolaze ovamo su Einstein, Bohr, Wittgenstein, kamere i ru nici su zamijenjeni idejama i konceptima, a svrha posjete je stjecanje znanja putem ula.“Morske orgulje” i “Pozdrav Suncu” su izvanredni primjeri “ugra enih“ tehnologija2, sveprisutnih umreženih tehnologija koje su ugra ene u sve pore naše izgra ene okoline. To su su elja koja povezuju more i analogne cijevi orgulja koje proizvode zvukove, zatim su digitalizirane i pretvorene u svjetlosnu kupolu pogonjenu energijom samog Sunca. To je novovjeki digitalni Stonehenge. Povrh svih ovih metafori kihnaziva i zapravo vrlo jednostavne u inkovitosti Baši evih digi-talnih instrumenata ugra enih u kamen i staklo, a može ih se smatrati i jednostavnim muzi kim instrumentom i plesnim podijem, ovaj se Baši ev projekt doima potpuno povezan, a ak bi mogli re i da ima i svoje nepoznate ro ake u umjetni kim istraživanjima u institucijama poput MIT Laba, programa interaktivnih tehnologija (ITP) na Sveu ilištu New York, najranijom internetskom umjetnoš u koju su propagi-rali umjetnici poput Vuka osi a, stranica Rhizome na mreži, rane izložbe muzeja Whitney, Ars Electronice u Linzu te osta-lih originalnih foruma na za etku internetske ere. Slu ajno, u lokalnim, mnogo bližim relacijama upravo je u Zagrebu, u Hrvatskoj ranih sedamdesetih godina zapo elapromocija novih ideja kompjuterske umjetnosti i prostornih instalacija Novih tendencija, udruge hrvatskih i inozemnih umjetnika i arhitekata poput Richtera i Bona i a, a podu-prta teoreti arima poput Argana, Lee Vergine, Umberta Eca i Matka Meštrovi a.3 Zbog ograni enih kapaciteta ranih procesora, a i sporosti ranog interneta ta umjetnost je morala ostati gotovo elementarna, atomizirana, minimalna.

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ing too little. The same words could coincidentally describe the essence of the Croatian modern architecture, contempo-raneous with Krleža’s novel, which knew how to transform the negatives i.e. the relative modesty of means of a provincial culture into a coherent and original architectural expres-sion, clearly connected with the world, decidedly its own and anything but marginal.Just as Baši ’s project challenges the reading of the city, it also 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 that so eloquently interfaces with the global state of the art, might be the most “Croatian” project amongst the recent Croa-tian architecture. Beyond the wanderings of the so called architecture of transition, that is so much driven by the clash of consumer nirvana and political myths and values of the previous era, this project gets rid of any metaphor or flirting with 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 Baši ’s architectural site is its graveyard.It is an idealistic site, and its ideal lies in the attempt to design 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 sort of project requires venturing into the unknown. Only then a 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 public space project. Yes, there are benches, and light fixtures, and a bell is ringing form a distant bell tower.However, this is a site of a profound communion between architecture 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, New York, 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 symposia and projects that “bring together researchers, practitioners from art, architecture, technology and sociology 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 Croatian only for now), Horetzky, Zagreb, 2000 and «Bit International i Nove Tendencije - kompjutorska i vizualna istraživanja» exhibition curated by Darko Fritz, Graz 2007

Reducirana na konceptualnu jasno u i tektonsku logiku, od nje se ne može ništa ni dodati ni oduzeti. Istim se rije imaslu ajno može i definirati moderna hrvatska arhitektura koja je nastajala baš u doba Krležinog romana. Ta je arhitektura uspjela pretvoriti ograni enja u prednosti i transformirati relativnu skromnost resursa jedne provincijalne kulture u cjeloviti i originalni arhitektonski izraz koji je blizak svijetu a opet samosvojan, i sve samo ne marginalan.Kao što Baši ev projekt preispituje itanje grada, isto tako i problematizira pojam lokalne, nacionalne arhitektonske kul-ture. Govorimo do sada o našem povezanom, umreženom svijetu, ali ipak se ovaj jednostavan, a tehnološki napredan projekt, koji tako elokventno korespondira s najnovijim kretanjima u globalnoj umjetnosti i arhitekturi mora shvatiti i kao “najhrvatskiji” projekt suvremene hrvatske arhitektonske produkcije. On prekida sa stranputicama tzv. arhitekture tranzicije, koje su uvjetovane svim srazovima potroša ke nir-vane i politi kih mitova i vrijednosti na ovom prostoru. Ovaj projekt odbacuje bilo kakvu metaforu ili hofiranje s kulturom kapitalizma na konceptualnoj razini, i okre e se biti, univer-zalnom i bezvremenskom. Tranzicija je gotova, a u hrvatskoj arhitekturi ovaj Baši ev projekt postaje njeno groblje.Baši je stvorio apstraktni prostor idealizma. Ideal ovdje je projekt savršenog stroja, osjetilnog perpetuum mobila. Prostire se pred nama povrh razuma koji je po definiciji temelj bilo kojeg ina gra enja, i svakako povrh samo-dopadljive i antiklimakti ne simulacije koju nam pružaju hiperrealisti ni digitalni prikazi arhitektonskih projekata koje gotovo i ne moramo izgraditi. Za ovakve projekte potreban je iskorak u nepoznato. Tek tada se može pojaviti ista arhitektura, zapravo carstvo ula, na rubu pameti i bez zgrada. A uvijek se može Baši ev

projekt interpretirati i kao jedan prototipski projekt javnog prostora. Ima tu i klupica, rasvjetnih tijela, a u daljini se ujucrkvena zvona. No ovo je ipak mjesto duboke povezanosti arhitekture i indi-vidualne osobnosti. Za arhitekturu to no 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 Centra za virtualnu arhitekturu koji u suradnji sa Arhitektonskom ligom u New Yorku organizira simpozije i projekte koji”okupljaju istraživa e i stvaraoce na polju likovnih umjetnosti, arhitekture, tehnologije i sociologije koji se bave rastu om 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 Sui Rimski forum prema rekonstrukciji Dr. Mate Sui a

