“Croatian House ” by KAMILO TONČIĆ in Split

U tekstu se, temeljem fotografija od kojih se neke objavljuju prvi put, rekonstruira izvorni izgled secesijske zgrade Hrvatskog doma u Splitu kao zrelog arhitektonskog djela Kamila Tončića. Donosi se i kronološki pregled uloge Hrvatskog doma u društvenoj povijesti grada Splita koji pridonosi spomeničkoj vrijednosti zgrade.The idea of building a “Croatian House”, in which the Split culture, art and sporting associations connected to National Party would be located Narodna čitaonica (People’s Reading Room), Slavjanski napredak (Slav Progress), Narodna glazba (National Music), the Volunteer Fire-Fighters, Muzikalno društvo „Zvonimir“ (the Zvonimir Musical Association) and Hrvatski sokol (the Croatian Hawk – sporting association) came upon the scene in 1896. At the turn of the century artists who elevated the cultural and artistic life of Split and took it out of the provincial context, placing it shoulder to shoulder with European contemporaries, came together in the National party circles. The design of the building made in the spirit of Art Nouveau architecture by Kamilo Tončić in 1906 was bold and avant-garde for a centre in which up to then Historicist or revival architecture had prevailed; in consequence it aroused diverse public reactions. But the Croatian House was nevertheless built according to the Tončić design, and opened in 1908. It had an important role in the musical life of Split as a gathering place for musicians, as a stage and concert venue, all the way up to World War I. The most important event in the first year of the existence of the Croatian House was the organisation of the First Dalmatian Art Exhibition at which the foundation of the Medulić Croatian Art Association was mooted, and the idea for founding the Gallery of Fine Art was also put forward. In the changed political circumstances after World War I, the House lost its pre-war role as an essential factor in the creation of the musical and artistic life of the city. When the Sokol association of the Kingdom of Yugoslavia was formed in 1929, all activities in the Sokol House unfolded under the aegis of Sokol (Hawk), for it was a state organisation; the art and cultural events did not rise above the average amateur level. The most important event in the working of the amateur sections of Sokol was the foundation of the puppet theatre in 1933, on the foundations of which the Marionette Theatre still in operation today was built in 1945. After WWII, the onetime Croatian and later Sokol House was renamed Youth House, while along with the Split City Puppet Theatre, various sporting organisations were assigned the premises of the House. The house was remodelled and extended in 1930 and 1939, and thoroughly remodelled in 1942, when all the decorations on the facade and in the interior of the grand hall were destroyed in order to bring out the monumental aspects of the house in the spirit of fascist architecture. The concept of the building is a simple T-shaped ground floor. In the northern part of the site there is a narrow four-storey building with an attic along the long side placed parallel to the street in which the premises of the societies were located, while at the end of the plot, perpendicularly to it, is a two-storey building with a grand hall on the upstairs. With logical grouping of features and a functional arrangement, the spatial constraints of the plot were made use of to the best extent and complemented with an extensive programme that was supposed to meet the needs of the associations so that all of them should have their own individual quarters while making use in common of the grand hall meant for municipal events, joint events and Sokol members’ athletic exercises. Although the principal facade is symmetrical with the main entrance in the middle, the courtyard part of the house with the hall is not built on its vertical axis, but shifted to the west. At the joint of the street and courtyard part of the house there are the grand stairs. The non-formalist asymmetrical disposition of volumes between the courtyard wing of the Croatian House and the neighbouring house left room for a large exercise space outdoors. Only a photograph of the drawing of the main facade remains of the design of the Croatian House. By rectification of the historical photographs, the drawing of the built facade was reconstructed, and a comparison of the project and the original appearance of the original facade shows that the design really was built, in basic idea and composition, and that alterations were made only to some of the decorative features. The lobby of the auxiliary eastern entrance and the threeflight stone staircase are kept in original form. The rectification of the previously unknown photographs of the interior of the hall has allowed the reconstruction of the original volume, position and repertoire of decoration. The space of the hall that we know of today in denuded form consists of two parts: the grand hall with the stage and the backstage areas. Abstract, linear and almost flat details, floral motifs, female heads with flowers and leaves in their hair and masks – common in the Art Nouveau idiom – were applied in the iconographic programme. In the choice of construction material and the manner of construction Tončić opted for the classic solid masonry construction of roughly worked stone blocks in lime mortar, smoothly rendered. The between-floor constructions were of wood, as was that of the gable roof. The flights of stairs with stone steps were leaned on iron I-section girders clad in rendered moulding. The pilasters alongside the central entrance, the pillars on the facade with an emphasised cornice and the attic are made of concrete, but they are only decorative and not structural elements of the building. The building of the Croatian House was adapted to the possibilities (i.e. the constraints) of the site and the function, that is, the needs of its users, in the allocation of the fundamental volumes and in the organisation of space. The interior decoration was also adjusted to the contents (the modestly decorated staircase area as against the luxuriant decoration of the grand hall), and a clearly, symmetrically and gracefully designed facade enhanced with Art Nouveau decorations and the characteristic Tončić details reveal its almost classical composition. The representative Art Nouveau building of the Croatian House, designed in the spirit of the Wagner school and its earlier works, is the original work of a mature architect in whom along with an echo of the classicist tradition the architecture of the modern age can also be sensed. But it is not just its Art Nouveau idiom that imparts a particular heritage value to the Croatian House, but also the events and personalities linked with it, whose importance in the history of the city of Split and Croatian art surmounts that of the building itself

