Faculty of Architecture Zagreb Yearbook 2015/16 by Faculty of Architecture Zagreb

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Godišnjak Arhitektonskog fakulteta u Zagrebu

2015 | 16

Faculty of Architecture, Zagreb, Yearbook Sveučilište u Zagrebu Arhitektonski fakultet University of Zagreb Faculty of Architecture

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Godišnjak Arhitektonskog fakulteta u Zagrebu — Faculty of Architecture, Zagreb Yearbook — 2015 | 16

Godišnjak Arhitektonskog fakulteta u Zagrebu — Faculty of Architecture, Zagreb Yearbook

Sveučilište u Zagrebu Arhitektonski fakultet University of Zagreb Faculty of Architecture

2015 16

impresum impressum

Godišnjak Arhitektonskog fakulteta u Zagrebu 2015.| 16. faculty of architecture, zagreb yearbook 2015| 16

Recenzenti reviewers prof. dr.sc. Alenka Delić izv. prof. Siniša Justić

Nakladnik published by Sveučilište u Zagrebu, Arhitektonski fakultet University of Zagreb, Faculty of Architecture Kačićeva 26, Zagreb http://www.arhitekt.unizg.hr

Lektura croatian language proofreading Mirjana Ostoja, prof.

Za nakladnika for the publisher prof. dr.sc. Krunoslav Šmit, dekan Arhitektonskog fakulteta Faculty Dean Glavni i odgovorni urednci editors in chief Vjera Bakić, v. pred. Tajana Jaklenec, pred. Maroje Mrduljaš Urednički odbor editorial board prof. Nenad Fabijanić prof. dr.sc. Tihomir Jukić izv. prof. Siniša Justić izv. prof. mr.sc. Leo Modrčin Zorana Protić, v. pred. prof. dr.sc. Andrej Uchytil Voditeljica povjerenstva za nakladničku djelatnost head of publishing committee Tajana Jaklenec, pred.

Prijevod translation Ana Vrkljan Dizajn i prijelom design & layout doc. Damir Bralić Andrija Mudnić, asist. Luka Reicher Tisak printing and binding Tiskara Zelina d.d. Naklada circulation 400 Tipografija typography Nikola Đurek, Typonine ISsN 1848–7416 Ovaj broj je zaključen na sastanku Uredničkog odbora održanom 11.4.2017. Zagreb, travanj 2017 © Arhitektonski fakultet Sveučilišta u Zagrebu

sadrĹžaj contents

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Predgovor dekana: Finalizacija edukacijskog procesa

Predgovor urednika: Panorama arhitektonskih ideja

Organigram Arhitektonskog fakulteta

Preface by Dean: Finalization of the Educational Process

Nastavni program 2015.|16. Curriculum Outline 2015 | 16

Preface by Editors: A Panorama of Architectural Ideas

Organisational Structure of the Faculty of Architecture

dijalozi o diplomskom radu

RazmiĹĄljanja o diplomskom radu

Dialogues on the master thesis project

Thoughts on the Master Thesis Project

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Diplomski radovi

Popis diplomanata 2015.| 16.

Master Thesis Projects

List of Graduates for the Academic Year 2015 | 16

Popis djelatnika Arhitektonskog fakulteta Faculty of Architecture Employees List

Boris Koružnjak dekan akad. god. 2015./16. dean for the acad. year 2015/16

finalizacija edukacijskog procesa

finalization of the educational process

Arhitektura nedvojbeno odražava društvo i vrijeme u kojem je stvorena. Edukacija općenito, a posebno obrazovanje budućih arhitekata, jedan je od ključnih instrumenata kojim utječemo na podizanje društvene svijesti o kvaliteti i značenju prostora u kojem živimo.

Without a doubt, architecture reflects the society and the time in which it is created. Education in general, but above all the education of the architects of tomorrow, is one of the key instruments used to bring about a higher social conscience on the subjects of quality and the meaning of the space we inhabit.

Peti broj Godišnjaka našega Fakulteta prilika je da se zaključi razdoblje dokumentiranja nastavnih, znanstvenih, istraživačkih i ostalih aktivnosti AF-a u smislu generalnih tematskih interesa i metodoloških pristupa te pokrene fokusiranije profiliranje svakoga sljedećeg izdanja.

The fifth edition of our Faculty’s Yearbook is an opportunity to conclude the documentation of the FA’s teaching, scientific, research and other activities in terms of general thematic interests and methodological approaches. It is also a chance to focus on the profiling of following editions.

Afirmacija kreativnosti, istraživačkog pristupa, tradicijskih dosega prethodnih generacija, detaljno prezentirana u prva dva izdanja Godišnjaka, nastavljena je u sažetijem sadržaju i u posljednja dva.

The affirmation of creativity, of the scientific approach and of the influences of preceding generations, presented in detail in the first two yearbook editions, is continued in a more in-depth analysis in the last two editions. The published yearbooks have presented a quality font of information about the theoretical and practical knowledge of the many and composite necessary disciplines taken up by the Faculty. Furthermore, they have made clear the far-reaching artistic principles and thoughts added to by engineering know-how, so characteristic of the processes necessary to architectural design.

Realizirani Godišnjaci postavili su kvalitetnu bazu informacija o teoretskim i praktičnim znanjima brojnih i raznorodnih potrebnih disciplina usvajanih na Fakultetu i pokazali širinu umjetničkih principa i promišljanja upotpunjenih inženjerskim znanjima toliko karakterističnim za procese arhitektonskog projektiranja. Ovo izdanje Godišnjaka bavi se temom završnoga ispita – projekta-diplome kao finalizacijom edukacijskog procesa u kojem se sažima i zaokružuje cjelokupni ciklus preddiplomskog i diplomskog studija te prikazuje kompleksnost integrativnog pristupa u obrazovanju novih arhitekata u okvirima Bolonjskog procesa. To je istovremeno i prilika preispitivanja i analize postignutih rezultata, gdje su poboljšanja uvijek moguća i potrebna. Objedinjavanje sinteze studijskog-atelijerskog rada i konciznost jednoga dijela tehničkih znanja još uvijek pokazuje nedovoljnu senzibilnost u provedbi, preopširnost i/ili nedovoljnu profiliranost u nekim segmentima pojedinih kolegija, koja onda rezultira neodgovarajućom kvalitetom završnoga rada. Relativno usku profiliranost postavljenih tema diplomskih zadataka – u vrijeme sve izraženije potrebe za aktivnijim pristupom u unaprjeđenju očuvanja i zaštiti graditeljskog nasljeđa, u primjeni principa održivosti te programskim zadacima vezanim za urbana i suburbana, ruralna područja – moguće je kvalitetnije proširiti aktivnijom suradnjom gradskih odnosno lokalnih uprava i Fakulteta. Iako jedan dio uočenih problema pokriva kvalitetan mentorski pristup, za ciljane optimalne rezultate u formiranju budućih nositelja arhitektonske scene, a u kontekstu sveprisutne internacionalizacije – razmjene ideja i znanja, moguće uključivanje pedagoga, arhitektonskih eksperata s međunarodne scene, trebalo bi pridonijeti dodatnoj afirmaciji i kvaliteti cjelokupnog procesa diplomskoga rada.

The latest yearbook edition focuses on the theme of the final exam – the project-diploma, which marks the end of the educational process and contains the entire undergraduate and graduate period of study. It also shows the complexity of the integrational approach in the education of new architects within the framework of the Bologna process. At the same time, it is a chance to rethink and analyse achieved results, since improvements are always possible, and in fact necessary. The synthesis of the study-atelier work and the conciseness of a part of the technical knowledge still shows insufficient sensibility in the carrying out, too much detail and/ or insufficient distinctiveness of certain segments of some colleges, which then results in an unacceptable quality of the final project. The master thesis projects’ set themes have a relatively narrow scope, but it is possible to expand this and achieve the desired effect through active partnership with a town’s local institutions and universities. This is especially desirable nowadays, when an active approach is increasingly needed to preserve and protect the inherited built environment of urban and suburban, rural areas. Although a good mentorship approach deals with one part of the perceived problems, a greater affirmation and quality of the master thesis project as a whole is required for optimum targeted results in the formation of future leaders in the architectural arena. This all within the context of an ever-present internationalisation, comprising an exchange of ideas and knowledge, and the inclusion of pedagogues and architectural experts on the international scene.

Panorama arhitektonskih ideja

A panorama of architectural ideas

Serija Godišnjaka Arhitektonskog fakulteta u Zagrebu počela je opsežnom publikacijom o akademskoj godini 2011./2012., koje je struktura bila temeljena na katedarskom i kabinetskom ustroju fakulteta, dok je sadržaj nastojao objediniti i dovesti u vezu nastavne i znanstvene aktivnosti. Uslijedili su Godišnjaci koji su koncepcijski slijedili prvo izdanje,ali u nešto sažetijem opsegu. Nakon tri izdana Godišnjaka uspostavljen je kontinuitet, dokumentirane su vodeće tendencije na Fakultetu kako u smislu tematskih interesa i metodoloških pristupa u sklopu nastave tako i praćenja nekoliko znanstvenih projekata i drugih znanstvenih aktivnosti. Prva serija Godišnjaka tako se može čitati kao razmjerno vjerodostojan presjek aktivnosti Arhitektonskog fakulteta Sveučilišta u Zagrebu.

The Yearbook series by the Faculty of Architecture in Zagreb started with an extensive publication of the academic year 2011–12. Its format was based on the Faculty’s departmental and board structure, while the aim of the content was to unify and bring into contact teaching and scientific activities. The Yearbooks which followed were, in terms of concept, based on the first publication albeit in a more concise format. After three published Yearbooks, a continuity was established and the Faculty’s leading tendencies documented – both in terms of thematic interests and methodological approaches within the teaching framework, and in the following of a number of scientific projects and other scientific activities. Thus, the first Yearbook series can be read as a balanced and credible overview of the activities featured at Zagreb’s Faculty of Architecture.

Težnja je uredništva nastaviti s tematski profiliranim izdanjima, a koja će se nastavljati na već postavljene osnove i standarde utvrđene prethodnim Godišnjacima.

The aim of the editorial team is to continue with thematically oriented publications, but ones which will also contain already established basics and standards set by the preceding Yearbooks. In fact, the role of the Yearbooks is twofold.

Aktualni broj bavi se temom diplomskog rada koji po svojem konceptu izvire iz politehničke tradicije i integrativnoga, sintetskog pristupa arhitekturi, prema kojem su teorija, arhitektonska i urbanistička projektantska praksa, te koncepti materijalizacije arhitekture - jednakovrijedni. Također, s obzirom na slobodan izbor tema, diplome jasno odražavaju goruća pitanja u hrvatskom okolišu, afinitete studenata, ali i nastavnika. “Kao i cijela izobrazba, diplomski je rad aktivna razmjerna ideja i znanja između angažiranoga studenta koji afirmira nastavnika i, obrnuto, angažiranoga nastavnika koji afirmira studenta.” U intervjuu o temi diplomskog rada govori predsjednik Diplomske komisije, profesor Nenad Fabijanić, koji ocrtava trenutačne zasade i konceptualna polazišta diplomskog rada te daje naznake kakav bi on trebao biti u budućnosti. Članovi Diplomskog povjerenstva artikulirali su sažeto viđenje diplomskog rada kako na planu ovladavanja lokalnim zadacima i problemima tako i na planu uključenosti našega Fakulteta u globalne debate o arhitekturi. Izborom radova pokušalo se oslikati raznolikost tema, pristupa i estetika, pri čemu se raspoznaju aktualni afiniteti prema radu u osjetljivim povijesnim ambijentima ili u prirodnim okolišima, nekonvencionalni odabiri programa i tipologija, te izoštrena sposobnost simultanog mišljenja o arhitekturi i urbanizmu. Projekti često umjesto “jakih formi” nude ili “jake sisteme” ili vrlo diskretne intervencije, vjerojatno reflektirajući inzistiranje na etičnosti projektantske pozicije koja se na Arhitektonskom fakultetu nastoji njegovati. Ipak, kod projekata ne izostaje polemičnost i odmaci od konvencija, s kojima se možemo i ne moramo složiti, ali oni otvaraju nove i svježe poglede. Vjerujemo da je sažeta panorama arhitektonskih ideja, nastalih u ipak idealnom ozračju akademskog rada, relevantan doprinos i podloga za diskusiju o prostornom razvoju Hrvatske.

