plečnikova ljubljana plečnik’s ljubljana · os, ki vodi od njegove hiše v trno-vem do...

Plečnikova LjubljanaPlečnik’s Ljubljana

Vzajemna zavarovalnica(danes: Zavarovalnica Triglav)FOTO: Damjan PrelovšekThe Mutual Insurance Building(today: Triglav Insurance Company)PHOTO: Damjan Prelovšek

UVOD INTRODUCTION

L eto 2017 je Plečnikovo leto: obeležujemo 145. obletni-co rojstva in 60. obletnico

smrti arhitekta. Naše prepozna-vanje in vrednotenje njegovega ustvarjanja pa ni omejeno le na trenutek v času in prostoru, saj se njegovo delo dotika univerzalnosti in brezčasnosti, ki sta prepoznav-ni vsem pozornim opazovalcem. Ljubljana, ki jo zaznamujejo osta-line iz rimskega obdobja in pred-vsem baročna arhitektura, je po potresu leta 1895 s Plečnikovim sodobnikom Maksom Fabianijem dobila prvi moderni urbanistični načrt. Iz zaspanega provincialne-ga mesta se je preobrazila v so-dobno prestolnico v secesijskem slogu z novimi estetskimi idea-li. Plečnik je svojo vizijo Ljubljane postopoma uresničeval skoraj tri desetletja. Vstopal je v že zgrajen prostor, ga preoblikoval in nad-grajeval ter med letoma 1921 in 1957 v mrežo mesta nanizal vrsto izjemnih stavb.

Narodna in univerzitetna knjižnica, Vrt vseh svetih – Žale, cerkev sv. Frančiška v Šiški in mostovi na Ljubljanici so le najpo-membnejši posegi v mesto. Kopna os, ki vodi od njegove hiše v Trno-vem do središča mesta s Kon-gresnim trgom in parkom Zvez-da, pomeni kulturno alejo mesta. Vodno os sestavljajo ureditve po-rečja Ljubljanice od Trnovskega pristana, nabrežij Ljubljanice v središču mesta, Čevljarskega mo-stu, Tromostovja in tržnic do reč-ne zapornice. Z urejenimi obrežji in mostovi, z umeščanjem dreves in drugega rastlinja, ki ga je razu-mel kot pomembno arhitekturno sredstvo, je Plečnik mestu ob Lju-bljanici dal sredozemski značaj. Tretja os je povezovala Jakopiče-vo sprehajališče v parku Tivoli z ljubljanskim gradom na griču. Po-seben prostor je Vrt vseh svetih, del današnjega pokopališča Žale, kjer se je Plečnik z izjemno ob-čutljivostjo in pieteto poklonil me-

ščanom. Ljubljano je arhitekt pre-oblikoval do te mere, da jo danes vidimo kot »Plečnikovo Ljubljano«, samosvoj urbanistični fenomen in celostno umetnino 20. stoletja.

Ob slovenski prestolnici je Plečnik sočasno ustvarjal še v Pragi, kjer je z ureditvijo dela pra-škega gradu za takratnega pred-sednika Masaryka in s postavitvijo cerkve presvetega Srca Jezuso-vega postal navdih mnogim če-škim arhitektom. Številne ideje so se rojevale, medsebojno oplajale, variirale in se uresničevale v eni ali drugi od omenjenih prestolnic. v eni od prestolnic. Skupno pri-zadevanje Slovenije in Češke za mednarodno prepoznavnost arhi-tekta je usmerjeno v projekt nomi-nacije za vpis na Unescov seznam svetovne dediščine.

Plečnik je neodvisno od so-časnih arhitekturnih tokov začet-ka 20. stoletja, predvsem pre-vladujočega modernizma, razvil svojstven arhitekturni jezik. Edin-stven pristop k reinterpretaciji ar-hitekturne dediščine in izjemno bogat simbolizem vključujeta ele-mente brezčasne arhitekture. S tem pristopom nadgrajuje in re-interpretira prostor, obenem ga modernizira in išče nove rabe nje-gove tradicionalne funkcije. Nje-gova arhitektura ponuja univer-zalne rešitve za ključna vprašanja različnih generacij in tako ostaja vedno aktualna.

I n 2017 we are celebrating the Plečnik year to commemo-rate the 145th anniversary of

the birth and the 60th anniver-sary of the death of the architect Jože Plečnik. But our recognition and valuation of his creations is not limited solely to a moment in time and space because his work touches the very universality and timelessness recognizable to all attentive observers. Character-ized by the remains of the Roman period and particularly by Ba-roque style architecture, Ljublja-na received its fi rst modern urban design, a work of Plečnik’s con-temporary Maks Fabiani, after the earthquake in 1895. From being a sleepy provincial town it trans-formed into a modern Art-Noveau-style capital displaying new aes-thetic ideals. It took Plečnik nearly three decades to put his vision of Ljubljana into reality. Faced with an already built up space, he re-designed and upgraded it, and between 1921 and 1957 he fi lled its city grid with a number of impressive buildings.

The National and University Library, the Garden of All Saints – Žale, the St. Francis Church in Šiška, and the Ljubljanica bridg-es are some of his most important interventions with the city. The land axis leading from his house in Trnovo to the Congress Square and the Zvezda Park in the city center represents the city’s cul-tural avenue. The water axis com-prises the arrangement of the Lju-bljanica basin, starting with the Trnovski pristan embankment, continuing with the Ljubljanica embankments in the city cen-ter, the Cobblers Bridge, the Tri-ple Bridge and the main market, and ending in the sluice gates. With the reconstruction of the embankments and bridges, and with the placing of trees and oth-er vegetation, which he regarded as an important architectural tool,

Plečnik lent the city on the Lju-bljanica a Mediterranean charac-ter. The third axis connected the Jakopič Promenade in the Tivoli Park and the Ljubljana castle on the Castle Hill. The Garden of All Saints, a part of today’s Žale Cem-etery, represents a special place, Plečnik’s expression of extreme sensitivity and respect for the cit-izens of Ljubljana. He transformed the city to such an extent that to-day we see it as »Plečnik’s Lju-bljana«, a unique phenomenon of urban planning and a 20th centu-ry total work of art.

In parallel with the Slovenian capital, Plečnik was also active in Prague where his renovations of the Prague Castle, commissioned by the President Masaryk, and his design for the Church of the Most Sacred Heart of Our Lord became a source of inspiration for many Czech architects. One or the other capital featured as the birthplace, the place for interaction, varia-tion and realization of many of his ideas. To ensure international rec-ognition of the architect’s work, Slovenia and the Czech Republic have joined e� orts in the project for inscribing his architecture on the UNESCO World Heritage List.

Contrary to the trends in ar-chitecture at the beginning of the twentieth century, in partic-ular the domineering modernist style, Plečnik developed his own unique architectural language. His unique approach to the re-inter-pretation of architectural heritage and extremely rich symbolism in-clude the elements of timeless architecture. With this approach, he upgrades and reinterprets the space, while at the same modern-izes it and looks for the new ways to utilize its traditional functions. His architecture o� ers universal solutions for big issues of di� er-ent generations and thus remains always relevant.

• born on 23 January in Ljubljana, to father Andrej Plečnik and mother Helena Molka

• attends elementary school in Ljubljana

• works as carpenter’s apprentice in his father’s workshop

• attends trade school in Graz

• employed as furniture designer for an interior design company J.W. Müller, Vienna, A

• Otto Wagner o� ers him a place in his studio

• studies with Otto Wagner at the Vienna Academy of Arts

• fi rst prize (with O. Schimkovitz) in the competition for the Gutenberg Monument in Vienna

• his degree thesis earns him a scholarship and he travels in Italy and France

• works again at Otto Wagner’s studio

• wins the competition for Zacherl House in Vienna

• works as a freelance architect in Vienna

• member of the Vienna Secession

• gold medal for the Salon of the Austrian Section on the World exhibition in St. Louis

• has a teaching position at the School of Arts and Crafts in Prague

• Plečnik is nominated as Wagner’s successor at the academy in Vienna three times in a row, but the heir to the throne Franz Ferdinand does not confi rm this nomination

• appointed for the architect in charge of the renovation of Prague Castle

• works as a teacher for architectural drawing and composition at the University of Ljubljana’s Faculty of Engineering

• member of Masary’s Academy of Work

• elected full member of the Slovenian Academy of Sciences and Arts

• honorary Citizen of Ljubljana

• distinguished with the Prešeren Prize for Culture

• recipient of Prešern Award for the second time

Plečnik is awarded honorary doctorate by the University in Ljubljana and by the Technical High School in Vienna

• Plečnik is appointed honorary member of the Royal Institute of British Architects R.I.B.A.