Livestock landscape of the island of Vis - Krušovica pond

U radu se raspravlja o obzidanoj lokvi Krušovici kao unikatnom spomeniku tradicijskog graditeljstva na otoku Visu. Svojim nazivom lokva koji se sačuvao u narodu svjedoči o davnoj prošlosti otoka u kojoj je danas zaboravljeno stočarstvo bilo značajna grana privređivanja, a svojim oblikom svjedoči o transformacijama otočke ekonomije polovicom devetnaestog stoljeća u kojima je u novoj funkciji bunara imala značajno mjesto u komiškoj tradicijskoj kulturi.In the medieval economy of the island of Vis, along with agriculture and fishing, livestock breeding was an important branch of earning. Over time, livestock breeding has been declining, although in the middle of the 19th century, cheese was one of the island’s major export products. At the end of the 19th and in the 20th century, livestock breeding completely vanished from the island. Two ponds registered in an Austrian cadastral survey in the first part of the 19th century testify about the livestock landscape of the island of Vis; the pond in Velo polje and Krušovica pond. Krušovica pond is particularly interesting since the transformation of the island’s economy transformed it as well, adapting it to the new function. Krušovica pond was created as a natural accumulation of rainwater on the clay ground of the Krušovica hill between Podhumlje and Dračevo field. It is laid on the pastures, far away from the village. During the time of the island’s economy transformation when livestock breeding gave way to viticulture and fishing, the pond was further deepened and reinforced with a dry-wall base, the bottom was paved with stone plates, and stairs for descending into the water were built on three sides. It was transformed into a well, the water of which was used for washing laundry by people from Podhumlje, Žena Glava, and Duboka. The fact that Krušovica pond was given a special cadastral number (parcel) and that it was noted in blue in 1834 on the cadastral map, indicates that it was reinforced before (or during) the making of the Austrian cadastre. Three paths lead to Krušovica. Every village had its own access to Krušovica and its own stairs for descending into the water, i.e. its own place next to the pond. Krušovica is a unique monument of traditional architecture on the island of Vis. Its name "pond" (lokva, in Croatian) which was preserved among people, testifies about the ancient past of the island in which now-forgotten livestock breeding was an important branch of earning, while with its shape it testifies about the transformations of the island’s economy in the middle of the 19th century in which, in its new function as a well, it had a significant place in the traditional culture of Komiža

Hrvatski dom u Splitu, izazov obnove

Reprezentativna secesijska zgrada Hrvatskog doma izgrađena je 1908. godine prema projektu Kamila Tončića. Projektirana u duhu Wagnerove škole, unijela je nova strujanja u arhitekturu Splita. Tijekom Drugoga svjetskog rata i ranog poraća otučen je secesijski ukras pročelja i svečane dvorane. Konzervatorski pristup obnovi usmjerila je valorizacija zgrade kao vrhunskog spomenika secesije u kojem je dekoracija sastavni dio arhitektonske kompozicije, s kojom tvori jedinstvenu cjelinu. Stoga je, bez obzira na nepostojanje materijalnih ostataka, obnova dekoracije bila imperativ. U tekstu se obrazlaže tijek obnove izvornog izgleda zgrade prema sačuvanim povijesnim fotografijama – kao prilog konzervatorskoj praksi te podloga za teoretsko promišljanje i raspravu o višeznačnosti pojma (metode) rekonstrukcije u obnovi graditeljske baštine