Vjera Bakić

Tajana Jaklenec

Maroje Mrduljaš

The current issue is concerned with the topic of the master thesis project, which in its concept is rooted in the polytechnic tradition and integrational, synthetic approach to architecture, according to which theory, architectural and urban planning design practice, and the concepts of the materialisation of architecture all carry equal significance. In addition, with regard to the free choice of topics, the graduate projects clearly reflect current key issues concerning the Croatian environment and the affinities of students and teachers. “As is the case with the educational process as a whole, the master thesis project is an active exchange of ideas and knowledge between the engaged student who affirms the teacher’s viewpoints and vice versa – the engaged teacher who affirms those of the student.” In the interview discussing the topic of the master thesis project, president of the graduate thesis committee, professor Nenad Fabijanić, outlines the current established and conceptual starting points of the master thesis project and suggests what it should look like in the future. Board members of the graduate thesis committee expressed their concise views on the master thesis project both in terms of overcoming local tasks and problems and in our Faculty’s role in the global debates on architecture. The choice of projects was an attempt to give an idea on the diversity of topics, approaches and aesthetics, whereby one can also recognise current affinities towards work in sensitive historical spaces or natural environments, unconventional choices of programmes and typologies, as well as a honed capacity for simultaneous thinking about architecture and urban planning. Frequently, instead of "powerful forms", the projects offer either "powerful systems" or very discrete interventions, no doubt reflecting an insistency on the ethics of the consulting position, which the Faculty of Architecture aims to nurture. However, the projects also contain polemics and a move away from conventions with which we may or may not agree with, thus opening up new and fresh perspectives. We believe that the concise panorama of architectural ideas, formed nevertheless in an ideal academic atmosphere, stands as a relevant contribution and basis for discussion on the topic of Croatia’s spatial development.

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Organigram Arhitektonskog fakulteta Organisational Structure of the Faculty of Architecture

UPRAVA ARHITEKTONSKOG FAKULTETA — ADMINISTRATION OF THE FACULTY OF ARCHITECTURE

FAKULTETSKO VIJEĆE ARHITEKTONSKOG FAKULTETA FACULTY OF ARCHITECTURE’S FACULTY COUNCIL

Prodekani Vice Deans

Predstojnici katedri Heads of Departments

dekan dean red. prof. mr. sc. Boris Koružnjak

voditelj studija dizajna director of the school of design red. prof. Stipe Brčić

Prodekan za znanost vice dean for science doc. dr.sc. Zlatko Karač

Prodekan za nastavu vice dean for education red. prof. dr.sc. Alenka Delić

Prodekan za poslovanje vice dean for business izv. prof. dr.sc. Miljenko Haiman

Prodekan za međunarodnu suradnju vice dean for international relations izv. prof. dr.sc. Feđa Vukić

Katedra za arhitektonsko projektiranje department of architectural design red. prof. Miroslav Geng

Katedra za Arhitektonske konstrukcije i zgradarstvo Department of Architectural technology and Building science doc. Mateo Biluš

Katedra za teoriju i povijest arhitekture Department of History and Theory of Architecture izv. prof. dr.sc. Karin Šerman

Katedra za urbanizam, prostorno planiranje i pejsažnu arhitekturu Department of Urban and physical planning and Landscape Architecture izv. prof. dr.sc. Krunoslav Šmit

Kabinet za osnove arhitektonskog projektiranja | Section of Architectural Design basics red. prof. Tonči Žarnić Kabinet za stambene zgrade | Section of Residential Building red. prof. Mladen Jošić Kabinet za zgrade društevnog standarda | section of Educational and Community Facilities red. prof. Veljko Oluić Kabinet za javne zgrade | Section of Public Buildings red. prof. dr.sc. Vesna Mikić Kabinet za interijer | Section of Interior Design izv. prof. dr.sc. Dina Vulin Ileković Kabinet za crtanje i plastično oblikovanje | Section of Drawing and Visual Design red. prof. Renata Waldgoni Kabinet za primjenu računala u arhitekturi | Section of Computer Aided Architectural Design red. prof. dr.sc. Bojan Baletić

Kabinet za arhitektonske konstrukcije, fiziku zgrade, materijale i tehnologiju građenja | Section of Architectural Technology, Building Physics, Materials and Building Technology doc. Mateo Biluš Kabinet za nosive konstrukcije | section of Building Structures izv. prof. dr.sc. Miljenko Haiman Kabinet za planiranje i organizaciju građenja | Section of Planning and Project Management izv. prof. Gordana Žaja Kabinet za instalacije zgrada | Section of Building Services mr. sc. Ivan Cetinić, v. pred. Kabinet za matematiku, nacrtnu geometriju i perspektivu | Section of Mathematics, Descriptive Geometry and Perspective doc. dr.sc. Marija Šimić Horvath

Kabinet za povijest arhitekture i zaštitu graditeljskog naslijeđa | Section of History of Architecture and Architectural Heritage Protection izv. prof. dr.sc. Nataša Jakšić Kabinet za teoriju arhitekture | Section of Theory of Architecture izv. prof. dr.sc. Karin Šerman Kabinet za modernu i suvremenu arhitekturu | Section of Modern and Contemporary Architecture red. prof. dr.sc. Aleksandar Homadovski

Kabinet za urbanističko projektiranje | Section of Urban Design red. prof. dr.sc. Tihomir Jukić Kabinet za prostorno planiranje | Section of Physical Planning red. prof. dr.sc. Srečko Pegan Kabinet za pejsažnu arhitekturu i povijest urbanizma | Section of Landscape Architecture and Urban Planning History izv. prof. dr.sc. Bojana Bojanić Obad Šćitaroci

Predstojnici zavoda Heads of Institutes

Zavod za arhitekturu Institute of Architecture red. prof. Mladen Jošić

Zavod za zgradarstvo i fiziku zgrada Institute of Building Construction and Building Physics doc. dr.sc. Zoran Veršić

Zavod za graditeljsko naslijeđe Institute of Architectural Heritage mr. sc. Alan Braun, v. pred.

Zavod za urbanizam, prostorno planiranje i pejsažnu arhitekturu Institute of Urban Planning, Physical Planning and Landscape Architecture izv. prof. dr.sc. Jesenko Horvat

TAJNIK FAKULTETA Secretary of the Faculty of Architecture Tihana Grgić Ožvald, dipl. iur.

Studentski predstavnici Student representatives Leila Nanuk, Iva Erić, Filip Perić, Matija Babić, Marta Kolar, Jelka Margarita Bogdanić, Jana Horvat, Adrianna Prekpalaj, Dora Ramuščak, Mario Peko

POVJERENSTVA ARHITEKTONSKOG FAKULTETA FACULTY OF ARCHITECTURE COMMITTEES

Povjerenstvo za reformu studija i upravljanje kvalitetom | Reform of Study Programmes and Quality Assurance Committee Povjerenstvo za praćenje nastave | Curriculum Development Committee Povjerenstvo za terensku nastavu | Field Studies Committee Povjerenstvo za E-learning | E-learning Committee Povjerenstvo za izložbe i predavanja | Exhibitions and Lecture Committee Povjerenstvo za dodjeljivanje studentskih nagrada | Student Awards Committee Povjerenstvo za diplomski ispit | Final Examination Committee Povjerenstvo za nakladničku djelatnost | Publishing Committee Povjerenstvo znanstvenog časopisa ’Prostor’ | Scholarly Journal ’Prostor’ Committee

Povjerenstvo za odabir studenata za mobilnost u okviru programa ERASMUS | Selection of Students for Participation in the ERASMUS Programme Committee Povjerenstvo za utvrđivanje dodatnih uvjeta Fakultetskog vijeća za izbor u umjetničko-nastavna zvanja | Determining Faculty Council’s Additional Requirements for the Assignment of Academic Titles (artistic fields) Committee Etičko povjerenstvo | Ethics Committee Povjerenstvo za razredbeni postupak | Enrolment Policy Committee Povjerenstvo za ljetne škole i radionice | Summer Schools and Workshops Committee Povjerenstvo za stalno stručno usavršavanje | Continuing Professional Development Committee Diplomsko povjerenstvo | Graduate Thesis Committee

Povjerenstvo za obranu diplomskog rada | Graduate Thesis Defense Committee

VIJEĆE DOKTORSKOG STUDIJA ARHITEKTURA I URBANIZAM

KOORDINATOR ZA MOBILNOST STUDENATA

DOCTORAL STUDY PROGRAMME COUNCIL: ARCHITECTURE

STUDENT MOBILITY COORDINATOR

doc. dr.sc. Luka Korlaet red. prof. dr.sc. Aleksandar Homadovski, prof. emer. dr.sc. Hildegard Auf Franić, prof. emer. dr.sc. Nikola Filipović, akademik prof. dr.sc. Velimir Neidhardt, izv. prof. dr.sc. Karin Šerman, red. prof. dr.sc. Andrej Uchytil, red. prof. dr.sc. Srečko Pegan, red. prof. dr.sc. Tihomir Jukić, izv. prof. dr.sc. Bojana Bojanić Obad Ščitaroci, doc. dr.sc. Zlatko Karač

ECTS KOORDINATOR INSTITUTIONAL ECTS COORDINATOR

doc. dr.sc. Zrinka Barišić Marenić

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Nastavni program 2015 | 16

Curriculum Outline 2015 | 16 PREDDIPLOMSKI STUDIJ UNDERGRADUATE STUDY PROGRAMME

Katedra za arhitektonsko projektiranje | Department of Architectural Design

i. semestar | i. semester

ii. semestar | ii. semester

iii. semestar | iii. semester

Arhitektonsko projektiranje 1 Architectural Design 1 1 | 3 | 0 | ects 5

Arhitektonsko projektiranje 2 Architectural Design 2 1 | 3 | 0 | ects 5

Studio 1 / Architectural Design Studio 1 0 | 8 | 0 | ects 13 Nastavnici Katedre za urbanizam, prostorno planiranje i pejsažnu arhitekturu sudjeluju s 2 sata Teaching Staff of Department of Urban and Physical Planning and Landscape Architecture participate with 2 hours

Crtanje 1 Drawing 1 0 | 3 | 0 | ects 3

Uvod u primjenu računala u arh. Introduction to Computer Aided Arch. Design – 0 | 1 | 0 | ects 1.5 Katedra za arhitektonske konstrukcije i zgradarstvo Department of Architectural Technology and Building Science

Osnove nacrtne geometrije Basics of Descriptive Geometry 1 | 2 | 0 | ects 3.5

Arhitektonske konstrukcije 1 Architectural Technology 1 2 | 3 | 0 | ects 6

Uvod u projektiranje stambenih zgrada Introduction to Design of Residential Buildings 1 | 1 | 0 | ects 2 Crtanje 2 Drawing 2 0 | 3 | 0 | ects 3

Primjena računala u arhitekturi 1 | Computer Aided Architectural Design 1 – 0 | 1 | 0 | ects 1.5 Nacrtna geometrija i perspektiva Descriptive Geometry and Perspective 1 | 2 | 0 | ects 3.5

Arhitektonske konstrukcije 2 Architectural Technology 2 2 | 3 | 0 | ects 6

Katedra za teoriju i povijest arhitekture | Department of History and Theory of Architecture

Povijest arhitekture 1 History of Architecture 1 2 | 0 | 0 | ects 2

Katedra za urbanizam, prostorno planiranje i pejsažnu arhitekturu | Department of Urban and physical Planning and Landscape Architecture

Hrv. prostor i arhitektura – Zagreb | Cro. space and architecture – Zagreb – 0 | 0 | 1 | ects 0.5

Interkatedarski kabinet Interdepartmental Course

Engleski jezik za arh. 1 | English language for Arch. 1 Njemački jezik za arh. 1 | German language for Arch. 1 – 0 | 1 | 1 | ects 1.5 Tjelesna i zdravstvena kultura 1 Physical Training 1 – 0 | 2 | 0 | ects 0