• Plečnik dies on 7 January in Ljubljana

• rojen 23. januarja v Ljubljani očetu Andreju in materi Heleni Molka

• obiskuje ljudsko šolo v Ljubljani

• dela kot mizarski vajenec v očetovi delavnici

• obiskuje Višjo obrtno šolo v Gradcu

• zaposlen je kot risar v podjetju J.W. Müller za notranjo opremo na Dunaju

• Otto Wagner ga sprejme v svoj atelje

• študira pri Ottu Wagnerju na Akademiji likovnih umetnosti na Dunaju

• prva nagrada (soavtor O. Schimkovitz) na natečaju za Gutenbergov spomenik

• za diplomo prejme »rimsko štipendijo« in potuje po Italiji in Franciji

• ponovno dela v ateljeju Otta Wagnerja

• zmaga na natečaju za Zacherlovo hišo na Dunaju

• dela kot samostojni arhitekt na Dunaju

• član dunajske secesije

• zlata medalja za ureditev salona v avstrijski sekciji na svetovni razstavi v St. Louisu

• je profesor na umetnoobrtni šoli v Pragi

• trikrat je predlagan za naslednika Otta Wagnerja na dunajski akademiji, vendar ga prestolonaslednik Franc Ferdinand ne potrdi

• imenovan je za umetniškega vodjo prenove praškega gradu

• je profesor za arhitekturno risanje in kompozicijo na tehnični fakulteti ljubljanske univerze

• član Masarykove akademije dela

• izvoljen je za rednega člana SAZU

• častni meščan Ljubljane

• prejme Prešernovo nagrado

• drugič prejme Prešernovo nagrado

prejme častni doktorat Univerze v Ljubljani in Tehniške visoke šole na Dunaju

• imenovan je za častnega člana Kraljevega združenja britanskih arhitektov R.I.B.A.

• umre 7. januarja v Ljubljani

1872

1878–1882

1885–1888

1888–1892

1892–1894

1894

1895–1898

1897

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• Langer Villa in Vienna, A

• Zacherl House, Vienna, A

• Karl Borromäus Fountain in Vienna, A

• Holy Spirit Church, Vienna, A

• redesign the Garden on the Ramfascicles in the Prague castle, CZ

• ground plan for the Paradise Garden, Prague Castle, CZ

ground plan for the First Courtyard, Prague Castle, CZ

• Plečnik Hall in the Prague castle, CZ

• Presidential apartment, Prague Castle, CZ

• Plečnik House in Trnovo, Ljubljana, SI

• Church of the Most Sacred Heart of Our Lord at Vinohrady, Prague, CZ

• Stadium in Ljubljana, SI

• Church of the Ascension, Bogojina, SI

• Church of St. Francis of Assisi in Šiška, Ljubljana, SI

• Chamber of Commerce, Crafts and Industry, Ljubljana, SI

• Church of St. Michael on Barje Marshlands, Črna vas pri Ljubljani, SI

• Regulation of Congress Square in Ljubljana, SI

• landscaping of St. James’s Square (Levstik Square), Ljubljana, SI

landscaping of Roman Wall, Ljubljana, SI

• Regulation of Zois street in Ljubljana, SI

• The Mutual Insurance Building, Ljubljana, SI

• Trnovo Bridge, Ljubljana, SI

• Regulation of Star Park in Ljubljana, SI

• Illyrian Provinces Monument (Napoleon’s Column), Ljubljana, SI

• Triple Bridge, Ljubljana, SI

• The Jakopič Promenade and the Tivoli Park, Ljubljana, SI

• Church of St. Anton of Padua, Belgrade, SCG

• landscaping of Vegova Street, Ljubljana, SI

• landscaping of Trnovski pristan area, Ljubljana, SI

• National and University Library, Ljubljana, SI

• Cobbler’s Bridge, Ljubljana, SI

• adaptation and interior design of Villa Prelovšek, Ljubljana, SI

• Gerber Staircase on Hribar Embankment, Ljubljana, SI

Royal hunting lodge, Kamniška Bistrica, SI

• the exterior of the Church of St. Florian at Upper Square, Ljubljana, SI

»Peglezen«, the Flat Iron building at Poljanska Road, Ljubljana, SI

• Sluice gate on the Ljubljanica, Ljubljana, SI

• Monument to the poet Simon Gregorčič, Ljubljana, SI

• Murke pavilions, Begunje na Gorenjskem, SI

• Žale Cemetery (All Saints Garden), Ljubljana, SI

• Main Market, Ljubljana, SI

• Ursuline High School at Šubičeva Street, Ljubljana, SI

• Križanke, Ljubljana, SI

• Garden Pavilion on the Brioni Island, CRO

• vila Langer na Dunaju, A

• Zacherlova hiša na Dunaju, A

• vodnjak Karla Boromejskega na Dunaju, A

• cerkev Sv. duha na Dunaju, A

• vrt Na Okopih na Praškem gradu, CZ

• ureditev Rajskega vrta na praškem gradu, CZ

ureditev Prvega dvorišča na praškem gradu, CZ

• Plečnikova dvorana na Praškem gradu, CZ

• predsednikovo stanovanje na praškem gradu, CZ

• Plečnikova hiša v Trnovem v Ljubljani, SI

• cerkev sv. Srca Jezusovega na Vinohradyh v Pragi, CZ

• Stadion v Ljubljani, SI

• cerkev Gospodovega vnebohoda v Bogojini, SI

• cerkev sv. Frančiška Asiškega v Šiški v Ljubljani, SI

• Zbornica za trgovino, obrt in industrijo v Ljubljani, SI

• cerkev sv. Mihaela na Barju, Črna vas pri Ljubljani, SI

• ureditev Kongresnega trga v Ljubljani, SI

• ureditev Trga sv. Jakoba (Levstikov trg) v Ljubljani, SI

ureditev Rimskega zidu v Ljubljani, SI

• ureditev Zoisove ceste, SI

• Vzajemna zavarovalnica v Ljubljani, SI

• Trnovski most v Ljubljani, SI

• preureditev parka Zvezda v Ljubljani, SI

• spomenik Ilirskim provincam (Napoleonov steber) v Ljubljani, SI

• Tromostovje v Ljubljani, SI

• Jakopičevo sprehajališče v parku Tivoli v Ljubljani, SI

• cerkev sv. Antona Padovanskega v Beogradu, SCG

• ureditev Vegove ulice v Ljubljani, SI

• ureditev Trnovskega pristana v Ljubljani, SI

• Narodna in univerzitetna knjižnica v Ljubljani, SI

• Čevljarski most v Ljubljani, SI

• adaptacija in notranja oprema Vile Prelovšek v Ljubljani, SI

• Gerberjevo stopnišče na Hribarjevem nabrežju v Ljubljani, SI

kraljeva lovska koča v Kamniški Bistrici, SI

• ureditev zunanjščine cerkve sv. Florijana na Gornjem trgu v Ljubljani, SI

stavba »Peglezen« na Poljanski cesti v Ljubljani, SI

• Zapornica na Ljubljanici na Poljanskem nasipu v Ljubljani, SI

• spomenik pesniku Simonu Gregorčiču v Ljubljani, SI

• paviljona Murke v Begunjah na Gorenjskem, SI

• Poslovilni kompleks Žale (Vrt vseh svetih) v Ljubljani, SI

• Tržnice v Ljubljani, SI

• Uršulinska gimnazija na Šubičevi ulici v Ljubljani, SI

• ureditev Križank v Ljubljani, SI

• vrtni paviljon v parku Bele vile na Brionih, CRO

1900–1901

1900–1905

1906–1909

1908–1913

1920

1920–1926

1920–1931

1921–1927

1921–1930

1921–1932

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1926–1932

1926–1938

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1928–1930

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1929–1932

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1929–1936

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1933–1945

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1939–1947

1952–1956

1955–1956

ŽIVLJENJE LIFEPOMEMBNADELA

MOSTIMPORTANTWORKS

JOŽE PLEČNIK1872–1957

JOŽE PLEČNIK1872–1957

P o koncu prve svetovne vo-jne (1918) je avstro-ogrska monarhija razpadla, nasta-

le so številne nove države in pos-tali smo del novonastale Države Slovencev, Hrvatov in Srbov, poz-nejše Kraljevine SHS, nato Kralje-vine Jugoslavije (1929), s čimer so bile dosežene dolgoletne težnje po slovanski državi.