Gradnja mlina – umijeće koje nestaje; Gašpina mlinica u Solinu

Gašpina mlinica u Solinu prvi se put spominje u dokumentima 1711. godine. Više je puta dograđivana te je u prvoj polovini XX. stoljeća u njoj radilo petnaest mlinskih postrojenja. Mlinovi Gašpinih mlinica pripadali su najrasprostranjenijem tipu dalmatinskih mlinova s vodoravnim mlinskim kolom. Najveći izazov pri obnovi mlinice bila je gradnja mlina (mlinskog postrojenja). Iako su dijelovi mlina poznati i više puta opisani u literaturi, gradnju smo željeli izvesti na tradicijski način i povjeriti graditelju koji je svoje tehničko umijeće naučio usmenom predajom, radeći sa starijima i upijajući njihovo iskustvo. Gospodin Mate Maćo Žura iz Skradina izradio je od hrastovine novi mlin u Gašpinoj mlinici prema svojem iskustvu, bez inženjerskog nacrta. Prateći Maćin rad, zabilježila sam tijek gradnje mlina, a njegovo iskustvo pretočila u arhitektonske crteže i tekst o gradnji mlina ne bih li tako barem dijelom sačuvala umijeće koje nestaje

VOŠTANE – ČOVJEK I PROSTOR POČETKOM 19. STOLJEĆA

Oskudni povijesni izvori ne govore gotovo ništa o načinu života i organizaciji prostora Voštana u prošlosti pa su podaci iz austrijske katastarske izmjere provedene 1831. godine jedini povijesni izvor iz kojeg se čitaju socijalne, demografske i ekonomske prilike Voštana. Paralelnim čitanjem katastarskih karata, upisnika čestica zemlje i upisnika čestica zgrada upoznajemo elemente koji karakteriziraju kako prirodno okruženje, tako i organizaciju prostora proizašlu iz načina života i privređivanja. Kulturni krajolik Voštana zabilježen u katastru s početka 19. stoljeća je odraz tradicijskog načina života stočara koji se nije bitno mijenjao sve do polovice dvadesetog stoljeća

SPOZNAJE O GRAĐEVINAMA ZAPADNOG TEMENOSA DIOKLECIJANOVE PALAČE U SPLITU - KRONOLOGIJA

U tekstu se objedinjavaju dosadašnje spoznaje o građevinama zapadnog temenosa dobivene terenskim istraživanjima tijekom duge povijesti znanstvenog interesa za Dioklecijanovu palaču. Neobjavljeni arhivski podaci institucija koje su provodile i (ili) dokumentirale istraživanja te podaci iz literature poredani kronološki daju uvid u pristup istraživanju i načinu dokumentiranja. Prostorni položaj sondi u gradskom tkivu pokazuje da je ciljanim istraživanjima i slučajnim nalazima gotovo u potpunosti otkrivena kasnoantička faza izgradnje u zapadnom temenosu. Objedinjene spoznaje o građevinama zapadnog temenosa Palače prilog su novoj sintezi kojom će se obuhvatiti sva do sada prikupljena znanja o Palači i koja će postati baza za nove interpretacije

HOTEL CENTRAL NA SPLITSKOJ PJACI

Sklop hotela ‘Central’ na Narodnom trgu u Splitu u svojoj funkciji ima kontinuitet od sedamdesetih godina 18. stoljeća, kada je u zgradi na sjeveroistočnom uglu sklopa otvorena prva splitska kavana. Kavana i hotel bili su središte društvenoga, političkoga i kulturnog života Splita, naročito krajem 19. i početkom 20. stoljeća. U osvit 21. stoljeća hotel je napušten i devastiran. Ostala je samo kavana u kojoj nove generacije Splićana ni po čemu ne prepoznaju njezino značenje u kulturnoj povijesti grada. U povodu predstojeće obnove hotela u radu se apostrofira uloga kavane i hotela u splitskoj povijesti te se temeljem recentnih arheoloških, konzervatorskih i restauratorskih istraživanja daje prilog poznavanju transformacija njegovoga graditeljskog sklopa