Stambene zgrade 1 Residential Buildings 1 2 | 0 | 0 | ects 2 Plastično oblikovanje 1 Visual Design 1 1 | 2 | 0 | ects 2.5

Primjena računala u arhitekturi 2 Computer Aided Architectural Design 2 1 | 1 | 0 | ects 2.5

Arhitektonske konstrukcije 3 Architectural Technology 3 2 | 0 | 0 | ects 2

Nosive konstrukcije 1 Building Structures 1 2 | 1 | 0 | ects 3.5

Matematika Mathematics 2 | 1 | 0 | ects 3.5

Nastavnici Katedre za arhitektonske konstrukcije i zgradarstvo sudjeluju s 2 sata Teaching Staff of Department of Architectural Technology and Building Science participate with 2 hours

Nosive konstrukcije 2 Building Structures 2 2 | 2 | 0 | ects 4

Instalacije zgrada 1 Building Services 1 2 | 0 | 0 | ects 2 Nosive konstrukcije 3 Building Structures 3 2 | 2 | 0 | ects 3

Povijest arhitekture 2 History of Architecture 2 2 | 0 | 0 | ects 2

Povijest arhitekture 3 History of Architecture 3 2 | 0 | 0 | ects 2

Urbanizam 1 | Urban Design 1 – 1 | 0 | 0 | ects 1

Urbanizam 2 | Urban Design 2 – 1 | 0 | 0 | ects 1

Hrv. prostor i arhitektura – sz Hrvatska Cro. space and architecture – sw Croatia 0 | 0 | 2 | ects 2

Tjelesna i zdravstvena kultura 3 Physical Training 3 – 0 | 2 | 0 | ects 0

Engleski jezik za arh. 2 | English language for Arch. 2 Njemački jezik za arh. 2 | German language for Arch. 2 – 0 | 1 | 1 | ects 1.5 Tjelesna i zdravstvena kultura 2 Physical Training 2 – 0 | 2 | 0| ects 0

Katedra za arhitektonsko projektiranje | Department of Architectural Design

Katedra za arhitektonske konstrukcije i zgradarstvo Department of Architectural Technology and Building Science

iv. semestar | iv. semester

v. semestar | v. semester

vi. semestar | vi. semester

Stambene zgrade 2 | Residential Buildings 2 1 | 0 | 0 | ects 1

Studio 3 | Architectural Design Studio 3 0 | 9 | 0 | ects 13

Studio 4 | Architectural Design Studio 4 0 | 11 | 0 | ects 15

Plastično oblikovanje 2 Visual Design 2 1 | 2 | 0 | ects 2.5

Nastavnici Katedre za urbanizam, prostorno planiranje i pejsažnu arhitekturu sudjeluju s 1 satom Teaching Staff of Department of Urban and Physical Planning and Landscape Architecture participate with 1 hour

Tehnički studio Architecture and Integrated Disciplines Studio – 0 | 8 | 0 | ects 12

Nastavnici Katedre za arhitektonske konstrukcije i zgradarstvo sudjeluju s 1 satom Teaching Staff of Department of Architectural Technology and Building Science participate with 1 hour

Zgrade društvenog standarda Educational and Community Facilities 2 | 0 | 0 | ects 5 Zgrade za rad i trgovinu Office and Commercial Buildings 2 | 0 | 0 | ects 2 Instalacije zgrada 2 | Building Services 2 – 1 | 0 | 0 | ects 1 Fizika zgrade | Building Physics 1 | 1 | 0 | ects 2

Katedra za teoriju i povijest arhitekture | Department of History and Theory of Architecture

Povijest arhitekture 4 | History of Architecture 4 2 | 0 | 0 | ects 2

Katedra za urbanizam, prostorno planiranje i pejsažnu arhitekturu | Department of Urban and physical Planning and Landscape Architecture

Studio 2 | Architecutral Design Studio 2 0 | 6 | 0 | ects 6.5 Nastavnici Katedre za arhitektonsko projektiranje sudjeluju s 2 sata Teaching Staff of Department of Architectural Design participate with 2 hours

Planiranje i organizacija građenja Planning and Project Management 3 | 2 | 0 | ects 5

Održiva arhitektura Sustainable Architecture 1 | 0 | 1 | ects 2 Hrvatska arhitektura 20. st. Croatian Architecture in the 20th Century 2 | 0 | 0 | ects 2 Uvod u teoriju arhitekture | Introduction to Theory of Architecture – 1 | 0 | 0 | ects 1

Tehnologija građenja Building Technology 2 | 0 | 0 | ects 2

Osnove prostornog planiranja i zakonodavstva Introduction to Physical Planning and Legalisation 2 | 0 | 0 | ects 2

Moderna i suvremena svjetska arhitektura 20. st Modern and Contemporary Architecture in the 20th century – 2 | 0 | 0 | ects 2

Planiranje grada Town Planning 0 | 4 | 0 | ects 4

Zaštita grad. naslijeđa | Conservation of Built Heritage – 1 | 0 | 0 | ects 1 Sociologija okolice | Environmental Sociology 1 | 0 | 0 | ects 1

Urbanizam 3 | Urban Design 3 2 | 0 | 0 | ects 2

Perivojna arhitektura | Landscape Architecture 1 | 0 | 0 | ects 1 Interkatedarski kabinet Interdepartmental Course

Hrvatski prostor i arhitektura – Slavonija Cro. space and architecture – Slavonija 0 | 0 | 3 | ects 1

Perivojno oblikovanje Landscape Design 0 | 3 | 0 | ects 3

Suvremena perivojna arhitektura Contemporary Landscape Architecture – 1 | 0 | 0 | ects 1 Hrvatski prostor i arhitektura – Istra Cro. space andarchitecture – Istra 0 | 0 | 3 | ects 1

Tjelesna i zdravstvena kultura 4 Physcial Training 4 – 0 | 2 | 0 | ects 0

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NASTAVNI PROGRAM 2015|16

CURRICULUM OUTLINE 2015|16

DIPLOMSKI STUDIJ GRADUATE STUDY PROGRAMME

Katedra za arhitektonsko projektiranje | Department of Architectural Design

i. semestar | i. semester

ii. semestar | ii. semester

iii. semestar | iii. semester

Radionica AP1 – suvremeno stanovanje Architectural Design Studio – Contemporary Housing – 0 | 8 | 0 | ects 12

Interijer Interior Design 1 | 0 | 0 | ects 2 Radionica interijera Interior Design Studio 0 | 2 | 0 | ects 2 Auditorna radionica Auditory Design Studio 1 | 0 | 0 | ects 2

Radionica AP2 – sport + Architectural Design Studio 2 – Sport + 0 | 7 | 1 | ects 12

Zgrade za kulturu | Buildings for Culture 1 | 0 | 0 | ects 1.5 Zgrade za zdravstvo | Buildings for Healthcare 1 | 0 | 0 | ects 1.5 Zgrade za turizam | Buildings for Tourism 1 | 0 | 0 | ects 1.5 Zgrade za rad | Buildings for Work 1 | 0 | 0 | ects 1.5 Teorija arhitekture 2 Theory of Architecture 2 2 | 0 | 0 | ects 3

Katedra za arhitektonske konstrukcije i zgradarstvo Department of Architectural Technology and Building Science Katedra za teoriju i povijest arhitekture | Department of History and Theory of Architecture Katedra za urbanizam, prostorno planiranje i pejsažnu arhitekturu | Department of Urban and physical Planning and Landscape Architecture

Suvremeno stanovanje Contemporary Housing 1 | 0 | 0 | ects 2

Zgrade za sport Sport Facilities 1 | 0 | 0 | ects 2

Održivo građenje 1 | Sust. Building 1 – 1 | 0 | 0 | ects 1.5

Održivo građenje 2 | Sust. Building 2 – 1 | 0 | 0 | ects 1.5

Prost. planiranje | Physical Planning – 1 | 0 | 0 | ects 1.5

Teorija arhitekture 1 | Theory of Architecture 1 1 | 0 | 0 | ects 1.5

Urbane preobrazbe | Urban Transform. – 1 | 0 | 0 | ects 2

Povijest europskog urbanizma History of European Urban Design 1 | 0 | 0 | ects 2

Radionica ap3 Architectural Design Studio 3 0 | 10 | 0 | ects 16

Urbanistička radionica 1: Preobrazba grada Urban Design Studio 1: Transformation of the City 0 | 4 | 0 | ects 6

Urbanistička radionica 2: Planiranje naselja Urban Design Studio 2: Town Planning 0 | 4 | 0 | ects 6

Radionica arh. konstrukcija i održivog građenja | Architectural Technology and Sustainable Building Design Studio 0 | 10 | 0 | ects 16

Interkatedarski kabinet Interdepartmental Course Hrv. prostor i arhitektura– Dalmacija Cro. space and architecture – Dalmatia 0 | 0 | 4 | ects 2 Izborni kolegij | Elective Course – 1 | 0 | 0 Izborni kolegij | Elective Course – 1 | 0 | 0 Izborni kolegij | Elective Course – 1 | 0 | 0

Studenti biraju jednu od ponuđenih radionica |Students choose one of the following Studios

Radionica graditeljskog naslijeđa Architectural Heritage Design Studio 0 | 10 | 0 | ects 16 Radionica urbanizma Urban Design Studio 0 | 10 | 0 | ects 16 Radionica prostornog planiranja Urban Planning Design Studio 0 | 10 | 0 | ects 16 Radionica pejsažne arhitekture Landscape Architecture Design Studio 0 | 10 | 0 | ects 16

popis izbornih kolegija list of elective courses

iv. semestar | iv. semester Diplomska radionica Master Thesis Studio 0 | 12 | 2 | ects 30

Katedra za arhitektonsko projektiranje Department of Architectural Design

Uvod u znanstvenoistraživački rad Introduction to the Research Work

Prakticiranje Arhitekture | Practicing Architecture

Zvuk u arhitekturi | Architectural Acustics

Arhitektonika svjetla | Light in Architecture Crtanje i arhitektonska grafika Drawing and Architectural Graphics Hrvatska arhitektura u regiji – Hiper Croatia Croatian Architecture in the Region – Hyper Croatia Japanska prostorna koncepcija | Japanese Spatial Concept

Katedra za teoriju i povijest arhitekture Department of History and Theory of Architecture Autorski pristupi hrvatskih arhitekata Croatian Architects Author’s Approaches Dokumentiranje graditeljskog naslijeđa Recording and Documentation of Built Heritage

Kritika u arhitekturi | Criticism in Architecture

Terenska analiza i interpretiranje graditeljskog naslijeđa Analysis and Interpretation in Built Heritage Conservation

Ljetna škola: Tradicija i suvremenost – Lopud Summer School: Tradition and Modernity – Lopud

Industrijska arheologija | Industiral Archeology

Ljetna škola: Tradicija, kreativnost i održivost – Motovun Summer School: Tradition, Creativity and Sustainability –Motovun Metodologija arhitektonskog projektiranja Methodology of Architectural Design Računalno oblikovanje pejsažne arhitekture Computer Aided Design of Landscape Architecture Radionica AF/SC | AF/SC Workshop Ljetna škola: Škola grada Summer School: The School of the City Visokotehnološka arhitektura | High-tech Architecture Vizualne komunikacije u arhitekturi Visual Communication in Architecture

Katedra za urbanizam, prostorno planiranje i pejsažnu arhitekturu | Department of Urban and Physical Planning and Landscape Architecture Hrvatska tradicijska arhitektura Croatian Traditional Architecture Povijest hrvatskog urbanizma | History of Croatian Urbanism Primjena materijala i konstrukcija u perivojnoj arhitekturi Use of Materials and Structures in Landscape Architecture Prostorno planiranje 2 – zaštita prirode i okoliša Physical Planning 2 – Nature and Environment Revitalizacija dvoraca | Revitalisations of Manors and Castles Rurizam | Ruralism

Zgrade za visoko obrazovanje | High Education Facilities

Sociologija kulture | Sociology of Culture

Katedra za arhitektonske konstrukcije i zgradarstvo Department of Architectural Technology and Building Science

Suvremena perivojna arhitektura Contemporary Landscape Architecture

Arhitektonski ured – organizacija i poslovanje Architectural Office – Organisation and Business

Turizam u urbanističkom i prostornom planiranju Tourism in Urban Planning and Regional Planning Urbana sociologija | Urban Sociology

Energetska sanacija ovojnica zgrada Energy-efficiency Improvement of Buildings

Urbanistička kompozicija | Urban Composition

Geometrija u graditeljstvu | Geometry in Architecture

Urbanističke teorije | Urban Planning Theory

Inženjerske konstrukcije | Engineering Structures

Zaštita i obnova povijesnih perivoja | Historic Parks and Gardens

Matematičke strukture | Mathematical Structure

History of Making American City by the End of 19th Century Američki grad do kraja 19. st.