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Miljenko Domijan

ZADAR - 2500 GODINA I DALJE

Morski valovi oplakivali su hridi i žalove južne obale rim-skog Jadera, kolonije Cezarovih veterana, poslije Salone najzna ajnijeg jadranskog grada, a sve dosadašnje pros-torne spoznaje ukazuju da je s te strane bio posve otvoren moru, te je ono bivalo zna ajnim imbenikom u njego-voj svakodnevnici. Tada je grad stekao svoje prostorno odre enje koje se svojim obrisima dispozicijom nije bitno promijenilo sve do naših dana.Blagi zefiri (po kojima grad prepoznaju anti ki pisci), ili mirisavi i modri jadranski maestrali, hladili su vru e zadarske obale zacijelo ve tada kada se mo na liburnska naseobina Idassa, kao predvodnica doma eg življa, uz obale otoka Hvara 384. g. prije ro enja Kristovog, suprotstavlja gr kimkolonizatorima.Na sjevernoj strani bijaše emporij (luka) sa svim svojim nužnim sadržajima i prostorima. Na isto noj mo ni fortifi-kacijski sustav zidina i kula s trostrukim glavnim ulazom u grad u ijem se nastavku uzduž cijelog poluotoka protezala glavna ulica “decvmanvs maximvus”. K južnoj obali, prema otvorenom moru, tvore i u križanju s uzdužnim dekumanima pravokutne, uglavnom stambene otoke (insule) vodilo je niz paralenih kra ih ulica - carda. Na otprilike tre ini površine grada, prema zapadnoj obali, a na križanju glavne popre nei uzdužne ulice, smjestio se forum, sklop javnih gra evina,nužnih prerogativa za odvijanje svih vidova javnog života. Gradska bazilika pozamašne veli ine s polukružnim na zapadnoj i isto noj strani imala je južno pro elje, kako to potvr uju i rezultati posljednjih istraživanja bilo je arhitekton-ski pretenciozno artikulirano i zacijelo usmjereno otvorenom moru.

Zadar, utvr ena dalmatinska prijestolnica

Vrlo važna promjena za sve vidove života, doga a se poja-vom krš anstva kao državne religije u prvoj polovini IV. st. Javni i kultni prostori anti kog rimskog grada pregra uju se ili ruše izgradnjom novih sakralnih krš anskih bogomolja, te

Miljenko Domijan

ZADAR – 2500 YEARS AND BEYOND

Sea waves lapped at the cliffs and sands of the southern coast 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 side it was completely opened to the sea and it was becoming a significant factor in its everyday life. Then the town gained its 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 ancient writers), or the scented and deep blue Adriatic landward breeze cooled the hot Zadar coasts probably already when the powerful Liburnian colony of Idassa, as a leader of the native population, confronts the Greek colonizers by the coast of island Hvar in the year of 384 BC.On the northern side there was an emporium (a port) with all its necessary facilities and spaces. On the eastern side there is a powerful fortification system of walls and towers with a triple main entrance to the town in whose continuation along the 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 decumanums rectangular and mostly residential islands (insulas), a row of parallel shorter streets – cardos – led. On the approximately third of the town surface, to the western coast, and at the intersection 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 a semi circled exedras on the western and eastern side, had a southern façade, as it is confirmed by the results of the latest research that it was architecturally pretentiously articulated and probably directed to the open sea.

Zadar, a fortified Dalmatian capital

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

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Zadar, 1490.

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tako forumski sklop naslje uje onaj ranokrš anske katedrale. Unutar pojedinih insula na znakovitim mjestima grade se nove bazilike znakovitih titulara. Treba ista i da i tada nave-dene novogradnje imaju za pripadaju u regiju metropolitan-sku razinu, koju takvom navodi u X. st. i bizantski car i pisac Konstantin Porfirogenet u svom djelu “De administrando imperio”.Zapadno Rimsko Carstvo nestaje provalom barbarskih gotskih plemena, te tako i Dalmaciju zaposjedaju Ostrogoti. Obnova rimskog imperija doga a se najve ma na ovim prostorima ponovnim osvajanjem za vrijeme velikog isto no-rimskog cara Justinijana, da bi se provale novih avaro-slavenskih, a potom i hrvatskih barbara dogodile ve za kojih šezdesetak godina i to s nadasve drasti nim posljedicama za ve inu dalmatinskog teritorija i gradova, kada je do temelja porušena i prijestolnica Salona.Zadar je, sa oto nim anti kim gradovima, na sre u izbjegao takvu sudbinu i kada nešto kasnije postaje glavnim gradom bizantskog dalmatinskog temata preuzima vode u ulogu na isto noj jadranskoj obali koja je trajala sve do talijanske okupacije 1918. godine.Rani srednji vijek doba je kada je neposredno prisutan u religijskim i politi kim doga anjima u susretanjima starog i novog Rimskog Carstva, u razdvajanjima i poveznicama tada stvorene nove geopolitike europskog istoka i zapada. Njegovi su poslanici, a posebno biskup Donat kao “legatvs pacis” (poslanik mira) na dvoru Karla Velikog po etkom IX. stolje a, iako predstavnici istoka, postali stvaraoci zapad-nih civilizacijskih zasada, pa tako i graditeljskih sakralnih morfoloških zadanosti, upravo paradigmatskih za cijelu regiju, koje dosežu vrhunac u sve do danas identifikacij-skom simbolu rotunde sv. Donata. Tada se mijenja i op aurbana slika intenzivnim pregra ivanjem anti kih gra evina i prostora, a vjerojatno posebno izgradnjom novog fortifikaci-jskog sustava koji se nastavlja u ranoromani kom i srednjo-vjekovnom razdoblju.U to vrijeme, u prvoj polovini XI. st., iako formalno podre enupravi u Konstantinopolisu, postaje predvodnikom novog oblika politi kog i gospodarskog organiziranja dalmatinskih gradova u slobodne komune kojemu je umjetni ki i gra-diteljski izraz romanika kao prvi od velikih integriraju ih sti-lova zapadnoeuropske umjetnosti. Neke sakralne gra evinekao crkve sv. Lovre i sv. Nediljice najbolji su primjeri u regiji prožimanja stilskih izri aja istoka i zapada, a pluteje oltarne ograde iz sv. Nediljice uvrstio je Andre Marlaux u imaginarni muzej europske skulpture.Upravo e u najavi ovog stila kroz XI. st. svoju politi ku