Spatial Planning in Rural Cores

Člankom dajemo kritički prikaz Programa poticanja obnove raseljenih i zapuštenih sela „Etno-eko“ Splitsko-dalmatinske županije kojim se potiče obnova sela kao turističkog resursa. Problematiziramo izradu prostorno-planske dokumentacije za obnovu sela. Imajući u vidu da će snimak postojećeg stanja i analiza naselja ostati trajni dokument o tradicijskoj gradnji koja se novom namjenom transformira, dajemo upute o sadržaju i mjerilu geodetskog snimka koji bi trebao biti podloga za izradu arhitektonskog snimka svake građevine te navodimo elemente koje treba sadržavati svaki konzervatorski elaborat sa smjernicama za izradu prostornih planova. Osvrćemo se na vrstu i sadržaj prostornih planova koje propisuje Zakon o prostornom planiranju, a koje smatramo neadekvatnim za planiranje u ruralnom prostoru.Changes to the traditional way of living and earning had two distinct effects onrural spaces and they way they appeared: either the complete abandonment of villages, or their transformation through which all traditional characteristics were lost. The only way to revive abandoned villages would be the return of their inhabitants along with economic stimulation which would motivate those inhabitants to live in them. This article gives a critical review of the "Ethno - Eco" economic Program of Split – Dalmatian County for the Promotion of the revival of the displaced and uncared for villages. The authors also talk about their own experiences regarding the preparation of foundations for making plans for the revival of rural cores, and reviewing the types and contents of special plans appointed by the Law on Spatial Planning, and which the authors consider to be inadequate. The “Ethno – Eco” Program encourages the renewal of rural cores which should become tourist destinations, and thus a source of income for the local population. Regardless the degree of legal protection, the Program prescribes the making of spatial planning documentation for the renewal of every valuable core, preceded by an elaborate preservation system with protective measures, which is an extremely valuable contribution to the protection and preservation of traditional construction. One of the protection measures of traditional architecture is documentation of the pre-existing conditions of the buildings which, through repurposing, will lose their original, inner spatial organization and function. Bearing in mind that a quality survey of the pre-existing conditions will be a permanent document about a traditional building which will be transformed for its new purpose, the authors gave instructions regarding the contents and findings of a geodetic survey which is the foundation for the preservation, and at the same time also the foundation for making an architectural survey of each building. Based on their experience in making preservation elaborates for the villages of Humac and Malo Grablje, the authors presented the elements which each preservation elaborate should contain so the protection measures and directions for making spatial plans could be established even for those settlements for which the preservation documentation is not done by the employees of the preservation departments. Through the cooperation in making spatial planning documentation, the authors noticed that the Urban Plan for Planning (UPU in Croatian) and the Detailed Plan for Planning (DPU in Croatian) are not applicable for planning rural cores. The character of the Urban Plan for Planning which makes the plans for separate zones different according to their purposes is not in accordance with the basic characteristic of the rural space in which residential and economic purpose are inseparable and mutually intertwined. Rural cores need more detailed plans which will establish the conditions of renovation of each building separately, as well as all of the elements of the settlement as a whole. In that sense, we might apply the Detailed Plan for Planning. However, the Detailed Plan for Planning, which is based on a defined land subdivision and which also sets the purpose of buildings, is not suitable for construction planning in the new zones, as well as in interpolations and reconstructions in the existing tissue of a village. The authors advocate defining of a special category of the spatial plan which would be adjusted to the space of the village, the plan which would be flexible enough for zoning and yet detailed in preparation of the special conditions for the renovation of the pre-existing construction funds and inherited spatial structure of the village. The preservation elaborate should be an integral part, and not the foundation, for making such a plan

Spatial Development of the Southeast Part of Diocletian’s Palace*

Jugoistočni dio Dioklecijanove palače razvijao se drugačije od ostalih njezinih dijelova te je stoga drugačije tretiran u radovima očuvanja i obnove. Srednjovjekovni nadbiskupski posjed koristio se antičkim prostorijama koje su se većim dijelom očuvale sve do početka XVI. stoljeća. Rušenjem nadbiskupske palače nad zasutim je podrumima nastao slobodan prostor koji se od druge polovice XVI. stoljeća nadalje postupno izgrađuje. Ta novija izgradnja nije vezana za antički raster podruma. Temeljenje dijelom na nasipu, a dijelom na antičkim supstrukcijama utjecalo je na stabilnost građevina koje su u XX. stoljeću u ruševnom stanju.The southeast part of Diocletian\u27s Palace developed in a different way from the other parts, and it was thus treated differently in conservation and restoration. The medieval archbishopric used the Roman halls and they were mostly preserved until the early 16th century. When the archbishop\u27s palace, that stood above the filled-in basements, was pulled down the ensuing empty space was gradually built up after the second half of the 16th century. This newer construction ignored the classical grid of the basements. The buildings were partly founded on the rubble of the fill, and partly on the Roman substructures, which affected their stability so that were in a ruinous state in the 20th century