Metode i praksa nosivih konstrukcija u arhitekturi Methods and Practice of Building Structures in Architecture Oblik zgrade i termotehničke instalacije Building Form and Thermotechnical Installations Praktična fizika zgrade | Practical Building Physics

Urban Transportation Design Issues Urbanistički aspekti prometa Interkatedarski kabinet | Interdepartmental Course Engleski jezik za arhitekturu 4 English for Architecture and Urban Planning 4

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dijalozi o diplomskom radu Dialogues on the master thesis project

Nenad Fabijanić rođen je 1951. godine u Zagrebu. Diplomirao je na Arhitektonskom fakultetu Sveučilišta u Zagrebu 1974. godine. Od diplome surađuje s prof. Nevenom Šegvićem, njegovim asistentom postaje 1977. Od 2000 godine. redovni je profesor na Katedri za arhitektonsko projektiranje Arhitektonskog fakulteta u Zagrebu. Od 1994. do 1996. godine bio je predsjednik Društva arhitekata Zagreba. Od 1999. do 2003. godine bio je predsjednik Udruženja hrvatskih arhitekata. Od 2008. godine član je suradnik HAZU-a.

Nenad Fabijanić was born in Zagreb in 1951. Graduated at the Faculty of Architeture, University of Zagreb in 1974. After graduation, he began collaborating with professor Neven Šegvić and became his assistant in 1977. He has been a full professor at the Department for Architectural Design at the Faculty of Architecture in Zagreb since 2000. From 1994 to 1996, he was the president of the Zagreb Architects Society. From 1999 to 2003, he was the president of the Croatian Architects Association. He has been a collaborative member of HAZU since 2008.

Za svoje projekte i realizacije nagrađen je stručnim, državnim i međunarodnim nagradama i priznanjima. Profesionalno je aktivan na području urbanizma i arhitekture, interijera, dizajna, scenografije. Autor je postava izložbi u zemlji i inozemstvu.

For his projects and completed works he was awarded with expert, national and international awards and recognitions. He is professionally active in the field of urbanism and architecture, interiors, design and scenography. He has authored projects in exibit design both in Croatia and abroad.

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Pristupi diplomskom radu

The approach to master thesis project

Koje su zasade i konceptualna polazišta diplomskog rada kakav danas poznajemo na Arhitektonskom fakultetu u Zagrebu?

What are the basics and conceptual starting points of the graduate project as we know it at the Faculty of Architecture (FA) in Zagreb today?

U kojoj se mjeri pristup diplomskom radu oslanja na tradiciju edukacije na našem fakultetu, kako se pristup razvijao, mijenjao tijekom godina i kakav je bio 70-ih godina kada ste Vi diplomirali u klasi prof. Nevena Šegvića i započeli svoje akademsko djelovanje?

To what extent does the approach to the graduate project at our university uphold a traditional education, how did this approach develop and change over the years, and what was it like in the 70s, when you yourself graduated in the class of Professor Neven Šegvić and then commenced your academic work?

Kako iz današnje perspektive gledate na duh tog turbulentnog vremena, ta stajališta i poglede na arhitekturu koji su se tada nastojali prenijeti? Koje je vještine i postignuća student tada trebao pokazati da bi dobio diplomu AF-a u Zagrebu?

From today’s perspective, how do you view the spirit of those turbulent times, as well as the stances and opinions on architecture which were then being transmitted? Which skills and achievements did the then student have to demonstrate in order to graduate at the fa in Zagreb?

Podržavam i slijedim kontinuitet funkcije voditelja diplomskog semestra koju sam preuzeo od profesora Ivana Crnkovića. Njegov tekst “O edukaciji arhitekata” pisan za Godišnjak Arhitektonskog fakulteta 2011./2012. čitam iz kuta generacijske blizine, svojim iskustvom i svojom optikom. Prepoznajem iznesene teze i stajališta te preporučujem dalje. Zaključno Crnković kaže: “Ne trebaš biti astronaut da bi spoznao svemir.” Arhitekti i(ili) astronauti!? Temi dodajem svoj prilog.

I uphold and follow the continuity of the graduate semester leader’s function, a position I inherited from professor Ivan Crnković. I am reading his text “On the education of architects”, written for the Faculty of Architecture’s Yearbook 2011/12, from the viewpoint of generational proximity, as well as personal experience and subjectivity. I recognise the delivered theses and opinions and then take them further. Crnković concludes with: “To get to know space, you don’t need to be an astronaut.” Architects and (or) astronauts!? I add my contribution to this topic. Zagreb’s University of Architecture is the most representative educational institution, a foundational source and continuing hot spot of architectural thoughts in Croatia.

Nenad Fabijanić predsjednik Diplomskog povjerenstva Graduate Thesis Committee President

Vjera Bakić RAZGOVARAla

V. B.

INTERVIEWEd by

N. F.

Arhitektonski je fakultet u Zagrebu najreprezentativnije mjesto obrazovanja i temeljno izvorište, kontinuirano žarište arhitektonske misli u Hrvatskoj. Zgrada u Kačićevoj 26 nastoji očuvati ambijent i atmosferu arhitektonske profesije, trasirajući afirmativan razvojni put stabilnoga stručno-pedagoškog horizonta.

The building at Kačićeva 26 attempts to conserve the environment and atmosphere of the architectural profession, treading an affirmative developmental path of a stable professional and pedagogical horizon.

Prije nas generacije su arhitekata svoje sposobnosti dokazivale, a znanje stjecale u Kraljevskoj tehničkoj visokoj školi (Arhitektonski odjel 1919./1920.), na Tehničkom fakultetu (1926.), Arhitektonsko-građevinsko-geodetskom fakultetu (1965.), a od akademske godine 1962./1963., dakle već 55 godina – na konstituiranom Arhitektonskom fakultetu. Gotovo cijelo stoljeće obrazuju se, a potom u praksi dokazuju arhitekti formirani ovdje, u ambijentu asketskog interijera, u nanizanim prostorima predavaonica i crtaonica na hodničkoj osi u smjeru sjevernog svjetla. Zgrada u Kačićevoj 26 nastoji očuvati ambijent i atmosferu arhitektonske profesije, trasirajući afirmativan razvojni put stabilnoga stručno-pedagoškog horizonta. Prije svega, to se odnosi na provjerene faze i posebne oblike pedagoških principa koji su funkcionirali, transformirali se prilagodbom, s vremenom nestajali da bi bili zamijenjeni novim, ponekad i riskantnim eksperimentima. Čini mi se da smo sada u takvom, promjenjivom, akademsko-tranzicijskom međuvremenu. Tradicija ne bi trebala biti iluzija stvarnosti.

Formerly, before our time, generations of architects proved their skills and sought their education at the Royal Technical High-school (Department of Architecture 1919/20), Faculty of Technical Studies (1926), Faculty of Architecture, Construction and Surveying (1965), and from the academic year 1962/63, and therefore 55 years to date, at the constituted Faculty of Architecture. They underwent nearly an entire century of education, after which the architects formed here put their knowledge into practice, in the surroundings of an aesthetic interior, the series of classroom spaces, and drawing spaces on a north-facing hallway axis. The building at Kačićeva 26 attempts to conserve the environment and atmosphere of the architectural profession, treading an affirmative developmental path of a stable professional and pedagogical horizon. First and foremost, it is related to the researched phases and special forms of pedagogical principles, which have functioned, undergone transformation by adapting, disappeared over time to be replaced by new ones, sometimes even through risky experiments. It seems to me that we now find ourselves in such a changeable and academically transient interval. Tradition should not be an illusion of reality.

”Zagrebačka arhitektonska škola” konstruirana je paradigma, uvjetno provjerljiva, više želja nego posebno prepoznatljiv kompozicijski kod ili dominantan teoretski smjer, rijetko objektivno dokazana arhitektonskim primjerima. Do danas još nemamo argumentirani slikoviti format i dokaz te atribucije. Nastojimo se, individualno, oslanjati na ideju, na jasan koncept kojim bi trebao dominirati oblikovni identitet kontinuiran stalnom komparacijom međusobno i s drugima. Mislim da je, prije svega, u pitanju kako uspostaviti složeni oblik usporedbe, čime dokumentirati tezu. Analizu vremena i opće atmosfere započinjem sjećanjem na sve aktualnije razdoblje druge polovice 20. stoljeća. Prozapadne struje 60-ih godina nosile su vrijednost nekih nama teže dostupnih civilizacijskih standarda, navika i sloboda. Formirali smo se u tišemu društvenom i sivome, urbanom ambijentu već udaljeni od posttraumatskih socijalno-političkih iskustava ratnih i poratnih godina naših roditelja. U proklamiranom liderstvu Trećega svijeta širio se horizont naše međunarodne “važnosti” i utjecaja. Sjetih se škole gdje nikome iz moje generacije nije bilo upitno znanje latinskog ili stjecanje likovne i glazbene kulture na redovnim i samostalnim nastavnim predmetima. (M)učenje klavira ili grupni nastupi u folklornim društvima imali su svoje motive. Koliko mi je poznato, nikome poslije nije štetilo stajanje na balkonu u prepunom HNK-u, niti smetao hudožestveni scenski realizam; nitko nije zastranio od Makarenkove pedagogije. Bilo mi je tada, u mojim gimnazijskim danima, jako važno zapadni vjetar osjetiti efektno, snažnim emocijama preko etera, u prvim pjesmama The Beatlesa i svemu što ih je pratilo. Proširio se na lagodni zvuk i svijet rock and rolla i pop kulture, koji su, bez sumnje, uz brzinu, dizajn i nove tehnologije najznačajniji fenomeni druge polovice 20. stoljeća. Uz obvezno školovanje i zdravu ideju amaterskog sporta zajedništvo nove kulture vježbalo se paralelno u kinodvoranama, na gitarijadama i plesnim podijima. Bio je to pravi, prvi val. Novi val javio se poslije novim generacijama. Uzburkana politička mladost u svijetu 1968. godine, posebno u Francuskoj, Čehoslovačkoj, Poljskoj i kod nas, težila je za promjenom, borila se za “pluralizam mišljenja” i libertarijanske odrednice u traganju za “socijalizmom i ljudskim licem”. Pored socijalnih jednakosti bilo je to vrijeme zahtjeva o hrvatskoj nacionalnoj emancipaciji. Burna 1971. zahvatila je i period moga studiranja. Otvoreni idejama zapadnjačke ljevice, sudionici “hrvatskog proljeća” većinom su bili iz urbanih sredina, iz obitelji nove, poslijeratne inteligencije. Ciljevi isti u kontinuitetu, različiti po glasnoći, učešću i žrtvama. Kao i uvijek, ispred svoga vremena i uz manjak podrške građana i radnika, ali ne i profesora. Čini mi se važnim, sada i ovdje, podsjetiti na riječi prof. Nevena Šegvića koji je te 1971. g. na usijanim sjednicama dekana na Rektoratu zagrebačkog Sveučilišta o posljedicama studentskog bunta i, pretpostavljam, zbog progona studenata i njihovih lidera uzviknuo: “Mi ne možemo ići protiv svoje djece!” (Svjedočanstvo I. Z. Čička, 2017.g.)