first half of the 4th century. Public and cultural spaces of an ancient Roman town are reconstructed or pulled down by building the new sacral and Christian places of worship and in this way forum’s complex inherits the complex of the early Christian cathedral. In each insula and in its significant places the new basilica of the significant titulars is being built. It should be emphasized that then the mentioned new building have as an associated religion the metropolitan level, which is as such mentioned also by the Byzantine emperor and writer Constantine Porfirogenet in his work ‘’De Administrando Imperio’’.The Western Roman Empire disappears with a breaking in of the barbarian Gothic tribes, and so Dalmatia is possessed by the Ostrogoths. The restoration of the Roman Empire hap-pens mostly in these areas by the renewed conquest during the great Eastern Roman emperor Justinian, and then hap-pens the breaking in of the new Avar-Slavic, and after them Croatian barbarians already in some sixty years and with an above all drastic consequences for most of the Dalmatian territory and towns when the capital of Salona was reduced to rubble.Zadar, along with the island ancient towns, luckily avoided that destiny and when some time later it became the capital of the Byzantine Dalmatian region, it takes the leading role on the eastern Adriatic coast which lasted until the Italian occupation in 1918.The early Middle Ages are a period which is immediately present in the religious and political events of the encounters of the old and new Roman Empire, in the disconnections and connections of then created geopolitics of the European east and west. Its emissaries, and, especially bishop Donat as a ‘’legatvs pacis’’ (an emissary of peace) at the court of Charles the Great in the beginning of the 11th century, although they were the representatives of the east, became the creators of the western civilization principles, and also of the building sacral and morphological givens, which were paradigmatic for the whole region, which reaches its peak in the identification symbol of St. Donat’s rotunda which remains as such even today. Then the general urban picture changes with an intensive reconstruction of the ancient build-ings and spaces, and probably with the building of the new fortification system which continues in the early Romanesque and Middle Ages period.At that time, in the first half of the 11th century, although it was formally submitted to the Constantinople administra-tion, it becomes the leader of the new form of political and economical organization of the Dalmatian towns into the free

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Zadar, 1790.

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prisutnost u gradu, koja kroz razli itu pojavnost traje uporno i kona no do danas, ostvariti hrvatski vladari. Kralj Petar Krešimir IV donator je i formalni utemeljitelj još uvijek živog samostana bendiktinki sv. Marije, na ijoj se crkvi najav-ljuju, a na kapitularnoj dvorani i zvoniku ve 1105. god. (zadužbini Kolomana, novog kralja hrvatsko-ma arske per-sonalne unije) ostvaruju u svim svojim emanacijama oblici ovog stila. Katedrala, sada s novim titularom sv. Anastazije ( ije je mo i iz Konstantinopolisa u Zadar dopremio upravo spomenuti biskup Donat), te sv. Krševan najzna ajniji su dalmatinski romani ki spomenici XII. st.Mleta ka Republika prisutna je na ovim prostorima na razne na ine ve od po etka XI. st., a upravo se tragi no,iako posredno, o itovala 1202. g. križarskim osvajanjem, pustošenjem i rušenjem grada. Od tog vremena izmje-njuju se mleta ka posezanja i osvajanja i zadarske pobune i osloba anja. Zadar ipak prednja i i tada te se grade crkve novog stila za nove redove franjevaca i dominikanaca, a procvat koji se o ituje u novom goti kom stilu doživljava od 1358. godine uspostavom hrvatsko-ugarske vlasti pod vodstvom Ludovika Velikog Anžuvinca. Gradska su pro eljatada zatvorena mo nim fortifikacijama, pa se upe atljivimi vrlo izražajnim može doživjeti zazivanje Boga za pomokrižarskih vojskovo a u osvajanju ovako vrsto utvr enoggrada. Naravno da je tada bilo utvrdama zatvoreno i južno, morsko lice grada.

Predturska mleta ka utvrda

Politi ke promjene po etkom XV. st. dovode u Zadar mleta ku upravu koja traje sve do pada Venecije za vrijeme Napoleonovih geostrateških i geopoliti kih odre enja. Slika se grada na njegovom plaštu ve tada dobrano mijenja izgradnjom citadele na južnom i kaštela na sjevernom rubu grada. Podižu se neke nove posebno stambene gra evineu novom stilu mleta ke cvijetne gotike (gotico fiorito) i rane renesanse, dok se sakralne gra evine uglavnom na isti na inpregra uju. Zrela renesansa ostavila je zna ajna ostvarenja izgradnjom javnih gra evina gradske lože i gradske straže.Turska neposredna opasnost pretvorila je grad u pravu tvr avu izgradnjom tada najmodernijeg fortifikacijskog sustava u Serenissimi. Projektiraju i grade najbolji državni vojni inženjeri i arhitekti Gianbatista Baglione, Michele San-micheli (remek djelo uspješnog spoja arhitekture i skulpture su nova ulazna vrata u grad, tzv. Porta Terraferma) te veliku predgradsku utvrdu “Forte” Sforzza Palavicino. Mo ni bas-tioni Citadele i sv. Frane zatvorili su južno lice grada gdje

communes which have artistic and building expression of the Romanesque style as the first of the great integrating styles of the western European art. Some of the sacral buildings, such as the churches of St. Lovre and St. Nediljica, are the best examples in the region of the permeation of the stylistic expressions of the east and west, and the pluteus of the altar 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 through the 11th century its political presence in the town, which lasts persistently 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 existent convent of St. Mary’s Benedictines on whose church there is an introduction, which is on the capitular hall and church tower 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 by the already mentioned bishop Donat), and St. Krševan are the most important Dalmatian Romanesque monuments in the 13th century.Serenissima is in different ways present in these areas already since the beginning of the 11th century, and it tragically manifested itself, although indirectly, in 1202 in the Cru-sades devastation and demolition of the town. From that time the Venetian reaching out and conquesting alternate with Zadar’s rebellions and emancipations. Still, Zadar precedes at the time and then the churches of the new style are being built for the new Franciscan and Dominican orders, and the revival which is manifested in the new Gothic style which begins from 1358 with the establishment of the Croatian-Hungarian reign under the leadership of Ludovic the Great of the Angevin dynasty. Town’s front was then closed with the powerful fortifications, so the invoking of God for the help to crusader’s generals in their conquest of such a strongly fortified town may seem distinct and very suggestive. Natu-rally, the southern sea face of the town was then closed with fortification.

Pre-Turkish Venetian fortification

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

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Zadar, 1910.