Slovanski arhitekti, ki so se večinoma šolali pri profesorju Ottu Wagnerju na Dunaju, so Wagner-jevo arhitekturo dojeli kot izraz nemške kulture. S pojavom novih nacionalnih držav so se odvrnili od svojega učitelja in skušali razviti izviren in nacionalno obarvan iz-raz v arhitekturi. V tedanji Sloveniji je to stališče zagovarjal Ivan Vu-rnik, ustanovitelj fakultete za ar-hitekturo v Ljubljani. Ko je za pro-fesorja pridobil Jožeta Plečnika, je ta nasproti Vurnikovi nacional-no romantični arhitekturi posta-vil svojo interpretacijo klasičnega regionalizma. Plečnik je bil, sku-paj z Josephom Mario Olbrichom in Josefom Ho� mannom, eden najbolj nadarjenih učencev Otta Wagnerja. Že pred prvo svetovno vojno je na Dunaju zgradil nekaj stavb, od katerih je najpomemb-nejša Zacherlova hiša (1905). Du-najska akademija je Plečnika celo predlagala za Wagnerjevega na-slednika, a zaradi političnih razlo-gov ni bil potrjen. Leta 1911 se je preselil v Prago, leta 1920 pa ga je češkoslovaški predsednik Tomáš Garrigue Masaryk imenoval za ar-hitekta prenove praškega gradu za potrebe nove države. Kljub ug-lednemu položaju v tujini se je bil Plečnik pripravljen vrniti v domovi-no. V Ljubljani je skušal uresničiti svojo vizijo narodove prestolnice. Narodna in univerzitetna knjižni-ca, Vrt vseh svetih – Žale, cerkev sv. Frančiška v Šiški in mostovi na Ljubljanici so le najpomembnejši posegi v mesto, ki ga upravičeno lahko imenujemo Plečnikova Lju-bljana. Arhitekt se ni menil za so-časni razvoj svetovne arhitekture, ampak je ubral svojo lastno pot. Pri tem se je trudil, da bi ljudje nje-

govo arhitekturo razumeli, zato je uporabljal govorico klasičnih ar-hitekturnih elementov. Njegovi posegi v mesto so bili prepoznav-ni in postopni; fi nančne možnosti so bile večkrat omejene in Plečnik je uporabljal cenejše materiale: pesek, cementne plošče in stare kamne, da bi prihranil za arhitek-turno obogatitev prostora.

V zgodovini poznamo več pri-merov, kjer je celotno mesto obli-koval en arhitekt. Večinoma je šlo za zgraditev novega mesta (Brasi-lia: Lúcio Costa, Oscar Niemeyer) ali za povojno obnovo (Le Havre: Auguste Perret), v Ljubljani pa je Plečnik posegal v že zgrajeno mesto in ga desetletja preurejal tako, da je poudaril njegove ob-stoječe odlike. Urejal je ulice, trge in parke ter v obstoječo mrežo postavljal nove stavbe, da bi mes-to dodatno oplemenitil. Zavedal se je pomena stika med mestom in reko in Ljubljanico vzpostavil kot enega vodilnih urbanih moti-vov. Pri posegih je spoštoval trud starejših generacij in je stare ele-mente ponovno uporabil, da bi v novih ureditvah, vsaj simbolično, živeli naprej. Če je bil v mladih le-tih na Dunaju del avantgarde in je v Pragi gradil monumentalno, je v Ljubljani mesto z razmero-ma skromnimi sredstvi preobrazil v prestolnico Slovencev. V času, ko spoznavamo nemoč sodobne-ga urbanizma, pomeni njegovo več desetletij trajajoče oblikova-nje Ljubljane enkraten in danes neponovljiv prispevek.

W ith the fall of the Aus-tro-Hungarian Monar-chy after World War I

(1918), many new states emerged, and Slovenia found itself a part of the new State of Slovenes, Croats and Serbs, or what would later be-come the Kingdom of Yugoslavia (1929). With this, the long-stand-ing aspirations towards a Slavic state were fulfi lled.

Slavic architects, many of whom had studied under profes-sor Otto Wagner in Vienna, saw Wagner’s architecture as an ex-pression of German culture. With the emergence of new nation-al states, they turned away from their former master and attempt-ed to develop an original architec-tural style with a national point of view. At the time, the principal advocate of such style was Ivan Vurnik, the founder of the Faculty of Architecture in Ljubljana. Jože Plečnik, whom Vurnik had invit-ed to be a professor at the fac-ulty, contrasted Vurnik’s nation-al romantic architecture with his own interpretation of classical regionalism. Plečnik, along with Joseph Maria Olbrich and Josef Ho� mann, was one of the most talented of Otto Wagner’s stu-dents. Already before World War I he designed buildings in Vienna, the most important being Zach-erl House (1905). The academy in Vienna even nominated Plečnik as Wagner’s successor, but for political reasons the nomination was not approved. In 1911, Plečnik moved to Prague where in 1920 President Tomáš Garrigue Ma-saryk appointed him the archi-tect in charge of the renovation of the Prague Castle for purpos-es of the new democtratic state. Despite this prestigious position, Plečnik was ready to return to his home country. Back home he tried to implement his own vision of Ljubljana as the nation’s capital. With the National and Universi-ty Library, All Saints Garden – the Žale Cemetery, the Church of St. Francis in Šiška and bridges over

the Ljubljanica river, to name only his most important interventions, the city deserves to be called Plečnik’s Ljubljana. Rather than following trends in contemporary architecture, the architect fol-lowed his own path. He wanted his work to be understood by people, so he used the language of classi-cal architectural elements. His in-terventions in the city were recog-nizable and gradual, most of them with only limited fi nancial resourc-es at his disposal. In order to save money to architecturally enrich the interiors, Plečnik used cheap-er materials: sand, cements slabs and old stones.

History knows several cas-es of a city designed by a single architect. In most cases such a scenario involved building a new city (Brasilia: Lúcio Costa, Oscar Niemeyer) or a post-war renova-tion (Le Havre: Auguste Perret), but in Ljubljana, Plečnik inter-vened in an existing city, rede-signing it for decades in order to highlight its existing qualities. To make the city more remarkable, he designed streets, squares and parks, and placed new buildings into the existing street grid. He was aware of the importance of contact between the city and the river, so he established the Lju-bljanica river as one of the city’s guiding urban motifs. In his inter-ventions, he acknowledged the e� orts of older generations and tried to reuse the old elements so that they could, at least sym-bolically, continue living in his new designs. While during his young years in Vienna he was a part of the avant-garde, and in Prague he produced monumen-tal designs, in Ljubljana he man-aged to use relatively modest funds to transform the city into the capital of Slovenes. Today, when we are faced with the im-potence of modern urbanism, his decades-long designing of Lju-bljana represents a unique and unparalleled achievement.

PLEČNIKOVALJUBLJANA

PLEČNIK’S LJUBLJANA

PLEČNIKOVA HIŠAPLEČNIK HOUSE

TRNOVSKI PRISTANTRNOVO QUAY

TRNOVSKI MOST TRNOVO BRIDGE

CERKEV SV. FLORIJANAST. FLORIAN CHURCH

PEGLEZENTHE FLAT IRON

ZAPORNICA NA LJUBLJANICITHE SLUICE GATES ON THE LJUBLJANICA

TRŽNICEMAIN MARKET

TROMOSTOVJETRIPLE BRIDGE

URŠULINSKA GIMNAZIJAURSULINE HIGH SCHOOL

ZBORNICA ZA TRGOVINO, OBRT IN INDUSTRIJO

CHAMBER OF COMMERCE, CRAFTS AND INDUSTRY

VZAJEMNA ZAVAROVALNICA

THE MUTUAL INSURANCE BUILDING

KONGRESNI TRG CONGRESS SQUARE

PARK ZVEZDASTAR PARK

NARODNA IN UNIVERZITETNA KNJIŽNICANATIONAL AND UNIVERSITY LIBRARY

ŠENTJAKOBSKI TRGST. JAMES’S SQUARE

ČEVLJARSKI MOSTCOBBLER’S BRIDGE

VEGOVA ULICAVEGOVA STREET

NAPOLEONOV STEBERNAPOLEON’S COLUMN

KRIŽANKE

RIMSKI ZIDROMAN WALL

ZOISOVA CESTAZOISOVA STREET

CERKEV SV. FRANČIŠKA ASIŠKEGACHURCH OF ST. FRANCIS OF ASSISI

ŽALE (VRT VSEH SVETIH)ŽALE CEMETERY (ALL SAINTS GARDEN)

CERKEV SV. MIHAELA NA BARJUCHURCH OF ST. MICHAEL ON BARJE MARSHLANDS

K ompleks hiš na Karuno-vi ulici 4–6 je Jože Pleč-nik zaznamoval z izvirnimi

povezavami med zgradbami, na-menjenimi družinskemu življenju. V pritlični hiši na Karunovi 4 se je Plečnik naselil leta 1921. Zahodno stran hiše je v letih 1923–1925 do-polnil z valjastim prizidkom. Ko je leta 1928 kupil sosednjo hišo na Karunovi 6, je južno stran prizidka dopolnil še s steklenjakom – zim-skim vrtom. S preureditvami je želel sebi, bratoma in sestri z dru-žino zagotoviti potrebno zaseb-nost, hkrati pa vsem skupaj omo-gočiti rodbinsko povezanost. Kljub dograditvam je v hiši večinoma živel sam. Po Plečnikovi smrti leta 1957 se je v hiši naselil njegov ne-čak Karel Matkovič, ki je poskrbel za ohranitev dragocene Plečniko-ve dediščine. Plečnikova zbirka se je oblikovala z odkupom Plečniko-ve hiše v Trnovem, skupaj z ohra-njenim vsem izvirnim inventarjem, ter z ustanovitvijo Arhitekturnega muzeja Ljubljana leta 1972. Od leta 2010 jo upravljajo Muzej in gale-rije mesta Ljubljane. V Plečnikovi hiši so izvirni ambienti z opremo in osebnimi predmeti, modeli raz-ličnih projektov, Plečnikova knji-žnica in risarsko orodje. Leta 2015 je bil uresničen konservatorsko--restavratorski projekt prenove z namenom, da se ohrani originalna Plečnikova ureditev, v spomeniško manj občutljivem delu hiše pa so nove muzejske vsebine.