“The Zagreb School of Architecture” is a constructed paradigm, conditionally verifiable, more a wish than a special recognisable compositional code or dominant theoretical direction, and rarely objectively proved through architectural examples. To this day we still have no well-argumented and clear format or the proof of this attribution. We aim, individually, to lean against an idea, a clear concept governed by a form-enhancing identity, which is continued by an ongoing comparison mutually and with others. In my view, the question which comes before all else is how to establish a complex form of comparison and how to go about documenting a thesis. I start the analysis of time and general atmosphere by looking back at an ever-more relevant period of the second half of the 20th century. The pro-western currents of the 60s carried with them the value of certain, and more difficult for us to attain, standards of civilisation, habits and freedom. We were educated in a quieter environment, grey and urban and already far from the post-traumatic social and political experiences of the war and post-war years of our parents. In the proclaimed leadership of the “third world” a horizon of our international “importance” and influence was spreading. I recalled a school where no-one from my generation had a dubious knowledge of Latin or difficulty of gaining knowledge of “art and musical culture” at regular and independent classes. The choice to (try and) play the piano or participate in group performances in folkloric societies had its motives. As far as I am aware, no-one was any worse off after standing in the balcony in a sold-out performance at the HNK (Croatian National Theatre), or was bothered by strong scenic realism, no-one went down the wrong path as a result of the pedagogy of Makarenko. In those days when I attended the gymnasium, it was important for me to be able to experience the winds of the West by fully engaging my emotions via the ether of the first Beatles songs and all that went with them. Very quickly and widely, there soon spread the easy sound and world of rock and roll and that of pop culture. Along with speed, design and new technology, it was without a doubt the most notable phenomenon of the second half of the 20th century. Together with an obligatory schooling and a healthy attitude towards sports, the community of a new culture was practised at the same time in cinema halls, at guitar performances and on the dance floor. It was the first, real wave. The new wave appeared later to new generations.

In 1968, the world’s tempestuous political youth, above all in France, Czechoslovakia, Poland and in our country, yearned for change. In their search for a “socialism with a human face”, they fought for the “plurality of thought” and libertarianism. Besides social equality, it was a time when Croatian national emancipation was being called for. The eventful year of 1971 also made itself felt up during my period of study. Open to the idea of a Western left-wing, the judges of the “Croatian spring” were mostly from urban milieus, from families of the new, post-war intelligence. The same aims of continuity, yet different in strength, participation and victims. As ever, ahead of its time and with a lack of citizen and workman support but not of professors. It seems important, at this point, to recall the words of professor Neven Šegvić, declared in 1971 at the intense Dean meetings at the Rectory of Zagreb’s University. Referring to the outcome of the student uprising and, I presume, because of the persecution of the students and their leaders, he cried out: “We cannot go against our children!” (witnessed by I. Z. Čičak, 2017)

Godišnjak AF 15/16 dijalozi o diplomskom radu AF Yearbook 15/16 Dialogues on master thesis project

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Fakultetska atmosfera bila je tada pod utjecajem naših i globalnih društveno-političkih turbulencija. Pod obvezno, i na našem je fakultetu djelovala “partijska organizacija”, gotovo anonimna, bez posljedica na bilo koji vid obrazovnog procesa ili intelektualnih sloboda. Oblik “salonskoga” partijskog vegetiranja bez agresije i utjecaja rezultirao je u perspektivi razumljivom apolitičnosti velike većine arhitekata sve do današnjih dana. U “Mišljenjima” koja su se pisala povodom ondašnjih (re)izbora, posebno mlađih nastavnika i asistenata, bilo je uobičajeno i formalno podcrtano: “... budući da ne postoje moralne prepreke za izbor u...” itd. I danas, korisno je znati.

The atmosphere at the university was then under the influence of our own and global social and political turbulence. The obligatory “party organisation” was also present at our faculty, albeit almost anonymously, with no consequences whatsoever on any part of the educational process or intellectual freedom. The “drawing room” form of party vegetating without aggression or influence resulted in an understandable apolitical stance on the part of the majority of architects, which continues today. In the “Thoughts”, which were written at the time of the then (re) elections, especially of the younger teachers and assistants, it the usual and formal line taken was: “...since no moral barriers exist for the election in...” etc. Even today, it is useful to know this.

Profesor Šegvić sa studentima 1980-tih

Professor Šegvić with students in 1980s

Raspon i efekti profesorskih predstavljanja i nastupa, od patetično-lirskih do brutalno pragmatičnih, bili su, kao uvijek, sumjerljivi koncentracijom i studentskom prisutnošću na predavanjima.

The breadth and effect of the professors’ performances, from pathetical and lyrical to brutally pragmatic, were, as ever, measured by the concentration and student attendance at lectures.

Šezdesete i sedamdesete godine u arhitekturi, pokazalo se globalno, bilo je doba dekadencije, zamora i rutine širom rasprostranjene arhitektonske prosječnosti. Sluteći promjene, očekivalo se novo, a osamdesete su s idejom klasičnog pročišćenja zapravo vraćale nešto “staro” i već znano! Zasade velikana onovremenog moderniteta, naših uzora, kojih u komparaciji s današnjim vremenom i nije bilo tako mnogo, prihvaćene su tada dosljedno u svim predmetima i procesima u nastavi na AF-u. Odlukom Vladimira Turine, međusobno i afirmativno suprotstavljena stajališta, zanimljivi nastupi i razlike velikih autoriteta Katedre arhitektonskog projektiranja, profesora Šegvića i Turine, njihovih asistenata, ali i njihovih studentskih sljedbenika – u mojim studentskim danima više nisu bili intenzivni. Raspon i efekti profesorskih predstavljanja i nastupa, od patetičnolirskih do brutalno pragmatičnih, bili su, kao uvijek, sumjerljivi koncentracijom i studentskom prisutnošću na predavanjima. Učilo se nespretno po skriptama, a knjige (monografije arhitekata) bile su fetiš.

In architecture, the 60s and 70s were on a global scale a time of decadence, listlessness and routine across a widespread architectural average. Suspecting change, people expected something new on the scene, while the 80s, marked by the idea of a classical cleansing, in fact returned with something “old” and already known! What was sown by the big names in the then days of modernity, of which there were not many when compared with today’s, was accepted as the example to follow in all subjects and processes of the Faculty of Architecture’s education. With the decision of Vladimir Turina, the mutual and affirmatively opposed views, interesting performances and differences among the key authorities of the Department of architectural design, professor Šegvić and Turina and their assistants, as well their student followers, were in my students days not intensive. The breadth and effect of the professors’ performances, from pathetical and lyrical to brutally pragmatic, were, as ever, measured by the concentration and student attendance at lectures. One would learn clumsily via scripts, while books (architects’ monographs) were a fetish.

U “moje vrijeme”, za ulazak na fakultet bilo je obvezno položiti prijamni ispit iz četiriju područja. Bio je to stvarni ispit znanja i prezentacija vještine (crtati se može, ali se ne da naučiti!). Aktualna pseudoprovjera znanja i selekcija testovima nije se prakticirala. Tijekom studija, prije svega, tražio se i vježbao arhitektonski govor prepoznat u osobnoj grafičkoj prezentaciji. Danas zbog isključive kompjutorske dominacije to nije moguće. Prepoznatljiv rukopis sve se manje prakticira. Individualitet traži nove kreativne lokacije.

In “my time”, to be accepted by the university it was obligatory to pass in exams from four different areas. It was a true test of knowledge and presentation of skill (one can draw, but it can’t be learnt!). The actual pseudo of testing and text selection was not implemented. In the course of the studies, one would above all seek and practise the architectural speech, recognised in a personal graphic presentation. Today, due to an exclusive computer dominance, this is no longer possible. The recognisable handwriting is practised less and less. Individuality seeks new creative locations.

Profesor Šegvić s asistentima Ines Filipović, Nenad Fabijanić i Mladen Bošnjak

Professor Šegvić with assistents Ines Filipović, Nenad Fabijanić and Mladen Bošnjak

Tih je godina pristup diplomi bio moguć apsolviranim studijem koji je obuhvaćao: profesorske potpise (prvi i drugi!) za uredno pohađanje predavanja i položene kolokvije, izrađene vježbovne programe (34), ponekad više njih simultano, položene pismene i usmene ispite (47), na kojima su se znatno teže zaslužile visoke ocjene. Bila je obvezna prisutnost na terenskim nastavama i stručnoj praksi. Sve to zbivalo se u doba “renesansne” crtačke tehnike i upotrebe modernističkih projektantskih načela i metoda. Način studiranja formirao je ritam života u cijelosti nekomparabilan s današnjim. Na fakultetu smo boravili svakodnevno i cjelodnevno. Na obrani diplome najčešće nije bilo predviđeno demonstrirati konceptualne posebnosti, prezentirati tehničke izume ili novim jezikom dokazivati već poznato. Bio je to koncept, s današnjeg aspekta, prilično krute, shematizirane provjere stručnoga znanja. Profesori nisu očekivali, a mi nismo najavljivali, da već sutra poslije stjecanja titule dipl. ing. arh. namjeravamo zasnovati vlastiti biro i posipati se zvjezdanom prašinom. Ipak, i onda su se, kao i uvijek, bez posebne obrade, isticali oni posebni, nestrpljivi, oni od kojih se očekuje... Studenti su bili prepoznati – ili po mislima, ili po crtežu, ili oboje.

In those years, access to a diploma was only possible through absolved study, which took in: the professors’ signatures (first and second!) for solid attendance of lectures and passed colloquiums, completed practice programmes (34), and passed written and oral exams (47), which were noticeably harder than today to gain a high mark in. Attendance of on-site lectures and professional practice was obligatory. All of this was played out during a time of “renaissance” of drawing techniques and the use of modernistic design rules and methods. The way of studying formed the rhythm of a life incomparable to today’s. We spent all day and every day at the Faculty. During the diploma defence, more often than not one was not expected to demonstrate unique conceptual elements, present technical inventions or prove what was already proven with a new language. Seen from today’s perspective, it was a concept based on a relatively rigid and schematically tested professional knowledge. The professors did not expect, and we did not announce, that already the day after obtaining the title of “dipl. ing. arh.,” we planned to form our own office and sprinkle ourselves with stardust. Even then, however, and through no particular diverging route, a few special individuals stood out, impatient, knowing things were expected of them... These students were recognised either by the opinions, or their drawings, or both.

Godišnjak AF 15/16 dijalozi o diplomskom radu AF Yearbook 15/16 Dialogues on master thesis project

16 17

Težnja za fakultetskom izobrazbom pretpostavljala je intelektualni napor, poštivanje učiteljskog autoriteta usprkos povremenom nerazumijevanju i profesora i cijelih predmetnih područja. Trebalo je biti spreman na disciplinu, na kontrolu vlastitih ograničenja, bez averzije i demonstracije spram ponude i obveze “nepotrebnih” znanja (da li?!).

The desire to gain a Faculty degree went hand in hand with an assumed intellectual effort and respect of the teacher’s authority (despite occasional divergency of views) and that of the professors and entire subject areas. One had to be ready for discipline, the control of one’s personal limits, and without aversion and demonstration towards offers and demands of “useless” knowledge (is that so?!).

Uređivanje Studijskog centra Arhitektonskog fakulteta, Motovun 1973.

Renovation of the Study Center of the Faculty of Architecture, Motovun 1973.

V. B.

N. F.

Danas se Diplomski rad na našem fakultetu sastoji od tri dijela: uvoda u projekt – istraživačkog rada vezanog za temu diplomskog rada, projektantskog projekta i javne usmene obrane rada pred Povjerenstvom za obranu diplomskog rada. Tema diplomskog rada je slobodna, bira ju sam student u dogovoru s mentorom.

The master thesis project consists of three parts: the project introduction, research work linked to the theme of the graduate design project, and an oral defence of the project carried out in public before the designated Committee. The theme of the master thesis project is open and chosen by the student, in agreement with their mentor.

Koji je pedagoški cilj ovakva pristupa u kojem student sam sebi zadaje zadatak i traži odgovore na pitanja koja je sam postavio?

What is the pedagogical aim of such an approach, where the student sets the task himself and searches for answers to his own questions?