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se sustav srednjovjekovnih obrambenih zidova i kula nije bitno promijenio. Važno je re i da su uz more pod južnim utvrdama nalazili samo nužni i esto puta higijenski upitni sadržaji kao primjerice klaonice. Moru se pristupalo samokroz malene prolaze te mora na onaj anti ki na in u životu grada naprosto nije bilo.XVII. i XVIII. st. nisu donijeli ve ih novosti u urbanoj mor-fologiji osim u naglašavanju glavne uzdužne gradske osovine izgradnjom crkve Gospe od Kaštela i njezinog zvonika na zapadnoj strani i postavljanjem kolone s pro elja rimskog hrama na isto noj te crkve i samostana sv. Nikole na vrhu poluotoka. Postoje e se sakralne gra evine više ili manje uspješno pregra uju, a nekima se prigra uju novi zvonici kao crkvi sv. Šime. Urbano unutrašnje tkivo upotpunjuju ili pregra uju nove katkada monumentalne pala e kao ona obitelji Fozze ili javne gra evine kao Providurova pala a i veliki Arsenal uz gradsku luku.

Zadar, otvoreni grad i Nova riva

Nakon nekoliko politi kih upravnih promjena u vrš uje se austrijska uprava. Zadar postaje glavni grad samostalne provincije Dalmacije i sjedište njezinog sabora. Novi oblici uglavnom konfekcijskog carskog arhitektonskog dizajna mijenjaju lice grada stvaraju i ne samo nove gra evine kao zgradu suda i kasarni na isto nom rubu, ve nove trgove i uli ne prospekte. Sakralno graditeljstvo dobiva novi prostorni i bitan urabani znak u neostilskom zvoniku katedrale. Zadar 1868. godine postaje otvorenim gradom, bastioni postaju ugodni, upravo gospodski perivoji, a gradona elnik piše pismo carskoj administraciji u Be da se i Zadranima dozvoli zdravo, higijensko i civilizirano življenje u povijesnom gradu, tj. da se sruše obrambeni zidovi koji naprosto guše grad,posebno oni s južne najatraktivnije morske strane. Zidine su se srušile i izgradila se Nova riva i eto mora ponovno u gradu i eto grada ponovno na moru u dnevnim doga anjima pristajanja luksuznih dužobalnih linijskih brodova i njihovog do ekivanja uz zvukove plesnih kapela iz mondenih kavana i hotela. Nova je riva postala simbolom namjesni kog grada i njegove uprave te izazvala dobranu kampanilisti ki obojenu zavist kod svih ostalih u Dalmaciji, a posebno u Splitu. Unato konfekcijskoj arhitekturi nep-rimjereno velikih “gescheft” ili “wohnung” kasarni, kako se posprdno nazivalo niz od petnaestak velikih pala a, riva je živjela ljepotom novih zefira, modrih maestrala i ljubi astozelenih obrisa otoka, leuta i gaeta, elegantnih jedrenjaka i sportskih jedrilica, vonjom parobrodarskog dima i ribljeg

at that time changed with the building of a citadel on the southern outskirts of the town and a castle on the northern one. Some new especially residential buildings are being built which are in the style of Venetian’s floral Gothic (gotico fiorito) and the early Renaissance, while the sacral build-ings are being reconstructed in the same way. The mature Renaissance left significant achievements of public buildings of Municipal Loggia and Town Guard. The immediate Turkish threat turned the town into a real fortress with the building of the most modern fortification system in Serenissima at the time.The best state military engineers and architects are design-ing and building; Gianbatista Baglione, Michele Sanmicheli (a masterpiece of a successful bonding of architecture and sculpture are new entrance door to the town, the so called Porta Terraferma) and the big fortification ‘’Forte’’ Sforzza Palavicino. Powerful bastions of the Citadel and St. Francis closed the southern face of the town where the system of the mediaeval defense walls and towers didn’t change signifi-cantly. It is important to say that by the sea and under the southern forts there were facilities which were necessary and often of a questionable hygiene, such as slaughterhouses. The sea was approached only through the small passages and so the sea didn’t practically exist in that ancient way of living.The 17th and 18th century didn’t bring any bigger news in the urban morphology apart from emphasizing the main longitudinal town’s axis by building the church of Our Lady of Kaštela and its bell-tower on the western side and by plac-ing a column from the facade of the Roman temple on the eastern and the church and the convent of St. Nicholas at the top of the peninsula. The existing sacral buildings are more or less successfully reconstructed, and to some of them the bell-towers are added. The urban inside tissue is completed or reconstructed with new or sometimes monumental palaces like the one of family Fozze or with public building like Providure’s palace or the great Arsenal by the town port.

Zadar, the open town and the New Riva

After few political administrative changes the Austrian governance is reinforced. Zadar becomes a capital of the independent province of Dalmatia and a center of its parlia-ment. New forms of mostly ready-made imperial architectural design change the face of the town by creating not only the new buildings such as the court building and the army barracks in the eastern outskirts, but also the new squares

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friškina, mirisom cvjetnih lijeha, gospodskih cigara i dam-skog parfema, maraskina i cherry brendija. Dobar se dio gradskog svakovrsnog života na nju presilio i tu se zbivao. Iz nje su se otvarali trgovi u gradsku ponutricu na kojima bijaše i fontana, ali i zelenih tržnica sa slikovitim bodulskim i morla kim pu kim šarenilom.

Razaranja u Drugom svjetskom ratu i poslijeratna obnova

Povijesna jezgra Zadra je u serijskim bombardiranjima anglo-ameri ke avijacije od jeseni 1943. do jeseni 1944. godine znatno porušena, posebno je stradala Nova riva gdje su iako ošte ene ostale sa uvane samo pala a Borelli i Licej s kapelom sv. Dimitrija na južnom uglu grada. Uništen je obalni rub i pristanišni gat. Nakon rata obnova je zapo ela neprimjerenim uklanjanjem gra evina, bez pretpostavke da se dobar dio njih mogao konsolidirati i obnoviti, u želji da se izgradi novi grad otvorenijih prostora i prospekata s izolirano prezentiranim pojedina anim zna ajnim spomenicima. Takav je odnos ipak ubrzo promijenjen i shodno novim regulacionim pla-novima obnova je izvršena uglavnom metodom interpolacije poštivaju i prostorna povijesna odre enja kako u dispoziciji tako i u volumenu.Nedostajalo je hrabrosti (možda više nego sredstava) da se na taj ili bilo koji drugi na in pristupi obnovi Nove rive. Sa uvan je niz postoje ih crnika, a na mjestu spomenutih pala a improvizirane su parkovne površine kao privremeno rješenje u maniri “linije lakšeg otpora”. Me utim te su se površine njegovale na odgovaraju i na in i štoviše dopun-javale novim i kvalitetnijim hortikulturnim osobitostima, tako da su tijekom gotovo šezdeset godina postale kontinuirani dužobalni urbani park respektiraju e vrsno e te svojevrsna prijelazna poveznica s kamenom obalom i površinom mora u invši ga još prisutnijim u gradu.