T he complex of houses on Karunova ulica Street 4–6 is marked with Plečnik’s

original ideas for interconnecting the buildings intended for family life. Jože Plečnik moved into the one-storey building on Karunova ulica 4 in 1921. In 1923–1925 he

ADDRESS Karunova ulica 4–6COMMISSIONED BY Plečnik familyDESIGN 1921–1923CONSTRUCTION 1923–1930

NASLOV Karunova ulica 4–6NAROČNIK družina PlečnikNAČRT 1921–1923IZVEDBA 1923–1930

added a circular extension to the western side of the house. In 1926 he bought the neighbouring house on Karunova ulica 6, and added a glass house or winter garden to the south side of it. With this rear-rangement he wanted to provide necessary privacy for himself, his two brothers and his sister’s family, while at the same time al-lowing them to function as a fam-ily. Yet despite these additions he lived largely alone in the house. After Plečnik’s death in 1957, the house was inhabited by Plečnik’s nephew Karel Matkovič, who took care of Plečnik’s valuable heri-tage. The Plečnik Collection was established in 1972 with the sale of Plečnik House in Trnovo, includ-ing all its original inventory, to the newly founded Architecture Mu-seum Ljubljana. Since 2010, the house has been managed by the Museums and Galleries of Lju-bljana. Plečnik House contains displays of original interiors, in-cluding furniture and his personal objects, models of various proj-ects, Plečnik’s library and draw-ing utensils. 2015 marks the end of a project for the renovation of the house, which was done for the purpose of preserving Plečnik’s layout. The part of the house that is less sensitive from the point of view of monument protection con-tains new museum displays.

PLEČNIKOVA HIŠA PLEČNIK HOUSE

Vhod v hišo kmalu po Plečnikovi smrti, januar 1957Entrance hall soon after Plečnik’s death, January 1957

Plečnikov načrt prizidka k stari hiši, maj 1923Plečnik’s design for the extension to the old house, May 1923

FOTO/PHOTO: Matevž Paternoster (MGML)

FOTO/PHOTO: Matevž Paternoster (MGML)

Z a novo frančiškansko cer-kev je Jože Plečnik nekoli-ko predelal projekt za cer-

kev v Pragi iz leta 1922. Dvorana je zasnovana v obliki kvadrata s poglobljeno srednjo ladjo, okoli katere je speljan stebrni obhod. Zaradi obhoda je glavni oltar po-maknjen proti sredini in oblikovan kot samostojen prostor v pro-storu. Dvorana z ravnim lesenim stropom in nizom vrhnjih oken ustvarja vtis starokrščanske ba-zilike, ki je bila za Plečnika izvor-ni tip cerkve. Zasnoval je vse tri oltarje; obravnaval jih je izrazito arhitektonsko. Klasična fasada cerkve je poenostavljena in ima skrbneje obdelan le stebrni por-tal. Zvonik stoji za oltarjem v osi glavnega vhoda in se od višine venca nadaljuje s krožnim stol-pom, ki ga zaključuje renesančni tempietto. Cerkev je bila posve-čena že leta 1927, z njenim opre-mljanjem pa se je arhitekt ukvar-jal vse do smrti. Oprema v kapeli Žalostne matere kaže, da se je arhitekt na starost obrnil k baroč-nim oblikam.

T o produce a design for the new Franciscan church, Jože Plečnik returned to his

1922 design for a Prague church. The hall is designed as a square with a deepened central nave, which is in turn surrounded by a colonnade. Because of the colon-nade the altar is shifted toward the centre and designed as an autono-mous space within the space. The hall, with its fl at wooden ceiling

ADDRESS Verovškova ulicaCOMMISSIONED BY Order of St. FrancisDESIGN 1924–1930INTERIOR DESIGN 1927–1956CONSTRUCTION 1925–1931, until 1974 interior design

NASLOV Verovškova ulicaNAROČNIK frančiškaniNAČRT 1924–1930OPREMA 1927–1956IZVEDBA 1925–1931, oprema do 1974

and a row of upper windows, gives the impression of an old Chris-tian basilica, which for Plečnik was the original prototype of a church. He designed all three altars in the church in an expressive architec-tonic manner. The classical façade is simplifi ed; only the pillared por-tal boasts any elaborate features.

The bell tower is placed behind the altar on axis with the main en-trance, and in the height of the cor-nice it continues upward with the round tower, which ends with a Re-naissance tempietto. Although the church was consecrated in 1927, the architect continued to work on the interior until his death. The in-

terior of the Chapel of Our Lady of Sorrows provides proof that the ar-chitect was returning to Baroque forms in his old age.

CERKEV SV. FRANČIŠKA ASIŠKEGA

CHURCH OF ST. FRANCIS OF ASSISI

Pogled na glavni oltar, 1955 (FOTO: Damjan Prelovšek, MGML)A view of the main altar, 1955 (PHOTO: Damjan Prelovšek, MGML)

Cerkvena fasada, ok. 1925Church facade, c. 1925

FOTO/PHOTO: Damjan Prelovšek (MGML)

V egova ulica je nastala na mestu nekdanjega jar-ka, kjer se stikata obzidje

rimske Emone in obzidje srednje-veškega mesta. Ureditev Vegove je povezana s Plečnikovim ureja-njem parka pred Glasbeno mati-co, kjer je zeleno površino obliko-val kot teraso, omejeno z zidom. Ob stopnišču je na zidu postavil konfi ne in herme glasbenikov po Fabianijevem vzoru ureditve pred dunajsko Tehniško visoko šolo; kasneje so herme jezikoslovcev postavili še pred univerzitetno knjižnico. Rob ulice označujejo ja-vorji s krošnjami, postriženimi v obliki krogle, za konfi ni so posaje-na višja drevesa.

VEGOVA STREET

COMMISSIONED BY Municipality of LjubljanaDESIGN 1929–1942CONSTRUCTION 1929–1942NAPOLEON’S COLUMN

ADDRESS Trg francoske revolucije (French Revolution Square)COMMISSIONED BY Municipality of Ljubljana DESIGN 1929CONSTRUCTION 1929

VEGOVA ULICA

NAROČNIK Mestna občina ljubljanskaNAČRT 1929–1942IZVEDBA 1929–1942NAPOLEONOV STEBER

NASLOV Trg francoske revolucijeNAROČNIK Mestna občina ljubljanskaNAČRT 1929IZVEDBA 1929

VEGOVA ULICA IN NAPOLEONOVSTEBER

VEGOVA STREET AND NAPOLEON’S COLUMN

V egova Street stands at the site of a former moat, where the walls of the Ro-

man Emona and the walls of the mediaeval city meet. The design of the Vegova Street is connected to Plečnik’s planning of the park in front of the Glasbena matica mu-sic society building, where he de-signed the green area as a terrace bordered by a wall. On the wall to the each side of the stairway, he followed Fabiani’s design of the space in front of Vienna’s Tech-nical High School and installed a row of bollards and herm busts commemorating musicians; later on, herm busts commemorating linguists were installed in front of the University Library as well. The edge of the street is delineated by maple trees with crowns shaped as spheres, and by taller trees planted behind bollards.

T his urbanistic element of Vegova Street, namely its raised longitudinal park

created on foundations of mediae-val walls, ends in Napoleon’s Col-umn erected by Plečnik as early as in 1929 in commemoration of the establishment of Illyrian Provinces (1809) with Ljubljana as the capi-tal. Napoleon’s reforms were pivot-al to the development of Slovenian culture. The monument dedicated to the poet Simon Gregorčič dates back to 1937. Plečnik conceived this monumental axis as an avenue of culture continuing through the park, along Križanke and towards Trnovo Church.

U rbanistična poteza Ve-gove, dvignjen vzdolžni park na temeljih srednje-

veškega obzidja doseže vrh z Na-poleonovim stebrom, ki ga je Jože Plečnik postavil že leta 1929 kot obeležitev nastanka Ilirskih pro-vinc (1809) z glavnim mestom Ljubljana. Napoleonove reforme so pomenile tudi razcvet sloven-ske kulture. Spomenik pesniku Si-monu Gregorčiču sodi v leto 1937. Plečnik si je monumentalno os zamislil kot alejo kulture, ki se na-daljuje skozi park ob Križankah v smeri trnovske cerkve.