Kako ga vidite u kontekstu zahtjeva današnjeg vremena, u kojem se od arhitekata očekuje spremnost razumijevanja i reagiranja na svaku situaciju, najčešće onu koju nisu sami odabrali, a idealizirane situacije u kojima sami biraju temu, program i lokaciju gotovo da ne postoje?

How do you see it in the context of today’s demands, where the architect is expected to be ready to understand and react in any given situation, most frequently one which they themselves did not choose, and where the idealised situations for which they pick the theme, programme and locations hardly even exist?

Egzistencijalna potreba i kreativna budnost primora nas arhitekte na stalnu koncentraciju u individualnoj težnji “za nastankom djela”, usprkos nizu otegotnih okolnosti i ograničenja. Za revolveraški gard treba smoći snage. Posebno u našoj sredini i prostoru.

The existential need and creative awareness keeps us architects in a state of constant concentration, with an individual need “for the realisation of a project”, despite constrained circumstances and barriers. For a gung-ho town one needs to find strength, especially in an environment and space as is ours.

Naš bi fakultet, kad je u pitanju prisutnost arhitekture u cjelovitom građenom prostoru, morao u tome imati odlučujuću ulogu i priznati dio odgovornosti za lošim zakonom oslobođeni divlji urbanizam i za široki raspon dosad izgrađenih tvorevina koje samo ponekad atribuiramo arhitekturom. Odgovornost se manifestira strožim kriterijima na svim razinama.

When it’s a question of architecture in an overall built environment, our University should have a deciding role.. and take due responsibility for the detrimental laws which spawned a sprawling and “wild” urban planning, as well as for the built eyesores, which only occasionally do we attribute to architecture. Responsibility manifests itself through stronger criteria at all levels.

Djelujemo u sredini već zastarjele, posljednjih godina rijetko upotrebljavane visoke građevinske tehnologije i tehnike. Građevinska je industrija u krizi i žalosno je opisivati ju. Arhitektonski materijali uvoznog su podrijetla, a njihova dostupnost ograničena poznatim (ne)mogućnostima. Zakon o gradnji ograničava, upitan je i anakron, a zakon o javnoj nabavi udomaćen je u našoj sredini uvijek posebno interpretiranim europskim kriterijima i izložen lokalnim manipulacijama. Brigu o arhitektima, stručnoj afirmaciji i zaštiti interesa već duže vrijeme ne pruža autoritativni kredibilitet strukovnih udruga, ma gdje se nalaze. Komora arhitekata ponekad više sliči na turističku agenciju nego na zaštitarsku tvrtku našeg poslovanja. U Ministarstvu graditeljstva smo prisutni, onako, usput, a u Ministarstvu kulture nikako (bez svoga vijeća izloženi autoritetima i arbitraži Vijeća za kulturna dobra). Novodiplomirani arhitekti u takvu složenom kontekstu započinju svoje djelovanje. O diplomiranim dizajnerima bolje da ne govorim. Sve sama rakova djeca. Ne vidim moguće inspiracije ili scenarije koje bi ove okolnosti mogle stimulirati. Oporbu ovakvom stanju može i mora pružati samo obrazovanje. Ako želite postati pijanistom, morate stremiti vrhovima Debussyja, pa tek poslije... Za reteriranje naći će se razloga. Na našem fakultetu i diplomskom studiju ne sudimo o individualnim mogućnostima svakog studenta jer nikad ne možete znati kome će se i kada probuditi ili dogoditi “ono nešto”. Poslijediplomski studiji trebali bi biti mjesto za strože kriterije, mjesto na kojem se dokazuje “izvrsnost”, pripadanje provjerenom krugu dokazanih “maximusa” s područja visoke teorije ili visoke arhitektonske prakse. Napor i (rjeđe) lakoća studiranja posebnih i s interesom odabranih područja i usmjerenja zaključno donosi visoku individualnu stručnost, time i potvrdu općekorisnog djelovanja. Oblik obrazovnog vrhunca koji pretpostavlja usvajanje intelektualnih i moralnih zasada iziskuje kreativnu nadgradnju. Tu leži stvarna težina, tu je svaki osobni problem svakog arhitekta. Mislim da je studiranje otkrivanje sebe samog pa mora biti lišeno bilo kakvih suvišnih opterećenja ili kalkulacija. Život je preskakanje granica, a slobode nikad dosta.

We operate against a background of already old, and in recent years rarely implemented, highly developed construction technology and technique. The architectural materials are imported, while their availability is limited by familiar (im)possibilities. The construction law limits, is questionable and anachronistic, while the law for public procurance comes with specially interpreted European criteria and local manipulation. The authoritative credibility of the profession’s unions has long since stopped taking care of architects, the professional affirmation and protection of interests. We just happen to be part of the Ministry of construction, but we have no council and thus we are exposed to the authority and arbitrary treatment of the Council for Cultural Goods. In such a context, the newly graduated architect commences his work. And it’s best for me not to even mention the situation of the graduated designer. I do not see a possible inspiration or scenario which would stimulate such circumstances. Such a situation can, and has to, be fought only through education. If you wish to become a pianist you have to desire the summits of Debussy, and only then... One can always find a reason to retreat.

Egzistencijalna potreba i kreativna budnost primora nas arhitekte na stalnu koncentraciju u individualnoj težnji “za nastankom djela”, usprkos nizu otegotnih okolnosti i ograničenja.

We do not judge our Faculty students on their individual possibilities, since it can never be predicted when they will be inspired by or come out with “that certain something”. It’s up to postgraduate study to take a stricter stance and seek to prove the “excellence” of a particular student, those belonging to the circle of proven “maxims” in the area of high theory or high architectural practise. The effort and (less often) ease of studying special and enthusiastically selected areas unquestionably results in a high individual professionalism and, as such, proof of a useful action in general. The form of the educational peak, which assumes the embracing of intellectual and moral knowledge, requires a creative superstructure. Here lies the real weight, and here lies each architect’s personal problem. I believe that to study is to discover oneself and so it has to let go of any load or calculations. Life is about jumping over borders, and one can never have enough freedom

Struktura diplomskog rada u današnjem obliku uvedena je u sklopu najnovije reforme nastave na našem fakultetu na kojem je nastava prilagođena bolonjskom modelu akademske godine 2010./2011.

Today’s structure of the graduate project was introduced as part of our University’s most recent educational reform, whereby the teaching and lectures were adapted to the Bologna model in the academic year 2010/2011.

Što karakterizira dobro odabranu temu, postavljeni zadatak za izradu diplomskog rada i koje kriterije mora zadovoljavati da bi bio prihvaćen od diplomskog povjerenstva?

What are the characteristics of a well-chosen theme and the set task for the carrying out of the graduate project, and which criteria should it fulfil in order to be accepted by the committee board?

Istina, bolonjskim su modelom promovirane intencije i zasade koje na različitom tlu i unutar različitih obrazovnih kultura različito uspijevaju. Za razliku od semestralne nastave i predmetnih ispita, na promjene i definiciju diplomskog rada i ispita na našem fakultetu bolonjsko umreženje nije bitno utjecalo. Promjene smo proizveli sami prilagođavajući se vlastitim okolnostima: sve bržom smjenom generacija, postojećim personalnim snagama i konceptualnim razlikama.

Indeed, the Bologna model helped to promote intentions and ideas, which have varying success depending on the area and educated culture. In contrast to the semester teaching and subject exams, the Bologna introduction did not have a significant role in the changes and definition of our Facult’s master thesis project and exams. We introduced the changes ourselves by adapting to our own circumstances: by an ever faster generational change, existing personal strengths and conceptual differences.

V. B.

N. F.

Godišnjak AF 15/16 dijalozi o diplomskom radu AF Yearbook 15/16 Dialogues on master thesis project

18 19

Škola bi morala težiti početnoj ravnoteži, u pristupu pružiti širinu, stimulirati, buditi ponekog spavača… U tome je cilj, metoda i mjera dobroga pedagoškog modela, ali i neizostavno trajno propitivanje i sumnja u sve što se nudi i predstavlja se idealnim.

To start with, the school should aim for a balance, offer breadth in its approach, stimulate, and occasionally wake up a dozing student... That is the aim, method and measure of a good pedagogical model, as is a continuing questioning and doubt of all that is offered and appears to be ideal.

U tim realnim previranjima bilo je iznenađenja koja nama i našem modelu obrazovanja nisu trebala. Iako je državna matura zamjena za prijamne ispite, na našim, još uvijek postojećim prijamnim ispitima s provjerom opće i likovne kulture te crtačkog improviziranja u stresnim uvjetima, odlučujući doprinos konačnom rezultatu uspjeha donose bodovi s ispita državne mature. Fakulteti osciliraju s upisnim kvotama i ne obaziru se na realitet tržišta rada. Kod nas trogodišnje diplome to tržište nije prepoznalo. Horizontalna prohodnost studenata nikada nije zaživjela i njih 90 posto uđe na prvu godinu i izađe s pete godine kroz ista fakultetska vrata. Unutrašnja mobilnost nastavnika vrlo je diskretna, a tradicionalna organizacijska hijerarhija s jasnim razinama odgovornosti više ne postoji. Našim prvostupnicima studiranje u drugim, uglavnom zapadnim sveučilišnim sredinama u trajanju od jednog ili dva semestra čini se prekratkim vremenom. Prilagodba uvijek novom ambijentu i komforu vjerojatno ugrožava potrebnu koncentraciju za studiranje. Nastava na engleskom jeziku upućena je kod nas potpuno neproporcionalnom broju domaćih i stranih studenata, najčešće iz Poljske, Bugarske, Makedonije, Italije... U ovakvim okolnostima temelj stabilnoga sveobuhvatnog studija mogla bi ugroziti i koncentrirana fakultetska nastava u ciklusima, koja poprima oblike ubrzane poduke.

In such a state of upheaval, there were certain surprises which we and our educational model has no need for. Although the state matriculation is a replacement of entrance exams, at our still-existing entrance exams, which test general and art and drawing improvisation under stressful circumstances, the deciding factor when it comes to the final success result are the points gained from the state matriculation exam. Universities oscillate over the noted quota and do not take into account the reality of the marketplace, which did not recognise our three-year diplomas. The horizontal traffic of students never escalated, and 90 of them enter the first year and exit the fifth through the same University doors. The inside mobility of the teachers is very discreet..., while a traditional organisational hierarchy with clear levels of responsibility no longer exists. To our bachelors, studying in other, mainly Western university milieus for a period of one or two semesters seems to short. Having to constantly adapt to a new environment and level of comfort, most likely gets in the way of their concentration and studies. Teaching in English here is geared towards an entirely disproportionate number of local and foreign students, most often from Poland, Bulgaria, Macedonia, Italy... Under such circumstances, the foundations of a stable and all-encompassing study could very well be put at risk by concentrated university teaching in cycles, which takes on the appearance of a speedy and less thorough education.

Kako škola djeluje? Škola bi morala težiti početnoj ravnoteži, u pristupu pružiti širinu, stimulirati, buditi ponekog spavača… U tome je cilj, metoda i mjera dobroga pedagoškog modela, ali i neizostavno trajno propitivanje i sumnja u sve što se nudi i predstavlja se idealnim.

What effect does the school have? To start with, the school should aim for a balance, offer breadth in its approach, stimulate, and occasionally wake up a dozing student... That is the aim, method and measure of a good pedagogical model, as is a continuing questioning and doubt of all that is offered and appears to be ideal.

Treba li oktroirati nastavu, uvjete, zadatke ili studente tijekom višegodišnjeg studija prepustiti “obradi” po pojedinačnim profesorskim profilima? Na svaki način i uvijek otvara se niz pitanja usklađenosti u našemu zajedničkom djelovanju.

Should one hijack a class, criteria, tasks or even allow the students during their multiple years of study to be “honed” by individual professor profiles? Always, and in each and every way, a list of questions arises about the synchronisation of our team effort..

Arhitektura i znanje o njoj oduvijek su se konzumirali temeljito, po fazama sa zadrškom i pauzama, ako treba. Razumijevanju težine tog uspona poslužit će i provokacija Luisa Kahna: “Arhitekture nema (?!), ali postoje arhitektonska djela.” Pa ti izvoli, uđi! Arhitektonsko djelo je prostorno i oblikovno iznenađenje. Ushit potvrđuje umjetnost na djelu, ističe trajnu posebnost i potiče dalje.

