Arts Hall by Ivan Meštrović: Construction, Deconstruction and Renewal

Dom hrvatskih likovnih umjetnika sagrađen je 1938. godine u Zagrebu prema idejnoj zamisli kipara Ivana Meštrovića iz 1933. godine, uz suradnju pri projektiranju i realizaciji tada istaknutih arhitekata (Ivan Zemljak, Harold Bilinić, Lavoslav Horvat, Zvonimir Kavurić i drugi). Tijekom 1941. godine Dom je pregrađen u džamiju, tako da mu je, prema projektu Zvonimira Požgaja, preuređena unutrašnja arhitektura prekrivanjem svih zidova islamskom ornamentikom te dodavanjem armiranobetonske kupole iznad središnje dvorane i niša duž obodnih zidova, a prema projektu Stjepana Planića zgradi su dodana tri minareta i pred glavnim je ulazom formiran trg s bazenom. Nakon 1945. Dom je korišten kao Muzej partizanske borbe u Hrvatskoj tijekom Drugoga svjetskog rata: tada su srušeni minareti i uklonjene su unutrašnje dekoracije džamije. Prema programu Muzeja, 1951. su u središnjoj dvorani dograđene nove galerije i stubišta od čelične konstrukcije prema projektu Vjenceslava Richtera. Sve te naslage pregradnji uništile su izvornu koncepciju i kvalitetu Doma, te su uklonjene u razdoblju 2001.-2003. godine u organizaciji Kuratorija Hrvatskog društva likovnih umjetnosti (Radovan Ivančević, Robert Šimrak, Zlatan Vrkljan, Feđa Vukić), a prema projektu obnove Andrije Mutnjakovića.The Arts Hall [Dom hrvatskih likovnih umjetnika] was constructed in 1938, based on the 1933 concept design of sculptor Ivan Meštrović, collaborated with - on conception and relalization - then-well-known architects (Ivan Zemljak, Harold Bilinić, Lavoslav Horvat, Zvonimir Kavurić and others). In 1941, the Arts Hall was converted into a mosque, and according to the project of Zvonimir Požgaj the internal architecture was changed through the covering of all walls with Islamic ornamentation and the addition of a reinforced-concrete dome above the central hall and a recession along the circumferential walls. Also - according to a project by Stjepan Planić - three minarets were added to the building, and in front of the main entrance a square with a pool was added. After 1945, the Arts Hall was used as a museum of partisan battles in Croatia during the Second World War: the minarets were demolished and the internal decorations were removed. According to the museum\u27s program, in 1951 a new gallery and steelconstructed stairs were added to the central hall, based upon a project by Vjenceslav Richter. All of these layers of reconstruction served to destroy the original conception and quality of the Arts Hall, and were removed in the period from 2001-2003 through the organization of the curatorship of the Croatian Association of Artists, composed of Radovan Ivančević, Robert Šimrak, Zlatan Vrkljan, Feđa Vukić, and based upon a renewal project by Andrija Mutnjaković

Bourek – Versatile Artist (Complete Author)

Zlatko Bourek je kipar, slikar, scenarist, scenograf, filmski animator, kazališni i filmski režiser, lutkar, primijenjeni umjetnik. Tim nevjerojatnim umjetničkim opusom fascinantno je izrazio kvalitete svog zavičaja: beskrajne ravnice Slavonije što se na horizontali horizonta sljubljuju sa svemirom, smirene tokove okupljališta, raskošne i raskalašene gozbe građana, životne sudbine Slavonaca ispunjene razdraganošću, strašću, ljubavlju i strahotama progona. Izrazio je to spontanim skicama, bogato koloriranim slikama, maštovitim skulpturama, virtuoznim crtežima animiranih filmova, grotesknim lutkama, originalnim kazališnim scenarijima, režijama filmova i kazališnih uprizorenja, reprezentativnim izložbama i uzoritim knjigama. Cjelovito valoriziran Bourekov opus, prezentiran sintezama i analizama artističkih segmenata opusa, zaslužan je trajni spomenik genijalnosti autora, životu Slavonije i hrvatskoj kreativnosti.Zlatko Bourek was a sculptor, a painter, a scriptwriter, a stage designer, a film animator, a theatre and film director, a puppeteer, and an artist who engaged in applied arts. In his incredible artistic oeuvre, he expressed with great fascination the qualities of his native country: endless Slavonian plains fusing on the horizontal line of the horizon with the universe; calm nature of the meeting places; luxurious and libertine feasts; life and fate of the Slavonians filled with joy, passion, love, and horrors of war persecution. He expressed all this with spontaneously drawn sketches, richly coloured paintings, imaginative sculptures, masterful drawings for animated films, grotesque puppets, original theatre scripts, directions of films and theatrical plays, representative exhibitions, and exemplary books. A complete validation of Bourek’s oeuvre, presented through syntheses and analyses of the artistic segments thereof, is a lasting monument to the genius of the author, the life in Slavonia, and the Croatian creativity