Vhod v Glasbeno matico, ok. 1935Entrance to the Glasbena matica music society building, c. 1935

Načrt ureditve Vegove ulice, 1929Landscape design for Vegova Street, 1929



K ongresni trg je bil urejen na prostoru zasutega obzi-dnega jarka rimske Emone

in srednjeveškega mesta. Najpo-membnejša spodbuda za uredi-tev trga je bil kongres, ki ga je leta 1821 v Ljubljani organizirala sveta aliansa, z željo po ponovni utrditvi monarhističnih režimov v Evropi. Na trgu so prirejali vojaške para-de. Skozi celotno zgodovino je bil trg pomembno politično prizori-šče. Jože Plečnik je trg želel preu-rediti v monumentalno izhodišče ljubljanskega urbanizma. Trg je na novo tlakoval s svetlimi betonskimi ploščami, postavljenimi v geome-trijsko pravilno mrežo. V osi uršu-linske cerkve je postavil zname-nje Sv. trojice in s tem cerkev bolj povezal s trgom ter ji dodelil vlogo dominante. Leta 1932 je Plečnik pred glavni portal postavil stopni-šče z balustrado. Os trga, ki po-vezuje uršulinsko cerkev s palačo Slovenske fi lharmonije, pa je do-datno poudaril z nizom svetilk.

K ongresni trg Square was built on the site where the moat running along the wall

of the former Roman settlement of Emona and the mediaeval city was fi lled in. The most important incentive for building the square was the congress organized in Ljubljana in 1821 by the Holy Alli-ance in its attempt to strengthen the monarchist regimes of Europe. The square was used for staging military parades. Throughout his-tory the square had served as the scene of important political events.

Plečnik wanted to convert the square into a monumental start-ing point for Ljubljana’s urban

S everno od Kongresnega trga je preuredil Park Zvez-da. Drevorede kostanjevih

dreves, križajoče se v osmih sme-reh, je zamenjal s platanami in zo-žil poti. V parku so na mestu nek-danjega samostanskega vodnjaka leta 1941 postavili nov vodnjak, delo Plečnikovega učenca, arhi-tekta Borisa Kobeta. V severnem vogalu parka je spomenik ženskim demonstracijam med drugo sve-tovno vojno, ki je nastal v Plečni-kovi šoli leta 1953. Plečnik je obe diagonalni poti v parku z novim Gerberjevim stopniščem in Gle-dališko stolbo povezal z reko Lju-bljanico. Na robu parka je Plečnik postavil vremensko hišico iz ume-tnega kamna (1938).

KONGRESNI TRG (CONGRESS SQUARE)

COMMISSIONED BY Municipality of LjubljanaDESIGN 1926CONSTRUCTION 1928–1932PARK ZVEZDA (STAR PARK)

COMMISSIONED BY Municipality of LjubljanaDESIGN 1928CONSTRUCTION 1929–1940

KONGRESNI TRG

NAROČNIK Mestna občina ljubljanskaNAČRT 1926IZVEDBA 1928–1932PARK ZVEZDA

NAROČNIK Mestna občina ljubljanskaNAČRT 1928IZVEDBA 1929–1940

KONGRESNI TRGIN PARK ZVEZDA

CONGRESS SQUAREAND STAR PARK

landscape. He paved it anew with bright concrete slabs that were placed to form a geometric ras-ter. He placed the Holy Trinity Col-umn directly on axis with the Ur-suline Church, thereby creating a closer connection between the church and the square and giv-ing the church a dominant role. In 1932, Plečnik placed a balustrad-ed staircase in front of its main portal. He used a line of lamps to additionally accentuate the axis of the square connecting the Ur-suline Church with the Slovenian Philharmonic building.

H e also rearranged Park Zvezda (Star Park) to the north of the Congress

Square. The chestnut trees inter-secting in eight avenues were re-placed with plane trees, and path-ways were narrowed. At the site of the former monastery fountain a new fountain by Plečnik’s stu-dent Boris Kobe was put up in 1941. In the northern corner of the park there is a memorial to women who demonstrated against the political imprisonment of Slovenes during WWII, created in Plečnik’s school in 1953. Both diagonal paths in the park, together with the Gerber Staircase and the Gledališka Stol-ba Staircase, form a connection to the Ljubljanica. At the edge of the park, Plečnik erected an artifi cial stone weather house (1938).


Vremenska hišica pozimi, ok. 1940 The weather house in winter, c. 1940

Situacija parka Zvezde, 1928 Situation design for Zvezda Park, 1928

J že Plečnik si je knjižnico zamislil kot hram učenos-ti. Od vhoda se obiskova-

lec ritualno vzpenja skozi mračno stopnišče k svetlobi nad vhodom v čitalnico. Zaključuje ga mo-numentalna stebrna dvorana iz črnega podpeškega kamna. V nasprotju z monumentalnostjo stopnišča je velika čitalnica pos-tavljena prečno na os vhoda in je zasnovana kot funkcionalno ure-jen prostor, ki izraža zbranost. Stranska stopnišča so skromnej-ša in imajo podeste v obliki balko-nov. Nad stranski vhod je Plečnik postavil kip Mojzesa, delo Lojzeta Dolinarja. Stavba se s svojo veli-kostjo in obliko zgleduje po Knež-jem dvorcu, ki je nekoč stal na njenem mestu. Plečnik je v fasa-do simbolično vgradil tudi nekaj kamnov starega dvorca in nekaj ostankov rimske Emone. Rusti-kalni kamniti vložki in vmesne po-ravnave oblikujejo plastični vtis fasade, ki ga poudarja mreža iz-stopajočih angleških oken. V letih 1989–1999 je arhitekt Marko Mu-šič preuredil kletne prostore.

J ože Plečnik considered the library a temple of learn-ing. Coming from the en-

trance, the visitor ritually ascends the dark staircase towards the light emanating from over the en-trance to the reading room. The staircase concludes with a mon-umental hall of columns made of black Podpeč stone. In contrast to the monumentality of the stair-case, the great reading room is positioned transversally to the entrance axis and is designed as a functionally arranged space that encourages focus and con-centration. The side staircases are of a more modest design and have landings shaped as balco-nies. Above the side entrance, Plečnik placed a statue of Mo-ses by the sculptor Lojze Dolinar.

ADDRESS Turjaška 1COMMISSIONED BY University of LjubljanaDESIGN 1930–1940CONSTRUCTION 1936–1941

NASLOV Turjaška 1NAROČNIK Univerza v LjubljaniNAČRT 1930–1940IZVEDBA 1936–1941

The size and shape of the building were inspired by the Ducal Pal-ace that once stood at the site of the library. Plečnik symbolically incorporated some stones from the old palace into the façade, as well as some remains of Roman Emona. Rustic stone inserts in the smooth brick surface form a plastic impression of the façade, which is accentuated by a net-work of protruding English win-dows. Over the decade 1989–1999 the basement was redesigned by architect Marko Mušič.

NARODNA IN UNIVERZITETNA KNJIŽNICA

NATIONAL AND UNIVERSITY LIBRARY



Vhod v razstavno dvorano, 1940Entrance to the exhibition hall, 1940

S tari kamniti most je zara-di naraščajočega prome-ta postal pretesen, vendar

ga je Jože Plečnik želel ohraniti in ga vključiti v novo kompozici-jo. Razmišljal je o možnosti razši-ritve obstoječega mostu z dvema stranskima brvema. Hkrati je že-lel približati reko mestu in oživiti rečne bregove. Stranski brvi nis-ta postavljeni vzporedno s starim mostom, temveč tako, da lijakas-to usmerjata prostor Prešernove-ga trga čez reko proti Mestnemu trgu. S takšno ureditvijo je Pleč-nik povezal oba bregova v enotno kompozicijo, s čimer je trg postal centralni prostor mesta. Druga posebnost ureditve so stopnišča, ki vodijo z obeh brvi na spodnjo rečno teraso. Ta stopnišča tvorijo značilen rečni portal, ki spominja na mostove v Benetkah, s čimer je arhitekt želel vzbuditi medi-teranski značaj Ljubljane. Tako je tudi na starem mostu posta-vil novo ograjo z beneškimi balu-stri in s tem poenotil videz celote. Različni ritmi balustrov, krogel in svetilk dajejo vtis nenehnega gi-banja na mostu.

COMMISSIONED BY Municipality of LjubljanaDESIGN 1929–1931CONSTRUCTION 1930–1932

NAROČNIK Mestna občina ljubljanskaNAČRT 1929–1931IZVEDBA 1930–1932

T he old stone bridge be-came too narrow for the city’s growing tra� c load,

but Jože Plečnik wanted to pre-serve it and incorporate it into a new composition. His plan was to broaden the existing bridge with two lateral footbridges. At the same time he wanted to bet-ter integrate the river into the city’s landscape and to animated its embankments. The two foot-bridges do not run parallel to the old bridge but form the shape of a funnel directing the space of Prešernov trg Prešeren Square over the river towards Mestni trg City Square. This way, Plečnik connected both embankments in a united composition and made Prešernov trg the focal point of the city. Another feature of this

TROMOSTOVJE TRIPLE BRIDGE

design is the two staircases lead-ing from the footbridges down to the lower river terrace. These staircases form a river portal that resembles the bridges of Ven-ice, and the architect used this feature to accentuate the Medi-terranean character of Ljubljana. He also equipped the bridge with a parapet with Venetian balus-trades, thus unifying the look of the entire structure. The varying rhythms of balustrades and the orbs of the lamps create the im-pression of constant movement on the bridge.