Nova, Nova Riva

Zadar je ponovno dodirnuo rat, posljednji obrambeni, domovinski, ali ponovno i obnova te se tako izmjenjuju tisu lje ima kao njegova zla i dobra kob koja izrazitim prisustvom prožima sve sfere njegovog života u slobodnoj domovini.Zapadni ugao Nove rive nije nikada dovršen, a niti ob-novljen na odgovaraju i na in i u nekakvoj je improvizaciji (oblikovnoj i sadržajnoj) funkcionirao kao dijelom šetnica, a dijelom pristanište me unarodnih brodskih (u posljednje vrijeme uglavnom trajektnih) linija.

and the street outlooks. Sacral building gets the spatial and important 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 the mayor writes a letter to the imperial administration in Vienna so that they allow Zadar to have a healthy, hygienic and civi-lized living in the historical town, meaning that the defense walls be pulled down because they are practically suffocat-ing the town, especially the ones from the southern and the most attractive side of the sea. The walls were pulled down and the New Riva was built and there is the sea in the town and there is the sea again in the daily events of putting to shore of the luxurious ship lanes along the coast and meet-ing them with the sounds of dancing bands from fashionable cafés and hotels. The New Riva became a symbol of regent’s town and its governance and it caused quite an amount of a campanilistic 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, as the row of fifteen big palaces was ironically called, Riva lived with the beauty of new zephyrs, deep blue landward breezes and 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 living moved to it and happened there. Squares opened from it to town’s inside where fountains were, but also there were green markets 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 serial bombardments of the Anglo-American aviation from the fall of 1943 until the fall of 1944. And especially ruined was the New Riva where, although they were damaged, Borelli pal-ace and the Boarding school with a chapel of St. Dimitrius on the southern outskirts of the town. The edge of the coast and the pier were ruined.After the war the rebuilding began with an inappropriate removal of the buildings, and without an assumption that a good part of them could be consolidated and rebuilt, and all that was done with a desire to build a new town with more open spaces and outlooks with the single significant monu-ments which are being isolated. That kind of relationship was soon changed and as a result of the new regulation plans the

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Projektirana i izvedena dopuna Nove rive prostorno i oblikovno logi no je dovršila ovaj dio zadarske obale te je uz suvislo rješenje novih pristana za više vrsta i veli inabrodova pokušala, a izgleda i uspjela prema reakcijama Zadrana i dobronamjernih došljaka, s novim instalacijama ‘’Morskih orgulja’’ i ‘’Pozdrava Suncu’’, bez novih gra evina,vratiti obali onaj ludi ki segment kojega je za cijelog svojeg trajanja do Drugog svjetskog rata posjedovala, a kojega nije ostvarivala u onoj, nazovimo je, «zelenoj» obnovi, kojoj je naprosto nedostajalo i nedostaje bilo kakvog doga anja i elementarne pu ke radosti u bivanju. Na kraju malo (možda ponekom i puno) radosti u gledanju s najljepše rive najljepšeg zalaska sunca, uz zvukove morskih orgulja i milovanje blagih zefira kako to bijaše prije više od dvije tisu e godina, a kad sunce ode onda ga vratimo odom radosnog sje anja u magi nom krugu nalik kaleidoskopu kroz kojega svi u nekim nevinijm godinama zurismo.

rebuilding was done mostly with a method of interpolation by respecting the spatial and historical determinations both in disposition 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 the place where there were the mentioned palaces park areas 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 filled with new and of more quality horticultural specialties, and as a result during sixty years they became urban park along the coast by respecting the quality, and a specific transitive connection with the stone coast and the surface of the sea by making 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 with the rebuilding, and so for thousands of years they alternate as its bad and good fortune which by its prominent presence permeate all spheres of its life in the free country. The western corner of the New Riva has never been finished or 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 Riva spatially and formally logically completed this part of Zadar’s coast and with a meaningful solution of new piers for differ-ent kinds and sizes of the ships, it tried, and it seems that it succeeded according to the reactions of Zadar’s townspeo-ple and well-meaning newcomers, with the new installations of the ‘’Sea Organ’’ and the ‘’Greeting to the Sun’’, and without new buildings, to return to the coast a ludic segment which 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 an elementary popular happiness in the existence.In the end there is (maybe to someone a lot of) happiness in looking from the most beautiful Riva of the most beautiful sunset, with the sound of the sea organs and the caressing of the mild zephyrs as it was more than two thousand years ago, and when the sun is gone we get it back with an ode of happy remembrance in a magical circle which is like a kaleidoscope through which all of us stare in some more innocent years.

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Branko Sila in

BAŠI AND ZADAR

The return of Baši to Zadar in 1981 marks the beginning of his intense, temperamental, and fruitful presence in the reali-sation of diverse architectural projects and urban planning assignments in the city. The adrenaline rush this city triggers off, combined with the talent and the individuality of the architect, created – and are still creating – clear and effective contributions to the materialisation of the contemporary life of Zadar.Reconstruction and revitalisation of the city lodge (1), as well as the extraordinarily accomplished temporary installation on the occasion of Pope’s visit (4) represent the almost enterieur miniatures of a visibly present and recognisable charge, a charge culminating in the ludic urban installation of the ‘’Sea Organ’’ and the ‘’Greeting to the Sun’’, which has not only claimed 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 Baši ’s work in Zadar (2), and the new TIZ residential-busi-ness complex (8,9), represent indispensable contributions to the new identity of Zadar.The shopping centre (3), conceived together with architect Ugleši , won the shopping mall architectural contest in 1981, 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 Hrži ’s sports arena, in itself a nucleus of a new agglomeration on Višnjik.Spatial visions of the urban entity and potentials of individual central and marginal spaces result in a number of urban planning proposals that open the ever new ways of the development 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 completely new experiential, affirmative, and functional interplay of the historical entity and a living contemporary city. Baši and Zadar = Zadar and Baši