Architectonics of the Pope Sixtus V

Papa Siksto V. (1585. – 1590.) bitno je pridonio reformi kršćanske religije, a urbanističkom i arhitektonskom revitalizacijom Rima postavio je temelje novovjekovnog gradograditeljstva. Kao sin hrvatskog izbjeglice iz Boke Kotorske označavao je svoje podrijetlo naglašenom brigom za hrvatski Kaptol i crkvu svetog Jeronima na obali Tibera. Želeći omogućiti hodočasnicima prohodan obilazak sedam kultnih rimskih bazilika, trasirao je i djelomično izgradio i danas prisutnu mrežu ulica preko cijele površine Rima, koja će postati uzor baroknog urbanizma i time koncepcije razvitka europskih gradova. Izgradnjom Lateranske, Kvirinalske i Vatikanske palače ostvario je standard rimskog graditeljstva i europskih monarhističkih palača. Izgradnjom Vatikanske biblioteke osnovao je uzorak reprezentativne bibliotečne arhitekture. Postavljanjem obelisaka i fontana po trgovima i raskrižjima otkrio je kvalitetu barokne urbane akcentacije. Postavljanjem kupole ponad bazilike svetog Petra načinio je konstruktivno izvanredno smjelu i oblikovno atraktivnu simboliku snage vjere. Obnovio je preko stotinu rimskih crkvi za dobrobit rimskog puka i brojnih romara, a sagradio je samo jednu crkvu za svoju dušu: Hrvatsku crkvu svetog Jeronima.The Pope Sixtus V (1585 – 1590) contributed to the reform of Christian religion considerably and with his town-planning and architectonic revitalization of Rome he laid foundations to modern architecture. As he was son of a Croatian refugee from Boka Kotorska he expressed his Croatian origin with distinct care for Croatian Chapter and the church of St. Jerome on the banks of the Tiber. With his good intentions to enable pilgrims a passable tour around seven classic Roman basilicas he traced and partly constructed a street network around Rome that would become the role model of the baroque town-planning and eventually the European town development concept. By constructing Lateran, Quirinal and Vatican palaces, he set the standard to Roman architecture and European monarchic palaces. By constructing the Vatican library he set the role model of representative librarian architecture. He revealed the quality of baroque town-planning accentuation by placing obelisks and fountains on squares and crossroads. The construction of the dome above the St. Paul’s basilica reflected an extraordinary constructionally daring and formally attractive symbolics of the power of faith. He restored over hundred Roman churches for the benefit of the Roman folk and numerous pilgrims and he built one church wholeheartedly: the Croatian church of St. Jerome