Načrt za Tromostovje, 1929Design for the Triple Bridge, 1929

Razglednica s pogledom na dokončano Tromostovje, ok. 1933A postcard with a view of the fi nished Triple Bridge, c. 1933


S tavba stoji na izrazito ozki in dolgi parceli v zaključku niza starih hiš. Jože Pleč-

nik je na tem mestu ustvaril ur-banistični poudarek, s katerim je vzpostavil novo merilo tega dela mesta. Telo stavbe tvorijo stopni-často naložena nadstropja, ki so zasnovana kot različni arhitektur-ni sklopi. Ozko čelo stavbe zaklju-čujeta zimski vrt in jambor za za-stave. Nesimetrično kompozicijo glavne fasade zaznamujejo rene-sančni elementi. Tudi barvno kom-binacijo svetlega ometa in sivega umetnega kamna poznamo iz Pal-ladieve arhitekture. Iz nepravilne mreže odprtin na zadnji fasadi iz-stopa cilindrično stopnišče, ki vodi na sušilnico. V notranjosti stavbe je posebnost diagonalna delitev stopniščnih ram, ki v perspektivi povečuje prostornost utesnjenega stopnišča. Stavbo so zaradi njene posebne oblike kmalu poimenova-li Peglezen, po popačenki iz nem-škega izraza za likalnik.

R ather than designing a common market situated in a single hall, Plečnik pro-

posed the transformation of the entire riverbank from Tromostovje to Zmajski most (Dragon Bridge) into a market place. He developed a continuous line of buildings be-tween the two bridges consist-ing of classical architectural ele-ments: a pavilion, pillared kiosks, and a temple following the river curve. On the upper level, he antic-ipated shops, and beneath them is a promenade with a fi sh mar-ket accessible by a spiral stair-case from above. At the beginning of the row of market buildings, Plečnik erected a fl ower shop that he designed as a temple within a temple according to the Palladian

ADDRESS Adamič-Lundrovo nabrežjeCOMMISSIONED BY Municipality of LjubljanaDESIGN 1939–1941CONSTRUCTION 1940–1942

NASLOV Adamič-Lundrovo nabrežjeNAROČNIK Mestna občina ljubljanskaNAČRT 1939–1941IZVEDBA 1940–1942

TRŽNICE MAIN MARKET

model. At the centre of this com-position, he planned a covered Mesarski most (Butcher’s Bridge) that would act as a unique city “loggia” spanning the river. Ow-ing to the war, however, the bridge was never built, and in its place a modern bridge was installed in 2010 according to plans designed by architects Jurij Kobe, Samo Mlakar and Rok Žnidaršič. On the bridge are sculptures by Jakov Brdar. The Main Market complex was conceived as part of a broad-er design to develop Vodnikov trg Square with a new city hall.

Načrt rečne fasade tržnic, 1939Design for the market halls riverside facade, 1939

Cvetličarna ob Tromostovju, 1941 Flower shop by the Triple Bridge, 1941



Z apornica je zgrajena na za-ključku obzidanega korita Ljubljanice in služi za urav-

navanje višine vode v reki sko-zi središče mesta. Zapornica je postala del širše zamisli o skle-njeni rečni promenadi; Plečnik je parkovno uredil tudi obe nabrežji in oba trga ob zapornici. Tehnič-ni objekt je zasnovan kot hiša na vodi s tremi stolpi – piloni, pred katere je postavil kratke dorske stebre s posodami, posnetimi po etruščanskih posodah z grifi . Za stolpi stojijo nizki jonski stebri s stiliziranimi glavami, ki nosijo prečno vez oziroma brv. Zaporni-ca daje vtis trdnosti, nepremaklji-ve celote, in tako izraža obvladano moč vodnega elementa.

T he sluice gates, situated at the end of the embanked riverbed of the Ljubljani-

ca, are used to regulate the water level in the city centre. The sluice gates became part of a broader scheme to close the loop of a river promenade, and Plečnik also re-arranged both embankments and both squares next to the gates into parks. The technical struc-ture itself is designed as a house on water with three towers – py-lons, in front of which he placed short Doric columns with vessels modelled after Etruscan vessels with gryphons. Behind the tow-ers, low Ionian columns with styl-ized heads bear the transverse footbridge. The sluice gate gives the impression of an immovable whole, serving to emphasize the great controlled power of water as an element.

ADDRESS Poljansko nabrežjeCOMMISSIONED BY Municipality of LjubljanaDESIGN 1933–1939CONSTRUCTION 1939–1945

NASLOV Poljansko nabrežjeNAROČNIK Mestna občina ljubljanskaNAČRT 1933–1939IZVEDBA 1939–1945

ZAPORNICA NA LJUBLJANICI

THE SLUICE GATES ON THE LJUBLJANICA


Zapornica kmalu po dokončanju, ok. 1950Sluice Gate soon after completion, c. 1950

Načrt zapornice na Ljubljanici, 1933 Design for Ljubljanica Sluice Gate, 1933

Ž ale pomenijo svojevrstno zbirko Plečnikovih inter-pretacij klasične arhitektu-

re. Namesto poslopja mrtvašnice je Plečnik predlagal kompozicijo različnih poslovilnih kapel, pos-tavljenih v park pred pokopališ-čem. Vhod je oblikoval iz dveh kril in stebrnega slavoloka, ki sim-bolno deli mesto živih od mes-ta mrtvih. Kapele so izvedene iz osnovnih arhitekturnih tipov, od gomile prek antičnega svetišča do bizantinske cerkve, in so poi-menovane po ljubljanskih farah. Dodana je še kapela Adama in Eve za nevernike. Baldahin nad mrtvaškim odrom je postavljen v osi vhoda v molilnico, ki ga zapira sredinski steber. Park zaključuje stavba mizarske delavnice za iz-delavo rakev. Zasnovana je v skla-du s Semperjevimi načeli. Streha je ločena od stavbnega telesa in stoji na lastnih podporah, stene med okni pa so oblikovane v obliki keramičnih in kamnitih preprog. Na eni od fresk pod napuščem najdemo tudi Plečnikov portret.

T he Žale Cemetery rep-resents a unique collec-tion of Plečnik’s interpre-

tations of classical architecture. Rather than constructing a tradi-tional mortuary building, Plečnik proposed the idea of a ceremo-nial complex consisting of sever-al funeral chapels situated in the park in front of the cemetery. The entrance is formed by two wings and a pillared arch representing a symbolic border between the city of the living and that of the dead. Chapels are derived from basic architectural types, from a burial mound to a Greek shrine and a Byzantine church, and are named after Ljubljana’s parish-es. The Adam and Eve chapel is added for atheists. The baldachin above the catafalque is situated at the axis of the entrance to the chapel, which is closed by a cen-tral column. The park ends with

TODAY Funerary Complex ŽaleCOMMISSIONED BY Municipality of LjubljanaDESIGN 1937–1940CONSTRUCTION 1938–1940, interior design: 1944

DANES Poslovilni kompleks ŽaleNAROČNIK Mestni pogrebni zavodNAČRT 1937–1940IZVEDBA 1938–1940, oprema do 1944

the carpentry workshop for cof-fi n-making, designed according to Semper’s principles. The roof is separated from the body of the building and stands on its own

supports. The walls between the windows resemble carpets made of brick and stone. One of the frescoes under the canopy fea-tures a portrait of Plečnik.

ŽALE (VRT VSEH SVETIH)

ŽALE CEMETERY (ALL SAINTS GARDEN)


Žale ob dograditvi, ok. 1940 Žale Cemetery shortly after enlargement, c. 1940

Načrt za oltar v molilnici, 1939Design for the altar of the oratory, 1939

C erkev sv. Mihaela je primer domiselnega prilagajanja sakralne arhitekture lokal-

ni tradiciji. Cerkvena dvorana je postavljena prečno na vhod in je zaradi nevarnosti poplav dvignje-na v nadstropje, kamor vodi mo-numentalno stopnišče. V pritličju je stanovanje duhovnika, ki je s stopniščem v zidani apsidi po-vezano z zakristijo. Zaradi slabo nosilnih tal je zvonik odmaknjen od stavbe in oblikovan kot stena, razbremenjena z loki. Cerkev je zgrajena iz lokalnega podpeške-ga kamna in lesa, ki so ga darovali vaščani. Stebri so iz betonskih ka-nalizacijskih cevi, ki so jih polirali vaščani sami. Notranjost deluje domače, čeprav vsi elementi iz-hajajo iz klasične arhitekture. Po-sebnost je ograjen prostor pred oltarjem, namenjen otrokom. Pri oblikovanju lestencev je Plečnik uporabil volovski rog, bosanske ročne mlinčke za kavo iz medeni-ne in barvne kozarce. Kor je po-doben kmečkemu ganku, s sve-drastimi podporniki, ki spominjajo na stiskalnice za sadje.