Branko Sila in

BAŠI I ZADAR

Dolaskom u Zadar 1981. godine zapo ela je intenzivna, njegova temperamentna i plodonosna prisutnost u realizaci-jama najraznovrsnijih arhitektonskih, urbanisti kih i planer-skih zadataka u gradu. Adrenalin koji pobu uje ovaj grad uz talent i individualnost arhitekta stvorili su, bolje re enostvaraju vidljivo jasne i uspješne doprinose materijalizaciji života suvremenog Zadra. Rekonstrukcija i revitalizacija gradske lože(1), neobi nouspješna privremena instalacija u povodu Papina posjeta (4) gotovo su interijerske minijature ali vidljivo prisutnog i prepoznatljivog naboja što kulminira u ludi koj urbanoj instalaciji morskih orgulja i pozdrava suncu koja ne samo da je osvojila nikada urbano aktivan prostor zadarske obale ve je postala, povijesnim spomenicima, ravnopravna meta interesa svakog posjetioca Zadra.Projekti stanovanja na samom po etku zadarskog djelovan-ja (2) kao i novi stambeno poslovni kompleks TIZ (8,9) neizostavni su doprinosi identitetu novog Zadra.Trgova ki centar (3), zapo et s arhitektom Ugleši em pob-jedom na natje aju za Robnu ku u godine 1981. razvija se u važni i zna ajni kumulus centralnih gradskih funkcija kao što je sjajna realizacija zatvorenog bazena (5) uz Dvoranu arhitekta Hrži a, jezgra novog kumulusa na Višnjiku.Prostorne vizije gradske cjeline i potencijala pojedinih centralnih i rubnih prostora rezultiraju nizom urbanisti kihi planerskih prijedloga koji iniciraju nove putove razvoja grada (6,7). Tu se posebno svojom jasno om i superiornom jednostavnoš u isti e prijedlog urbanisti kog rješenja kom-pleksa Ravnice (10) kojim se stvara potpuno novi doživljajni afirmativni i funkcionalni odnos povijesne cjeline i živog suvremenog grada.Baši i Zadar = Zadar i Baši

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BIOGRAFSKE BILJEŠKE

NIKOLA BAŠI , arhitekt

Nikola Baši (Murter, Hrvatska, 1946).Diplomirao na Arhitektonsko-urbanisti kom fakultetu u Sarajevu 1972. godine. Od 1976. do 1981. zaposlen kao asistent na Arhitektonskom fakultetu u Sarajevu. Od 1981. živi i radi u Zadru, od 1991. vodi vlastiti projektantski ured.Od 2005. voditelj arhitektonske radionice na gra evinsko-arhitektonskom fakultetu u Splitu.

Važnije realizacije:

1975 Gradski dispanzerski centar Sarajevo 1975 Privredno-športski centar “Mejdan” u Tuzli1985 Marina Hramina, Murter1988 Košarkaški klub Zadar1988 Gradska loža Zadar 1989 Blok 9 u naselju Bili Brig, Zadar1991 Nauti ki centar “Zlatna luka”, Bibinje- Sukošan1991 Kompleks “SAS”, Zadar1991 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 – Zagreb2001 Samostan sestara franjevki od Bezgriješne, Šibenik2002 Poslovno-stambena zgrada Maksimirska 34, Zagreb2003 Marina Hramina – sanitarni vor2003 Papina pozornica na Forumu2005 Morske orgulje Zadar2005 Stambeno-poslovni kompleks TIZ Zadar2006 Crkva i samostan sv. Ante, Šubi evac, Šibenik2007 Zatvoreno plivalište Zadar2008 Pozdrav suncu

BIOGRAPHICAL NOTES

NIKOLA BAŠI , architect

Nikola Baši (Murter, Croatia, 1946)Graduated from the Faculty of Architecture in Sarajevo 1972. 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 and Herzegovina1975 Mejdan Business and sports Center, Tuzla, Bosnia and Herzegovina1985 Hramina marina, Murter1989 Residential block “9” in the Bili Brig settlement, Zadar1991 Golden Harbour Marina, Zadar,1991 Marina Betina, isl. Murter1998 Business – residental block “Vrbik”, Zagreb1998 Our Lady of Carmelite Church, Okit, Vodice,1999 St. Joseph Church, Ražine, Šibenik2000 Trade Centre in Zadar2000 Holy Mother of Freedom Sanctuary, Jarun – Zagreb2001 Convent of the Franciscan Nuns of the Immaculate Conception in Šibenik2002 Business – residental block in Maksimirska 34, Zagreb2003 Stage for the Pope in Zadar2005 Business/residential block “TIZ” Zadar2005 Sea organ, Zadar2006 Franciscan Convent and church St. Ante, Šibenik2007 Indoor competition pool at Sport Center “Višnjik”, Zadar2008 Greeting to the sun

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Nagrade:

Nagrada “Collegium artisticum”, Sarajevo,1980.Godišnja nagrada “Vladimir Nazor” 1991.Nagrada “Ve ernjeg lista” za najbolje arhitektonsko ostva-renje u 1991.Nagrada “Drago Gali ” za stambenu arhitekturu u 1991. g.Priznanje Piranesi (s B. Marovom) za benzinsku crpku u marini “Zlatna luka”,1992.Godišnja nagrada “Vladimir Nazor” za 1994.Nagrada “32 zagreba kog salona” za prijedlog obnove sakralnog graditeljstva, 1997.Velika nagrada “35. zagreba kog salona”, 2000.Nagrada “Bernardo Bernardi” za 2004. g.Nagrada “Kamen u arhitekuri”, Bra 2005.Nagrada D!BEST 2006 Dizajncentra HrvatskaGraditeljska nagrada CEMEX Hrvatska 2006European prize of urban public space 2006 / CCCB, BarcelonaCemex international building award 2006, Monterrey, MexicoIzabrani rad Mies van der Rohe Award 2007, Barcelona

Awards:

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

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ŽELJKA ORAK

Željka orak, art historian and author, was born in Zagreb in 1943. She received her PhD for a thesis on modern archi-tecture and urban planning. She is a senior adviser at the Institute for Art History and associate member of the Croatian Academy of Sciences and Arts. She has published eleven books on arts and literature, as well as thirteen books of liter-ary translations and theory. She has won many Croatian and international 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 High School 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 History of Art and Philosophy. He also finished a specialized post-graduate course on the Protection of Architectural Heritage at the ICCROM International Centre for the Protection of Monuments in Rome. Since the beginning of the 1970s he had been working in the Zadar Conservation Department of the Ministry of Culture, and in 1977 he was appointed director of the Department. Since the middle of the 1990s he has been working as a head conservator in the Republic of Croatia. From April 1999 till July 2001 he had been As-sistant Minister for the Protection of Cultural Heritage. He is the president of the National ICOMOS Commission (inter-national non-governmental organization for the protection of cultural heritage), and also the president of the Expert-Ad-visory Commission for the renovation of Dubrovnik city. He has been participating in numerous expert commissions and was 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 Historic Heritage he wrote a number of scientific articles. Especially important is his monography ‘Rab – the City of Art’. He was also the author of numerous projects and international exhi-bitions on Croatian cultural heritage. For his work he received many acknowledgments, of which special 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 Andri ’ for the protection of Croatian cultural heritage on the national level.