Architectonics of the Pope Sixtus V

Papa Siksto V. (1585. – 1590.) bitno je pridonio reformi kršćanske religije, a urbanističkom i arhitektonskom revitalizacijom Rima postavio je temelje novovjekovnog gradograditeljstva. Kao sin hrvatskog izbjeglice iz Boke Kotorske označavao je svoje podrijetlo naglašenom brigom za hrvatski Kaptol i crkvu svetog Jeronima na obali Tibera. Želeći omogućiti hodočasnicima prohodan obilazak sedam kultnih rimskih bazilika, trasirao je i djelomično izgradio i danas prisutnu mrežu ulica preko cijele površine Rima, koja će postati uzor baroknog urbanizma i time koncepcije razvitka europskih gradova. Izgradnjom Lateranske, Kvirinalske i Vatikanske palače ostvario je standard rimskog graditeljstva i europskih monarhističkih palača. Izgradnjom Vatikanske biblioteke osnovao je uzorak reprezentativne bibliotečne arhitekture. Postavljanjem obelisaka i fontana po trgovima i raskrižjima otkrio je kvalitetu barokne urbane akcentacije. Postavljanjem kupole ponad bazilike svetog Petra načinio je konstruktivno izvanredno smjelu i oblikovno atraktivnu simboliku snage vjere. Obnovio je preko stotinu rimskih crkvi za dobrobit rimskog puka i brojnih romara, a sagradio je samo jednu crkvu za svoju dušu: Hrvatsku crkvu svetog Jeronima.The Pope Sixtus V (1585 – 1590) contributed to the reform of Christian religion considerably and with his town-planning and architectonic revitalization of Rome he laid foundations to modern architecture. As he was son of a Croatian refugee from Boka Kotorska he expressed his Croatian origin with distinct care for Croatian Chapter and the church of St. Jerome on the banks of the Tiber. With his good intentions to enable pilgrims a passable tour around seven classic Roman basilicas he traced and partly constructed a street network around Rome that would become the role model of the baroque town-planning and eventually the European town development concept. By constructing Lateran, Quirinal and Vatican palaces, he set the standard to Roman architecture and European monarchic palaces. By constructing the Vatican library he set the role model of representative librarian architecture. He revealed the quality of baroque town-planning accentuation by placing obelisks and fountains on squares and crossroads. The construction of the dome above the St. Paul’s basilica reflected an extraordinary constructionally daring and formally attractive symbolics of the power of faith. He restored over hundred Roman churches for the benefit of the Roman folk and numerous pilgrims and he built one church wholeheartedly: the Croatian church of St. Jerome

Zlatko Bourek: Sokol Loved Him

Zlatko Bourek rodio se i maturirao u Osijeku, te mu je, na prijedlog Hrvatske akademije znanosti i umjetnosti, rodni grad 2017. godine dodijelio najviše priznanje za njegov svestrani umjetnički opus – Nagradu grada Osijeka za životno djelo. Prijedlog za nagradu uputila je Hrvatska akademija znanosti i umjetnosti, a tekstualno obrazloženje prijedloga sadržaj je ovog članka. Tekst je upotpunjen karakterističnim ilustracijama Bourekova opusa kao grafičara, slikara, kipara, lutkara, kostimografa, filmskog animatora i kazališnog režisera. Opus ukazuje na autorovu fascinaciju slavonskim zavičajem, njegovim ravnicama i rijekama, ribama i plovilima, strasnim izazovima, raskalašenim gozbama i okrutnim tragedijama. Simbolično je to naznačeno sintagmom Sokol ga je volio kao antitezom Šovagovićevoj interpretaciji tragičnoga slavonskog usuda filmom nazvanim Sokol ga nije volio.Zlatko Bourek was born and completed his secondary education in Osijek. At the suggestion of the Croatian Academy of Sciences and Arts, his home town awarded him its highest honour – the City of Osijek Lifetime Achievement Award – for his diverse artistic opus. The suggestion for this award was sent by the Croatian Academy of Sciences and Arts, and this article contains the textual explanation for this suggestion. The text is complemented with typical illustrations from Bourek’s opus as a printmaker, painter, sculptor, doll maker, costume designer, animator, and theatre director. His work indicates his fascination with his Slavonian homeland, its plains and rivers, fish and boats, fervent challenges, luxurious feasts, and cruel tragedies. This is emphasised symbolically in the syntagm Sokol loved him, as the antithesis to Fabijan Šovagović’s interpretation of the tragic Slavonian fate in the film Sokol Did Not Love Him