ADDRESS Črna vas 48COMMISSIONED BY Trnovo Parish O� ceDESIGN 1925–1939CONSTRUCTION 1937–1939

NASLOV Črna vas 48NAROČNIK Župnijski urad TrnovoNAČRT 1925–1939IZVEDBA 1937–1939

T he Church of St. Michael is a fi ne example of an inge-nious adaptation of sacral

architecture to local tradition. The church hall lies at an angle to the entrance and, because of frequent fl ooding on the marsh-lands, stands elevated on the fi rst fl oor and accessed by a monu-mental staircase. On the ground fl oor are living quarters for the priest, which are connected to the vestry by a staircase built into an apse. Because of the low bearing capacity of the marshy ground, the bell tower is detached from the building and constructed as a wall supported by arches. The church is constructed from local stone from Podpeč and wood do-nated by villagers. The pillars are constructed from concrete sew-age pipes, polished by villagers themselves. Although all of its el-ements derive from classical ar-chitecture, the church interior has a homey feeling. One of its unique features is the fenced space in front of the altar, intended for children. For chandeliers, Plečnik used ox horns, brass co� ee mills from Bosnia and coloured drink-ing glasses. The choir resembles a gank, a typically characteristic Slovenian peasant balcony, held up by gimlet-like supports not un-like fruit presses.

CERKEV SV. MIHAELA NA BARJU

CHURCH OF ST. MICHAEL ON BARJE MARSHLANDS

Načrt cerkvene fasade, 1937Design for the church facade, 1937


Načrt za cerkveni zvonik, ok. 1937Design for the church belfry, c. 1937

V novorenesančni stavbi iz 19. stoletja, kjer je bil se-dež trgovinske zbornice,

je Jože Plečnik ustvaril novo re-prezentativno stopnišče, poseben poudarek je namenil veliki zbornič-ni dvorani in preuredil podstrešni pas. Želel je povzdigniti kakovost domačih gradiv in slovensko ume-tno obrt. Pri oblikovanju arhitek-turnih elementov je izhajal iz egip-čanskih, minojskih in etruščanskih motivov. V veži je zanimiv barvit strop, ki govori o tolmačenju an-tike v skladu s teorijami arhitek-ta Gottfrieda Semperja. Portali so različnih višin in oblik. Hojo po stopnišču spremljajo različni ste-bri, od granitnih minojskih v prit-ličju do manierističnih lesenih na podstrešju. Oprema zbornične dvorane je bila odgovor na uredi-tev sejne sobe v Poštni hranilnici na Dunaju arhitekta Otta Wagner-ja. Fasada stopnišča je oblikovana v prispodobi lesenih brun, podob-no kot pri sočasno zasnovanem stopnišču k vrtovom na praškem gradu. Na dvorišču je arhitekt pos-tavil še vodnjak, ki v bakreni izved-bi posnema antično posodo.

TODAY Constitutional Court of the Republic of SloveniaADDRESS Beethovnova 10COMMISSIONED BY Chamber of Commerce, Crafts and IndustryDESIGN 1925–1927CONSTRUCTION 1925–1927

DANES Ustavno sodišče Republike SlovenijeNASLOV Beethovnova ulica 10NAROČNIK Zbornica za trgovino, obrt in industrijoNAČRT 1925–1927IZVEDBA 1925–1927

I n this 19th century neo-re-naissance building, the seat of the Chamber of Commerce,

Plečnik constructed a new repre-sentative staircase, added a spe-cial accent to the conference hall, and rearranged the attic area. He wanted to accentuate the quality of Slovenian construction materi-als and Slovenian arts and crafts. He used Egyptian, Minoan and Etruscan motifs for the various ar-chitectural elements. The interest-ing coloured ceiling in the entrance hall makes reference to antiquity and applies the theories of the ar-chitect Gottfried Semper. The por-tals are of di� erent heights and shapes. The staircase is adorned with a number of di� erent kinds of pillars, from Minoan granite mod-els on the ground level to manner-ist wooden ones on the attic level. The interior of the conference hall is a response to the main hall in the Post O� ce Savings Bank in Vien-na, designed by Otto Wagner. The façade on the staircase is shaped as an allegory of wooden beams and resembles the staircase lead-ing to the gardens of the Prague Castle, designed by Plečnik rough-ly at the same time. In the court-yard the architect erected a cop-per fountain shaped like an antique ceramic vessel.

ZBORNICA ZA TRGOVINO, OBRT IN INDUSTRIJO

CHAMBER OF COMMERCE, CRAFTS AND INDUSTRY

Minojski steber na stopnišču, ok. 1928Minoan column at the staircase, c. 1928

Leseni svedrasti steber na podstrešju, ok. 1928 Spiral wood column in the attic, c. 1928

FOTO/PHOTO: Andrej Hrausky


S rednjeveški leseni most, ki je povezoval dve ključni središči Ljubljane, Mestni

in Novi trg, so leta 1867 zamenjali z litoželeznim; ta je takrat pomenil revolucionaren tehnološki dose-žek. Zaradi njegove zgodovinske vrednosti je Jože Plečnik most prestavil v bližino anatomskega inštituta, leta 2011 pa so ga po-novno prestavili na novo lokacijo in danes povezuje Prule in Krako-vo. Gradnja Čevljarskega mostu je bila del širše regulacije Ljubljanice v tridesetih letih 20. stoletja. Pleč-nik je oblikoval trg nad vodo in ga označil s stebri. Mostni nosilec, ki stoji sredi reke, je širši kot sam most, kar je izkoristil in neposred-no nanj na vsaki strani postavil steber s svetilko. Tako sta na mo-stu dva različna tipa stebrov, ko-rintski, ki omejujejo prostor, in dva jonska, ki nosita luči.

COMMISSIONED BY Municipality of LjubljanaDESIGN 1931–1932CONSTRUCTION 1931–1932

NAROČNIK Mestna občina ljubljanskaNAČRT 1931–1932IZVEDBA 1931–1932

T he mediaeval wooden bridge that connected the town’s two key centres

– Mestni trg and Novi trg (Town Square and New Square) – had been replaced in 1867 by a cast-iron bridge, which at the time was considered a revolutionary tech-nological achievement. Due to its historical value, Plečnik moved the bridge to the vicinity of the In-stitute for Anatomy, and in 2011 it was again moved to a new lo-cation and now connects the dis-tricts of Prule and Krakovo. The building of the Cobbler’s Bridge was part of the broader urban planning scheme for the Ljubljan-ica river of the 1930s. Plečnik conceived a square over water and marked it with columns. The bridge’s bearing structure, stand-ing at the centre of the river, is wider than the bridge, and Plečnik made use of this to place a col-umn with a lamp directly onto the supporting structure as well as on each side of it. As a result there are two types of columns on the bridge: Corinthian columns en-closing the space, and two Ionian columns bearing the lamps.

ČEVLJARSKIMOST

COBBLER’S BRIDGE

Načrt mostu s pergolo, ok. 1931Design for the bridge with a pergola, c. 1931

Detajl načrta Čevljarskega mostu, ok. 1931A detail of the Cobbler’s Bridge design, c. 1931


V tridesetih letih 20. stole-tja so redovnice ljubljan-skega uršulinskega sa-

mostana prodale del svojega vrta. S tem so omogočile ureditev nove ulice med Prešernovo in Sloven-sko cesto, z denarjem pa so na-meravale zgraditi novo poslopje uršulinske gimnazije. Jože Plečnik je stavbo zasnoval tako, da so vse učilnice obrnjene proti jugu, na vrtno stran, ob glavni fasadi pro-ti severu pa je umestil pomožne prostore in velike avle, ki omogo-čajo uporabo za različne prire-ditve in druge dejavnosti. Ulična fasada je reprezentativna, okra-šena z venčnimi zidci in motivom polkrožnih oken, zadnja fasada pa je povsem brez okrasja. Stavba gimnazije je bila končana po drugi svetovni vojni in je imela prvotno učilnice tudi v pritličju. Med grad-njo kompleksa Trga republike v šestdesetih letih so pritličje na-menili javnemu programu, izgub-ljene učilnice pa je arhitekt Edvard Ravnikar leta 1966 nadomestil v novem prizidku gimnazije.

TODAY Jože Plečnik High SchoolADDRESS Šubičeva 1COMMISSIONED BY Ursuline MonasteryDESIGN 1939–1940CONSTRUCTION 1940–1947

DANES Gimnazija Jožeta PlečnikaNASLOV Šubičeva 1NAROČNIK Uršulinski samostanNAČRT 1939–1940IZVEDBA 1940–1947

I n the 1930s the nuns of the Ursuline Monastery sold a part of their garden. In doing

so they enabled the construction of a new street between Prešerno-va and Slovenska ulica Street, and obtained the necessary funding to build a new high school edifi ce. Plečnik conceived the edifi ce in such a way that all classrooms are located on the south side, point-ing towards the garden, while on the main façade facing north he placed service rooms and big lobbies to be used for di� erent events and other activities. The street-side façade is highly rep-

resentative, adorned with profi led projections and semicircular win dows, while the back façade is completely unadorned. The con-struction of the high school build-ing was fi nished after World War II, and originally there were class-rooms also at the ground level. During the construction of the Trg republike, Republic Square com-plex in the 1960s, the ground lev-el was dedicated to public pro-grams, and the lost classrooms were replaced in 1966 with Edvard Ravnikar’s new extension to the existing building.