ŽELJKA ORAK

Željka orak, povjesni arka umjetnosti i književnica, ro enaje u Zagrebu 1943. Doktorirala je iz podru ja moderne arhitekture i urbanizma. Znanstvena je savjetnica na Institutu za povijest umjetnosti i lan-suradnik Hrvatske akademije znanosti i umjetnosti. Objavila je jedanaest knjiga iz likovnog i književnog podru ja, a tako er i trinaest knjiga književnih prijevoda i teorijske literature. Za oba podru ja svoga bav-ljenja dobila je mnoga doma a i me unarodna priznanja.

MILJENKO DOMIJANGlavni konzervator u Upravi za zaštitu kulturne baštine Ministarstva kulture

Republike Hrvatske

Miljenko Domijan, prof., ro en u Rabu 24. 03. 1946. Gra evinsko-tehni ku školu, arhitektonski smjer završio u Rijeci, te na Pedagoškoj akademiji završio likovnu umjetnost, a potom na Filozofskom fakultetu u Zadru povijest umjetnosti i filozofiju. Na Internacionalnom centru za zaštitu spomenika ICCROM u Rimu završio specijalisti ki poslijediplomski studij za zaštitu graditeljskog naslje a.Po etkom 70-ih godina radi u Zavodu za zaštitu spomenika kulture u Zadru, od 1977. godine imenovan je za ravnatelja Zavoda. Sredinom 90-ih godina imenovan je glavnim konzervatorom u Republici Hrvatskoj, a od travnja 1999. do srpnja 2001. obavlja dužnost pomo nika ministra kulture za zaštitu kulturne baštine, predsjednik je Nacionalne komisije ICOMOS-a (me unarodna nevladina organizacija za zaštitu kulturne baštine) i predsjednik je Stru no-savjetodavne komisije za obnovu Duborvnika. Sudjeluje u radu brojnih stru nih komisija i voditelj je mnogih zaštitnih zahvata na spomenicima kulture na podru ju srednje Dalmacije.Kao povjesni ar umjetnosti i istraživa povijesne baštine na-pisao je niz lanaka, a posebno se isti e monografija „Rab – grad umjetnosti“. Autor je brojnih projekata i me unarodnihizložbi o hrvatskoj kulturnoj baštini.Za svoj rad nagra en je brojnim priznanjima, od kojih treba ista i nagradu „Pasquale Rotondi“ na europskoj razini za o uvanje kulturne baštine i nagradu „Vicko Andri “ za o uvanje hrvatske kulturne baštine.

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LEO MODR IN, Architect

Leo Modr in is an architect working in Croatia and USA. His practice uRED Architecture is based in New York and Rijeka, Croatia. Modr in designed 59E59 Theaters in New York, which shared 2005. Viktor Kova i Prize. He also designed POS Housing project in Kraljevica, Croatia. He 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 1997 organized and taught at the Borderline Architectural Work-shop in Kraljevica in collaboration with Lebbeus Woods and RIEA. Modr in is author of numerous architectural competi-tion entries. Awards include 1st prize at the 11th Membrane Design Competition in Japan, 1996, for the Old Bridge in Mostar 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 he taught at the University at Buffalo-SUNY. In 2008. he joined the Faculty of Architecture, University of Zagreb.

BRANKO SILA IN

Born in Sl.Konjice, Slovenia, 1936. Graduates from Faculty of Architecture, University of Zagreb, Croatia, 1962. Resi-dence and work in (West) Germany, 1961-1970. Works as an independent architect in Zagreb, 1970-1989. Editor of architectural jurnal “ ovjek i prostor”, 1983-1988. Editor of architectural jurnal “Arhitektura”, 1989-1991. Editor of ar-chitectural jurnal “Piranesi”, 1992-1996. Establishes ‘Odak & Sila in’ - architectural practice partnership with Tomislav Odak, 1989.Awards: ‘Viktor Kova i ’ 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, Frankfurt Messe, 2002. Cultural heritage preservation reward, 2007.

LEO MODR IN, arhitekt

Leo Modr in je arhitekt koji je svojim radom prisutan u Hrvatskoj i SAD. Sjedište njegove arhitektonske prakse su uRED Architecture u New Yorku I Ured ovlaštenog arhitekta u Rijeci. Autor je Kazališta 59E59 u New Yorku, koje dijeli Nagradu Viktor Kova i za 2005. godinu. Modr in je au-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 je s Lebbeusom Woodsom i RIEA pokrenuo i vodio Arhitekton-sku radionicu Borderline u Kraljevici. Autor je mnogobrojnih natje ajnih radova. Nagra eni projekti uklju uju: 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 vode im hrvatskim i me unarodnim publikacijama. 2006. predaje na Sveu ilištuu Buffalu-SUNY, a 2008. postaje docent na Arhitektonskom fakultetu Sveu ilišta u Zagrebu.

BRANKO SILA IN

Ro en je 1936.godine. Diplomirao je na Arhitektonskom fakultetu u Zagrebu 1962. godine. Od 1961. do 1969. živi i radi u Njema koj, a od 1969. djeluje kao slobodni arhi-tekt u Zagrebu. Od 1982. do 1987. urednik je asopisa“ ovjek i prostor” te asopisa “Arhitektura” iji je aktualni urednik od 1999. godine. lan je organizacijskog od-bora me unarodnog seminara u Piranu, te lan uredništva asopisa “Piranesi”.Sudjelovao je na više od 100 natje aja u

zemlji i inozemstvu (dobio je 16 I nagrada). Priznanja: nagrada ”Viktor Kova i ” 1985., 2002., Zagreba ki 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 Grada Zagreba 1999., nagrada LICHT+BAU frankfurtskog sajma 2002., Godišnja nagrada za izvanredan doprinos u zaštiti kulturne baštine, 2007., Javno priznanje UHA-e za vrijedan doprinos radu Udruženja i javnoj afirmaciji rada arhitekata, 2008.