Architecture and our knowledge of it have always been consumed thoroughly, in phases and with pauses if necessary.

Dobro odabrati temu diplomskog zadatka znači što je moguće više kretati se uvjerljivo na kreativnoj površini vlastita arhitektonskog interesa. Znači biti gusto i provokativno stimuliran stručnom širinom i omogućenom koncentracijom, otkriti domete i trenutnu razinu završenog znanja, postati siguran i uvjerljiv za sve što dolazi poslije.

Kriteriji za prihvat diplomske teme, lokacije i obima zadatka prilagođavaju se uvjerljivom omjeru stručnog dokazivanja i realnog apsorbiranja područja s jedne strane i stimuliranja osobnoga kreativnog zanosa s druge. Interes, domet i ambicija studenata, disperzni u početku, zaslužuju maksimalnu odgovornost i sigurnost mentora.

For an understanding of the hardship of such a climb, one can quote Luis Khan: “There is no architecture (?!), but there are architectural works.” So go ahead, enter! The architectural work is a a spatial and formal surprise. Excitement confirms art at work, emphasises a long-lasting uniqueness and encourages to go further. To choose well the theme of a graduate task means to move convincingly on the creative surface of one’s own architectural interest. It means to be thoroughly and provocatively stimulated by the professional breadth and allowed concentration, discover the range and the temporary level of gained knowledge, and to become sure of oneself and convincing for all that is to ensue later. The criteria for the acceptance of a graduate theme, location and project circumference are adapted on the one hand to a convincing relation between professional proof and a realistic absorption of area, and to a stimulation of the personal creative excitement on the other. A student’s interest, reach and ambition are fragile at the beginning and deserve to be accorded as much responsibility and safety as possible from the mentor.

Dobro odabrati temu diplomskog zadatka znači što je moguće više kretati se uvjerljivo na kreativnoj površini vlastita arhitektonskog interesa.

To choose well the theme of a graduate task means to move convincingly on the creative surface of one’s own architectural interest.

Treba li tema diplomskog rada biti vezana za aktualnu problematiku, izazove i stvarnost današnjeg vremena te reagirati na socijalne, ekonomske i ekološke promjene ili mislite da je bolje pronaći teme koje su, uvjetno rečeno, univerzalne?

Should the theme of the graduate project be linked to a current problem, the challenges and realities of today, as well as react to social, economical and ecological changes, or do you believe it is better to find themes which are, more or less, universal?

Koja je prednost problemski postavljenih tema koje su specifične za hrvatski kontekst, kako u uže arhitektonskom tako i u širem društvenom smislu?

What is the advantage of problem-set themes which are specific to the Croatian context, in a narrower architectural sense as well as a wider social one?

Mislim da je svaka “aktualna problematika” uvijek dovoljno stara kako bismo je razumjeli s iskustvom ugrađenim za sva vremena. Reagirati svojim djelovanjem na socijalne, ekonomske i ekološke promjene dio je obvezne osjetljivosti za stvarno okruženje. Isključivo teorijska misao, estetska pojavnost ili iskra iznenađenja prepoznata kao umjetnički fenomen – može nas uputiti u sumjerljive tokove univerzalne sfere u kojima samo ponekad znamo što arhitektura jest. Ili nam se samo čini. Sve ostalo vodi nas prema “sada i ovdje”. Sasvim sigurno, razumijevanje ovoga vremena i upotreba korisnoga arhitektonskog govora nužni su uvjet primjerene reakcije. Pretjeranu izbrazdanu konfiguraciju globalnog pejzaža dobar će arhitekt uvijek čitati svim svojim senzibilitetima, kao osjetljivu podlogu za nove intervencije: po kapacitetu, dimenzijama, tehnologiji i, ono najteže dokučivo, po konceptu.

I believe that every “current problem” is old enough for us to be able to understand it with the experience which is in-built for ever. To react through one’s actions on social, economic and ecological changes is part and parcel of the obligatory sensitivity for a complete education. A purely theoretical thought, aesthetic or spark or surprise recognised as an artistic phenomenon can lead us towards incommensurate streams of the universal sphere, where only sometimes can we discover what architecture is. Or it only appears to us. All else leads us to the “here and now”. It is certain that an understanding of our time and the application of a useful architectural language are a key condition of an adapted reaction. A good architect will always read an extreme striated configuration of the global scenery through his own sensibilities, seeing it as a solid base for new interventions: by capacity, dimension, technology and, the hardest to fathom, concept.

Upozorenje kako pristupati arhitekturi u nastajanju studenti su trebali dobiti i usvojiti u preddiplomskom periodu na nizu već apsolviranih praktikuma. Iako ta intelektualna ekvilibristika u začetku svakoga arhitektonskog zadatka i motiva nije laka, teško ju je dokučiti tek na diplomi.

A warning on how to approach architecture in formation should have been taken in by the student during their pre-graduate period, in a series of already absolved practicums. While such an intellectual equilibrium is not easy to attain at the start of every architectural project, it is even harder to master at graduate stage.

Recentno iskustvo govori da se prihvaćeni diplomski zadaci ipak sve više i češće smještaju na prihvatljive lokacije, sadržaji se otkrivaju unutar razložnih programa, a kapacitet intervencije mjere proporcionalno mjestu, svojoj moći i ambiciji.

Recent experience, however, tells us that accepted graduate projects are increasingly being given acceptable locations, themes are discovered within reasonable programmes, while capacity for intervention is calculated proportionally in terms of location, the project’s power and its ambition.

Ne podcjenjujem studentsku optiku, misli i razloge kad šutke snimaju stanje stvari.

I do not underestimate student optics, thoughts and reasons when they silently take in the the condition of things.

V. B.

N. F.

Godišnjak AF 15/16 dijalozi o diplomskom radu AF Yearbook 15/16 Dialogues on master thesis project

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Škola i u pedagoškom postulatu mora optimizirati naukovanje i pretpostavljati bolji i uvijek vrjedniji društveni ambijent.

Meanwhile, the institution should, even in the pedagogical postulate, optimise its educational process and suppose a better and ever more valuable social environment.

Studentima je znanje o mjestu podrijetla ili boravka poznato i posve razumljivo uporište pri odabiru lokacije i teme diplomskog rada. “Aktualna problematika” mjesta i njeno vješto apsolviranje otvara uvijek i lokalna i univerzalna pitanja, ali pruža priliku za odgovore koje student kroz spojeve i rješenja, kroz koncept i oblik, najavljuje i traži sam. Baviti se “hrvatskim” temama i problemima moralo bi pretpostavljati lakšu koncentraciju na poznat prirodni i socijalni, baštinjeni ambijent. Riječ je o poznatom kontekstu i brušenom identitetu. Sve navedeno – otvoren odabir teme i lokacije, programiranje, istraživanje, pristup i rezultat u diplomskom procesu – nastoji studentu omogućiti krajnju slobodu u radu i rezultatu. Sloboda je neophodan uvjet za svaku kreaciju. Vrijeme studija je velika priprema za stvarne, posve drukčije radne uvjete. Govorim o stručnim malformacijama u praksi koje čekaju svakoga mladog arhitekta, o tegobama i dilemama koje su savladive samo jakim uvjerenjima u temeljne zasade znanja i etike. Stoga simulaciji stvarnosti tijekom studija ne treba težiti. Škola i u pedagoškom postulatu mora optimizirati naukovanje i pretpostavljati bolji i uvijek vrjedniji društveni ambijent.

Knowledge about a place of provenance or temporary residence is for the student a familiar and entirely comprehensive basis when choosing the location and theme for the graduate project. The “current problematics” of a place and their clever solutions always open up questions of both a local and universal nature. It also offers the opportunity for answers, which the student, through links and solutions and concept and form, expresses and searches for on his own. Dealing with “Croatian” themes and problems should presuppose an easier concentration for a familiar natural, social and inherited environment. It’s about a familiar context and honed identity. All of the afore-mentioned – free choice of theme and location, programming, research, approach and the result of the graduate process – are there to allow the student the utmost freedom in their work and result. Freedom is essential for any creation. The time of studying is an important preparation for real and entirely different working conditions. By that I mean the malformations of professional work awaiting each young architect, and the hardships and dilemmas which are only surmountable through strong beliefs in the imported basic knowledge and ethics. Therefore, in the course of studying, one should not seek a simulation of reality. Meanwhile, the institution should, even in the pedagogical postulate, optimise its educational process and suppose a better and ever more valuable social environment.

Rad studenata u diplomskoj crtaonici 429

Students work in master thesis drawing room 429

V. B.

Cilj je diplomskog rada, prije svega, zauzimanje vlastite arhitektonske pozicije koju svatko svjesno ili intuitivno nosi u sebi te nadograđuje i pronalazi tijekom diplomskog studija. Kako sadašnji model diplomskog rada vodi profiliranju osobnoga arhitektonskog stajališta?

N. F.

Traganje za vlastitom arhitektonskom pozicijom, za osobnim profilom, dugotrajan je, samozatajni proces, ili bi to trebao biti. Posebno ako si pritom spreman na ulog energije koja se troši u rubnim zonama vlastitih mogućnosti. Imati arhitektonsko stajalište za stabilnu i trajnu osobnu impostaciju u tim ranim godinama prevelika je ambicija. Interes i volja poželjni su, ali ne i dovoljni. Svaki pojedinac sa sobom nosi trajni pečat početne impresije arhitekturom i njenim akterima iz razdoblja studiranja, manifestirane tada teoretskim i “stilskim” pogledima koji ga

The aim of the graduate project is, firstly, the establishing of one’s own architectural position, which everyone consciously and intuitively carries within them and builds on and discovers during the course of their graduate studies. How does the current graduate project model lead to a profiling of a personal architectural attitude? Searching for one’s own architectural position, for a personal profile, is a long and interior-led process, or rather it should be. To accomplish this you need a vast input of energy, but to try and attain an architectural attitude that will stand you in good stead for the future is at this early learning stage too big an ambition. Interest and will are required but they are not enough. Each individual carries within them a lasting stamp from their student days of the first impression architecture and its leading stars left on them through a manifestation of theoretical and

prate i profiliraju za cijeli život. Za pronalaženje vlastita arhitektonskog govora, dokazuje iskustvo, nisu nužno potrebne ispitne atmosfere, usmjerenja niti profesorska arbitraža. Formiranje individualnog stajališta i izraza može niknuti iz afirmativne, ali i negativne reakcije na “znanje” i metode ponuđene tijekom školovanja. Svaki rano prepoznat autorski profil, talent, valja pomnjivo brusiti, odgajati i uputiti. Svaki apodiktički sud intuitivno je podložan sumnji i stalnom oprezu. Diplomska obrana samostalnog projekta obvezan je završni nastup, ali i neophodna startna podloga za sve što slijedi.

“stylistic” views. These will stay with them for the rest of their life. Experience shows that to find one’s own architectural speech no exam atmosphere or professor arbitrage is needed. The formation of an individual attitude and expression can grow out of a positive, but also negative, reaction to the “knowledge” and methods offered during schooling. Each early recognisable author profile and talent should be carefully hones, nurtured and advised. Each court is intuitively susceptible to suspicion and being on constant guard. The graduate defence of an independent project is the required final performance, as well as a vital starting base, for all that follows.

Rad s mentorima u diplomskoj crtaonici 429

Work with mentors in master thesis drawing room 429

Slobodan izbor teme i pristupa diplomskom radu omogućuje zauzimanje poentiranih stajališta o arhitekuri koja mogu dovesti u pitanje uobičajene kolosijeke arhitektonskih praksa. Koja je još prednost takvog modela diplome u usporedbi s drugim europskim modelima diploma kao, primjerice, na ETH-u u Zürichu, gdje je diplomski rad poput arhitektonskog natječaja s unaprijed precizno zadanim zadatkom, programom i konkretnim fizičkim kontekstom?

The free choice of theme and approach to the graduate project allows the student to take up a number of stances on the subject of architecture, which can bring into question the habitual paths of architectural practice. What is the advantage of such a project model in comparison with other European models, such as the one at ETH in Zürich, where the graduate project resembles an architectural competition with a precisely defined task, programme and concrete physical context?