URŠULINSKA GIMNAZIJA

URSULINE HIGH SCHOOL

Glavna fasada, 1940Main facade, 1940


Prerez celote, 1940A cross-sectional view of the building, 1940

J užni del obzidja rimske Emone je že pred prvo sve-tovno vojno izkopaval ar-

heolog dr. Walter Schmid in iz ori-ginalnih kamnov rekonstruiral zid do enotne višine. Po prvi svetovni vojni je zid oviral prehod iz centra mesta proti jugu in mestna občina se je obrnila na Jožeta Plečnika, da bi izvedel preboje in uredil oko-lico. Plečnik ni razmišljal o čim bolj verni ponazoritvi ostankov rimske Emone, ampak je skušal ustvari-ti splošen vtis arheološkega naj-dišča. Izhajal je iz romantičnega navdušenja nad antičnimi ruševi-nami, ki se je pojavilo v dobi rene-sanse. Okoli obzidja je uredil park z arheološkimi ostanki, ob nekda-njem obrambnem stolpu postavil lapidarij in odprl dva nova preho-da proti jugu. Prvega je označil z lokom, drugega s piramido, ki jo je zgradil kar iz kock, ki so jih upo-rabljali za preizkušanje trdnosti betona na bližnji Tehniki. Piramida je bila, v skladu z romantično vizijo ruševin, prvotno pokrita s travo, ki pa se ni dolgo obdržala.

E ven before World War I there were excavations at the south side of the Ro-

man Emona wall, led by the ar-chaeologist dr. Walter Schmid, who used original wall stones to reconstruct the wall to a uniform height. After World War I, the wall obstructed passage from the city centre to the south, and the city council commissioned Jože Plečnik to open it up and pro-duce a landscape plan for the sur-roundings. Plečnik did not attempt to restore the remains of Roman Emona as faithfully as possible; instead he tried to create the gen-eral impression of an archaeolog-ical site. His took as his starting point the romantic enthusiasm for ancient ruins that emerged in the time of the Renaissance. Along the walls he arranged a park with

ADDRESS MirjeCOMMISSIONED BY Ursuline MonasteryDESIGN 1926–1928CONSTRUCTION 1928–1938, 1953

NASLOV MirjeNAROČNIK Mestna občina ljubljanskaNAČRT 1926–1928IZVEDBA 1928–1938, 1953

RIMSKIZID

ROMAN WALL

archaeological remains, he erected a lapidarium next to the former de-fence tower, and opened up two new passages towards the south. He used an arch to mark the fi rst one, and to mark the second he used a pyramid he constructed from blocks for the near-by technical school used for testing the tolerance of concrete. In line with the romantic vision of ruins, the pyra-mid was originally covered with grass, which did not last long.



Piramida je bila pokrita s travno rušo, ok. 1936 The pyramid was covered with turf, c. 1936

S tavba stoji na izrazito ozki in dolgi parceli v zaključku niza starih hiš. Jože Pleč-

nik je na tem mestu ustvaril ur-banistični poudarek, s katerim je vzpostavil novo merilo tega dela mesta. Telo stavbe tvorijo stopni-často naložena nadstropja, ki so zasnovana kot različni arhitektur-ni sklopi. Ozko čelo stavbe zaklju-čujeta zimski vrt in jambor za za-stave. Nesimetrično kompozicijo glavne fasade zaznamujejo rene-sančni elementi. Tudi barvno kom-binacijo svetlega ometa in sivega umetnega kamna poznamo iz Pal-ladieve arhitekture. Iz nepravilne mreže odprtin na zadnji fasadi iz-stopa cilindrično stopnišče, ki vodi na sušilnico. V notranjosti stavbe je posebnost diagonalna delitev stopniščnih ram, ki v perspektivi povečuje prostornost utesnjenega stopnišča. Stavbo so zaradi njene posebne oblike kmalu poimenova-li Peglezen, po popačenki iz nem-škega izraza za likalnik.

P eglezen is situated on an exceptionally long and narrow plot of land at the

conclusion of a row of city hous-es. Here Jože Plečnik created an urban accent and established a new perspective for this part of the city. The body of the building consists of stories built one upon another as di� erent architectural units. The narrow gable ends with a winter garden and a fl agpole. The asymmetrical composition of the main façade is marked with Renaissance elements. The com-bination of light plaster and grey artifi cial stone is also character-istic of Palladian architecture. A cylindrical staircase leading to the drying loft extends beyond the ir-regular network of openings in the rear façade. A unique feature of the interior is the diagonal division of fl ights of stairs, which creates the optical illusion of expanding the space of the narrow stair-case. Because of its extraordi-nary shape, the building was soon named “Peglezen”, a deformation of the German word for an iron.

ADDRESS Poljanska 1COMMISSIONED BY Elsa and Matko PrelovšekDESIGN 1932–1934CONSTRUCTION 1932–1934

NASLOV Poljanska cesta 1NAROČNIK Elsa in Matko PrelovšekNAČRT 1932–1934IZVEDBA 1932–1934

PEGLEZEN THE FLAT IRON


Tlorisa dveh nadstropij, ok. 1933Layout design for two fl oors, c. 1933

Prvotni načrt stavbe, ok. 1932 The original design for the building, c. 1932

Z ureditvijo Trnovskega pri-stana je Jože Plečnik sledil svoji zamisli o povezavi med

mestom in Ljubljanico, ki naj bi postala eden od vodilnih urbanih motivov mesta. V ta namen je ob reki zasnoval park s terasami, ki se spuščajo k vodi. Zasadil je dre-vored iz vrb in postavil klopi za po-sedanje. Eleganca zasnove izha-ja iz rahlo zavitih teras, ki sledijo toku reke in posnemajo valovanje. S preprostimi sredstvi je ustvaril izjemen ambient za doživljanje vo-dnega elementa. Terase, pa tudi samo ime »pristan«, spominjajo na nekdanje pristanišče na tem mestu, kjer so raztovarjali kamen, ki so ga že v času rimske Emone vozili iz kamnoloma v Podpeči.

I n planning the Trnovski pristan area, Jože Plečnik fol-lowed his idea of a connection

between the city and the river Lju-bljanica, which was to become one of the city’s guiding urban motifs. To this end he designed a park by the river, with terraces sloping down towards the water. He plant-ed rows of willow trees and in-stalled benches. The elegance of his design is evident in the gently curved terraces following the fl ow of the river and mimicking its un-dulating movements. With his use of simple elements he created an exceptional ambience in which we can still experience water as an el-ement. The terraces and the name “pristan” (quay) itself reference the former harbour at this site, which dates as far back as Roman Emona, when it was used to un-load the stone shipped in from the Podpeč quarry.

COMMISSIONED BY Municipality of LjubljanaDESIGN 1930CONSTRUCTION 1930–1935/36

NAROČNIK Mestna občina ljubljanskaNAČRT 1930IZVEDBA 1930–1935/36

TRNOVSKI PRISTAN

TRNOVO QUAY


Urejanje bregov Ljubljanice pri izlivu Gradaščice, 1931Arrangement of Ljubljanica embankments by the outfall of the Gradaščica River, 1931

Trnovski pristan po prenovi, 2008 (FOTO: Jagoda Jejčič)Trnovo quay after the renovation, 2008 (PHOTO: Jagoda Jejčič)

ZASNOVA RAZSTAVE�/�EXHIBITION CONCEPTŠpela Spanžel (Ministry of Culture)Matevž Čelik (MAO)Blaž Peršin (MGML)

KUSTOSINJI RAZSTAVE�/�EXHIBITION CURATORS Natalija Lapajne (MAO)Ana Porok (MGML)

BESEDILO�/�TEXT Andrej Hrausky

PREVOD V ANGLEŠKI JEZIK�/�TRANSLATED FROM SLOVENE (ENG) Darja Horvatič

COPY EDITING (ENG)Je� Bickert

OBLIKOVANJE�/�DESIGN Matej Koren Studio

FOTOGRAFIJE�/�PHOTOS Damjan Prelovšek (MGML)Matevž Paternoster (MGML)Andrej HrauskyJagoda Jejčič

NAČRTI�/�ORIGINAL MATERIAL Dokumentacija MGML, Plečnikova zbirka�/MGML Documentation, Plečnik Collection

PROJEKT PODPIRA�/�THE PROJECT IS SUPPORTED BY Ministrstvo za kulturo�/�Ministry of Culture

Republic of Slovenia Ministry of Culture

Republic of Slovenia Ministry of Foreign A� airs

Museum of Architecture and Design

Museum & Galleries of Ljubljana, Plečnik House

Ljubljana designed by the architect Jože Plečnik

RAZSTAVA PLEČNIKOVA LJUBLJANA

PLEČNIK’S LJUBLJANA EXHIBITION

Cerkev sv. Mihaela na barjuFOTO: Damjan PrelovšekChurch of St. Michael on Barje MarshlandsPHOTO: Damjan Prelovšek

plečnikova ljubljana plečnik’s ljubljana · os, ki vodi od njegove hiše v trno-vem do...

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