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CONTENTS

07Branko Sila inOUT THERE: ARCHITECTURE BEYOND BUILDING IN ZADAR

09Željka orakTHE PLACE WHERE THE ENDLESS MEETS THE DEFINITE

11Leo Modr inON THE EDGE OF SENSES

73Miljenko DomijanZADAR – 2500 YEARS AND BEYOND

85Branko Sila inBAŠI AND ZADAR

87BIOGRAPHICAL NOTES

SADRŽAJ

07Branko Sila inOUT THERE: ARCHITECTURE BEYOND BUILDING U ZADRU

09Željka orakMJESTO GDJE SE BESKRAJNO SUO AVA S ODRE ENIM

11Leo Modr inNA RUBU ULA

73Miljenko DomijanZADAR - 2500 GODINA I DALJE

85Branko Sila inBAŠI I ZADAR

87BIOGRAFSKE BILJEŠKE

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publisherizdavaHDLUMARINA PROJEKT d.o.o., Zadar

editor-in-chiefodgovorni urednikBRANKO FRANCESCHI (HDLU)BARBARA BAŠI STELLUTI (Marina projekt d.o.o. Zadar)

catalogue editorsurednici katalogaBRANKO SILA INVLADIMIR MATTIONI

commissionerpovjerenikBRANKO SILA IN

assistant commissionerpomo nik povjerenikaHRVOJE HRABAK

curatorkustosBRANKO FRANCESCHI

essaysesejiŽELJKA ORAKMILJENKO DOMIJANLEO MODR INBRANKO SILA IN

translationprijevodRENATA HACE CITRALEO MODR INSANJA PETROVILADA SILA INBRANKA ŽAJA

proof readinglekturaSANJA PETROVI

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

preprintgrafi ka pripremaVOJMIR ŽIVNY

printtisakHGZ

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

photo creditsfotografijaDAMIR FABIJANI (str. 39)VELID JAKUPOVI (str. 40, 41, 80, 82)MAJA JELENKOVI (str. 68, 69)MLADEN RADOLOVI (str. 31)BRANKO SILA IN (str. 86)STIPE SURA (the other photos / ostale fotografije)

film and DVD productionproizvodnja filma i DVD-aproizvodnja / production: Digital Film d.o.o., Šibenikdirector / redatelj: Davor Šarieditor / montažer: Tomislav Rupisound / ton: Krešimir Mr elacinematography / snimatelj: Davor Šari

soundzvukHRT Radio Zadar

instalmentpostavBRANKO SILA IN

postav zvuka i slikeaudio and video instalmentSLAVEN TAHIRBEGOVI

pavilion set uptehni ki postavJADRANKAMEN d.d., Pu iš aALUKÖNIGSTAHL d.o.o., ZagrebINTERLIGHT d.o.o., SplitBONAVENTURA d.o.o., ZagrebDICROIC d.o.o., SplitT - Hrvatski Telekom

administrationadministracijaHDLU

public relationsodnosi s javnoš uHDLU

editionnaklada1000

HDLU, Zagreb 2008.

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AcknowledgmentsZahvale

Ministry of Culture Republic of CroatiaMinistarstvo kulture Republike Hrvatskemr.sc. Božo Biškupi , ministar mr.sc. Nina Obuljen, državna tajnica Jasminka Lokas Strpi , ravnateljica Uprave za me unarodnu suradnju

Consulate General of the Republic of Croatia in the Italian Republic, TriesteGeneralni konzulat Republike Hrvatske u Talijanskoj Republici, TrstIvan Lackovi , generalni konzul

City of Zadar / Grad Zadardr. Živko Kolega, gradona elnikdipl.ing.arh. Nives Kozulic, lanica poglavarstva za prostorno planiranje, graditeljstvo i zaštitu okolišaBoris Arti , pro elnik ureda gradona elnika

Croatian Pavilion was made possible thanks to the donations by:Hrvatski paviljon omogu en je donacijama:

ALUKÖNIGSTAHL d.o.o., ZagrebARSENAL HOLDINGS d.o.o., ZadarBONAVENTURA d.o.o., ZagrebDICROIC d.o.o., SplitDIGITAL FILM d.o.o., ŠibenikDUCA d.o.o., ZadarELAN MOTORNI BRODOVI d.o.o., ObrovacFASSA d.o.o., ObrovacFEAL d.o.o., Široki BrijegFRANTO d.o.o., ZadarGORTAN d.d., ZadarHERES d.o.o., VirHGK Županijska komora, ZadarHRT Radio ZadarHRVATSKI GRAFI KI ZAVODHYPO ALPE-ADRIA-BANK, Podružnica ZadarIGH d.d., ZagrebINDUSTROGRADNJA d.d., ZagrebINTERLIGHT d.o.o., SplitIZGRADNJA OBROVAC d.o.o., ObrovacJADERA d.o.o., ZadarJADRAN INVEST d.o.o., ZadarJADROLINIJA d.d., RijekaJADRANKAMEN d.d., Pu iš aKAMEN d.d., PazinKERATEK d.o.o., ZagrebLAV EVI d.d., SplitLEUROCOM GmbH, WinnendenLU KA UPRAVA ZADARMARINA HRAMINA d.o.o., MurterMARINAPROJEKT d.o.o., ZadarOTP bankaPUNTA SKALA d.o.o., FalkensteinerSAS STROJOGRADNJA d.o.o., ZadarTANKERKOMERC d.d., ZadarTANKERSKA PLOVIDBA d.d., ZadarTEHNO d.o.o., ZadarT - HRVATSKI TELEKOMTENOS d.o.o., ZadarTURISTHOTEL d.d., ZadarTURISTI KA ZAJEDNICA ZADARSKE ŽUPANIJETURISTI KA ZAJEDNICA GRADA ZADRAZRA NA LUKA ZADAR d.o.o, Zadar

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ISBN 978-953-6508-44-0

CIP zapis dostupan u ra unalnom katalogu Nacionalne i sveu ilišneknjižnice u Zagrebu pod brojem 673995.

HRVATSKO DRUŠTVO LIKOVNIH UMJETNIKACROATIAN ASSOCIATION OF ARTISTSTrg žrtava fašizma, 10000 Zagreb, Croatiatel + 385 1 46 11 818, 46 11 819fax + 385 1 45 76 831e-mail: [email protected]