Bourek’s Bećarac – an Animated Film

Zlatko Bourek animiranim fi lmom interpretira popularni vokalno-instrumentalni napjev iz sjevernih krajeva Hrvatske, nazivan Bećarac. Originalna i specifi čna atraktivnost Bećarca, izražena u spoju spontane vedre poezije u deseteračkim dvostihovima i veseloj glazbi sviranoj narodnim glazbalima, ocijenjena je od Ministarstva kulture Republike Hrvatske kao nematerijalno kulturno dobro Hrvatske, a UNESCO je uvrstio Bećarac u Listu svjetske kulturne baštine. Autor je kratkometražnim fi lmom ilustrirao teme Bećarca koje prate ljubavno sjedinjenje mladenaca i time profi njeno izrazio karakteristike lirike, glazbe i ljepote Bećarca. Film Bećarac dio je bogatog autorovog opusa izraženog u nekoliko animiranih i igranih fi lmova, u režiji, kostimografi ji i scenografi ji lutkarskih i kazališnih predstava, te u grafi čkim, slikarskim i skulptorskim djelima. Filmovi, kazališne predstave i likovne izložbe nastajale su u Hrvatskoj i Njemačkoj, a prikazane su na brojnim svjetskim scenama i galerijama.Zlatko Bourek’s animated fi lm interprets a popular vocal-instrumental song called the Bećarac from the northern region of Croatia. The original and individual attractiveness of the Bećarac, expressed in a combination of spontaneous light poetry in decasyllabic couplets and joyful music played on folk instruments, was declared intangible Croatian cultural heritage by the Croatian Ministry of Culture, and UNESCO has placed the Bećarac on its List of World Cultural Heritage. The author illustrated the Bećarac in a short fi lm that follows the courtship of a young bride and groom, and in doing so, delicately expressed the characteristics of the lyrics, music, and beauty of the Bećarac. The fi lm Bećarac is part of the authors rich opus of a number of animated and feature fi lms, direction, costuming and scenography of puppet shows and plays, and works of graphics, painting, and sculpture. His fi lms, plays, and art exhibitions came about in Croatia and Germany, and have been presented on numerous world stages and galleries

The Architectonics of Miroslav Begović

Istaknuti hrvatski arhitekt i sveučilišni profesor Miroslav Begović (1925. – 2004.) autor je većeg broja projektiranih i sagrađenih zgrada, unutarnjih uređenja, teoretskih rasprava i uredničkih izdanja. Begovićeva arhitektonika prezentirana je s nekoliko odabranih projekata: Izložbeni paviljon u Zagrebu, Galerija naivne umjetnosti u Hlebinama, Moderna galerija u Zagrebu, Atelijer Ivana Meštrovića u Zagrebu, Trgovačka kuća Varteks u Zagrebu, Trgovačka kuća Varteks u Varaždinu, Stambeno-poslovni blok Tkalčićeva – Radićeva ulica u Zagrebu, Hotel Eden u Rovinju. Razmatranjem arhitektonskih spoznaja navedenih djela moguće je sagledati Begovićevo razumijevanje graditeljske baštine i stvaralačke interpretacije recentnih arhitektonskih saznanja u okviru teza regionalizma, mimikrije, dihotomije, metabolizma, kinetike, biomorfologije i homocentrizma.Influential Croatian architect and university professor Miroslav Begović (1925 - 2004) was the author of a great number of planned and constructed buildings, interior designs, theoretical discussions and editorial publishings. Begović’s architectonics are presented through a few selected projects: the Exhibition Pavilion in Zagreb, the Gallery of Naïve Art in Hlebine, the Modern Gallery in Zagreb, Atelier Ivan Meštrović in Zagreb, Varteks department stores in Zagreb and Varaždin, the Tkalčićeva- Radićeva residential-commercial block in Zagreb, Hotel Eden in Rovinj. An observation of the architectural conceptions of these works makes visible Begović’s understanding of architectural heritage and creative interpretation of recent architectural discoveries within the framework of the theses of regionalism, mimicry, dichotomy, metabolism, kinetics, biomorphology and homocentrism

Thinking Theory in the Architecture of Velimir Neidhardt; Alen Žunić

The book presents a collection of theoretical texts written and published by academician Velimir Neidhardt in the last 50 years (starting in 1968). The editor of the book dr.sc. Alen Žunić selected 120 seminal texts written by V. Neidhardt including some that have never been published before. The texts belong to diverse genres: from short notes, essays, interviews, project presentations to serious research studies. They are grouped into nine thematic sections: topics about Zagreb, urban planning, theoretical and historical reflections on architecture, architects, methodological aspects of architectural design, problems of professional activity, books and exhibitions, and the author’s own works. Besides, the book comprises a selection of Neidhardt’s interviews about various professional topics, the culture of space use and construction. The book also contains a selection of texts written by relevant architecture critics who offered an objective discourse in judging Neidhardt’s work