Pritom student može odabrati između tri unaprijed problemski postavljene teme koje apostrofiraju današnje vrijeme, a dotiču tri različita mjerila: konstruktivni pristup projektiranju, arhitektonski objekt i urbanizam. Kroz takav je pristup, među ostalim, i jednostavnije provesti usporedbu i vrjednovanje rezultata.

In this case, the student can choose from three given problematically put themes, which apostrophise today’s climate and touch on three different measurement systems: constructive approach to design, the architectural structure and urban planning. Such an approach also allows to more simply compare and qualify the results.

Na koji način i pomoću kojih se kriterija provodi usporedba i vrjednovanje diplomskih radova na AF-u u Zagrebu?

How and using what kind of criteria does the fa in Zagreb compare and qualify graduate projects?

Mislim da je nespretno i neproduktivno uspoređivati se bilo s kime, posebno s obrazovanjem u Švicarskoj. Pa ipak, uspoređujući se s ETH-modelom koji ste opisali, moglo bi se reći da je model bio uspješno usporedan u doba nekadašnjih usmjerenja i na našem fakultetu: projektiranje, konstrukcije i urbanizam. Pridajući si važnost, uz iskustvo, mogli bismo reći da slijedimo sličan put (!). Inzistiramo na sva tri “mjerila” koja se nude odjednom i u svakoj temi! Integrirani je pristup, dakako, vrlo složen, naporan, možda i pretjeran... Teško ga je sinkrono

I think it is clumsy and unproductive to compare ourselves with anyone, especially with Switzerland’s educational system. However, taking the ETH model you mention as a comparison, one could say the model was more or less as successful also at our University: design, construction and urban planning. Allowing a degree of importance, alongside experience, we could say we were following a similar path (!) We insist on all three “measurement systems” which are available at the same tame and in each topic! An integrated approach is obviously very complex, tiring, maybe

V. B.

N. F.

Godišnjak AF 15/16 dijalozi o diplomskom radu AF Yearbook 15/16 Dialogues on master thesis project

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isplesti, demonstrirati integralnom elaboracijom tijekom rada, pa dolazi do oscilacija u vježbenim praktikumima, očito i u finalizaciji diplomskog nastupa. Problem (p)ostaje i u skromnom rasponu ocjena (1–5) pri individualnim, ali i skupnim (prosječnim) ocjenama. O njihovoj važnosti i kasnijoj upotrebi teško je suditi. U našoj praksi, pa ni prilikom zapošljavanja, one najčešće nisu relevantne. Kao što sam već naglasio, pozicija fakulteta morala bi, prije svega, biti definirana težnjom, jasnim polazištem skupnog napora nastavničkog zajedništva. Kad bi značenje i karakter institucije bilo moguće ostvariti, proklamirati, usmjeravati dogovorno i kreirati potencijalom nastavnika, asociralo bi to na svjetski relevantne arhitektonske škole moćnog profila. Budimo realni, za to je potreban subjektivni model, neograničeni autoritet voditelja i pompozni financijski stimulans koji ostvaruje snove.

even exaggerated… It is hard to demonstrate through an integral elaboration during work, so an oscillation in exercise practicums appears, obviously also in the finalisation of the graduate performance. The problem becomes/remains also in the narrow range of marking (1–5) for individual and group (average) marks. It is difficult to judge their level of importance and later usage. In our experience, and also at employment stage, they are most often irrelevant. As I already pointed out, the Faculty’s position should firstly be defined by the desire and team effort of the teaching community. If the institution’s meaning and character could be realised and proclaimed, led by universal agreement and created through the potential of the teacher, it would be comparable to the globally relevant and high-profile architectural schools. Let’s be realistic, we would need a subjective model to realise this, a leader’s unlimited authority, and a significant financial stimulant to make dreams come true.

V. B.

Kako ocjenjujete diplomske radove naših studenata u širemu regionalnom kontekstu? Godišnje nominacije diploma naših studenata za međunarodne studentske nagrade Piranesi i Archiprix potvrđuju evidentnu kvalitetu obrazovanja. Radi li se pritom o iznimno talentiranim pojedincima ili ovakav model diplomskog rada sa slobodnim izborom teme i poznatog konteksta potiče motivaciju te pronalaženje odgovora na vlastita pitanja o tome što je to arhitektura?

How do you judge our students’ graduate projects in a wider regional context? Their yearly nominations for the Piranesi and Archiprix international student awards are proof of an education that is evidently one of quality. So is it about exceptionally talented individuals or does this kind of graduate project model with a free choice of theme and familiar context motivate students and help them find the answers to their own questioning of what is architecture?

N. F.

Polazišta i razlike u pristupu vrjednovanja na međunarodnoj sceni opet i uvijek iznova ovise o trenutku i selektorima, o stvarnom znanju i koncentraciji pri procjeni studenata, a time i o razumijevanju specifičnih karakteristika fakulteta s kojih studentski radovi dolaze. Svako skupno vrjednovanje ima određenu težinu kompromisa, nosi atmosferu uvjeravanja i ponekad upitnoga nadglasavanja, pa su zato natjecanja i odabir najboljih rezultata katkad podložni mogućim slučajnostima prosudbenog procesa. Bilo bi možda zanimljivije i odgovornije prepustiti svake godine drugom, pojedinom selektoru početnu selekciju na specifičnim studentskim natječajima. Siguran sam da je uvijek riječ o konkurenciji iznimnih i ambicioznih studenata koji, u našem slučaju, nisu ničim sputani, ali, siguran sam, nose breme činjenica da su “sada i ovdje”. U osjetljivom vremenu sazrijevanja mora se otvoriti dilema provjere i samokontrole po kojoj je čovjek sebi i nagrada i kazna.

The starting points and differences in the qualifying approach of the international scene again and always anew depend on the moment and those doing the selection, on a real knowledge and concentration when marking the students, and thus also on an understanding of the unique characteristics of the university spawning the student projects. Each group marking carries a certain amount of compromise, an atmosphere of convincing and sometimes questionable outsinging. Thus, competitions and the selection of the best results are sometimes influenced by the possible coincidences in the judging process. It may be more interesting and responsible to allow each year a different individual to commence the initial selection at specific student competitions. I am certain it is always a question of competition between excellent and ambitious students who, in our case, are not constrained by anything, but nevertheless carry a heavy load pertaining to the thoughts of “I am here and now”. During the sensitive period of maturing, a dilemma of checking and self-control should manifest itself, whereby the individual is his/her own reward and punishment.

Kao što sam već naglasio, pozicija fakulteta morala bi, prije svega, biti definirana težnjom, jasnim polazištem skupnog napora nastavničkog zajedništva.

As I already pointed out, the Faculty’s position should firstly be defined by the desire and team effort of the teaching community.

Kako bavljenje lokalnim problemima i vlastitom sredinom utječe na profiliranje Arhitektonskog fakulteta u Zagrebu u međunarodnom kontekstu?

How does dealing with local problems and one’s own environment influence the profiling of the Architectural University in Zagreb in an international context?

V. B.

Tu nemam dilemu. Mislim sasvim uvjereno da je intenzivno i fokusirano bavljenje vlastitom sredinom uvjet za međunarodno prepoznavanje svih slojeva naših posebnosti, povijesti, kulture i izgrađenoga arhitektonskog fundusa. S domaćim temama i prostorom nosi se na leđima uz “znanje o...”, nadam se, i jaka doza ponosa. I prkos je koristan za samopouzdanje. Onaj tko zna i “kome je dano”, uživat će stvarati arhitektonsko djelo u Smiljanu i u Dubrovniku, na Britancu u Zagrebu i na Postdamer Platzu u Berlinu, u Kini ili Čileu...

On this subject, I have no doubt. I wholeheartedly believe that intensive and focused attention to one’s personal environment is a condition for international recognition at all levels of our unique characteristics, history, culture and build-up of architectural treasure. Along with a knowledge of local themes and spaces, I hope a big does of pride is carried too. Defiance is also useful for self-assurance. The person who knows and who is gifted will relish creating architectural works in Smiljan and Dubrovnik, on Zagreb’s Britanski Trg and Berlin’s Postdamer Platz, in China or Chile…

N. F.

Semestralna radna prezentacija

Semestral work presentation

Teritorij Hrvatske karakterizira mnoštvo povijesno, kulturološki i klimatski izrazito različitih i proturječnih regija, pejzažnih cjelina i ambijenata, te bogato graditeljsko nasljeđe koje sukladno zahtjevima današnjeg vremena traži nove koncepte budućega života. Time današnji model diplome kroz bavljenje vlastitom sredinom omogućuje mnoštvo različitih lokalnih konteksta u kojima je unutar samo jednoga diplomskog roka moguće izraditi diplomu! Možemo reći da u današnje vrijeme konstantnih promjena i globalizacije, model njeguje neku vrstu regionalizma i kulturološke posebnosti jer studenti najčešće biraju proživljena mjesta kojih specifičnosti dobro poznaju. Da, ako pod regionalizmom mislite na podrijetlo, pripadnost i znanje o mjestu. Naš specifični modus socioloških, formativnih i običajnih kontrasta omogućuje i širinu kreativnih odgovora. Jedno je čitanje ljepote poznatog ambijenta, dinamiziranje razvoja i usvajanja različitosti, a nešto sasvim drugo i štetno što se pod “regionalnim” može kriti jest fizička i mentalna izolacija. Ekskluzivnim pravom na projektiranje u lokalnomu, “svom” ambijentu nastoji se prije svega eliminirati zdrava konkurencija. Ta je anomalija sve prisutnija u našemu stručnom krugu. Oblikovni kod i produkt forsiranog regionalizma krije se i u stilskoj zabludi koja je našoj školi u cijelosti neprihvatljiva. Na našem fakultetu toga nema, niti je ikad bilo.

Croatia’s territory is marked by a myriad different historical, cultural and climate regions, landscape entities and environments rich in building traditions, which, corresponding with today’s demands, require new concepts for a future life.

V. B.

By dealing with a familiar, personal environment, the current graduate diploma model allows many different local contexts, and within a single graduate phase the student is able to achieve their graduate project! We could say that in a time of constant change and globalisation, the model nurtures a kind of regionalism and cultural specificity, since students most frequently choose a place they have experienced and the whose unique characteristics they know well. Indeed, if by regionality you refer to origin, belonging and knowledge of place. Our specific type of sociological, formative and usual contrasts also allows a breadth of creative answers. One thing is the reading of beauty in a familiar environment, the acceleration of development and adopting differences; quite another, and harmful, thing, which can hide beneath the “regional” banner is physical and mental isolation. The shaping code and product of a forced regionalism can also be hidden in the stylistic error, which is entirely unacceptable at our University. It simply does not exist and never did.

N. F.

Godišnjak AF 15/16 dijalozi o diplomskom radu AF Yearbook 15/16 Dialogues on master thesis project

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Novi regionalizam stvaran po receptu korištenja anakronih tipoloških uzoraka (kako narod gradi?!), pritom uvjetovan kolažiranjem lokalno rasprostranjenih “tradicijskih” detalja i materijala, refleks je kreativnih klaustrofobija i skučenoga, patetičnog lokalpatriotizma, koje svojataju samo sebi dovoljni “dvorišni arhitekti”.

A new regionalism created via a recipe of anachronistic specimens (how do the masses build?!) and which depends on a collage of locally scattered “traditional” details and materials, is a reflex of creative claustrophobias, a narrow-minded and pathetic local patriotism, lauded only by “courtyard architects” who look to no-one but themselves.

Obrana diplomskog rada u vijećnici Arhitektonskog fakulteta

Graduate Thesis project defense at the Faculty of Architecture hall

V. B.

Koje su prednosti sadašnjega modela diplome, a koje su njegove eventualne slabosti što ih možete navesti na temelju vašega dosadašnjega pedagoškog iskustva, ali i kao predsjednik Diplomskog povjerenstva?

Based on your pedagogical experience, as well as your experience as president of the Graduate Thesis Committee, what would you say are the advantages of the current graduate project model and what its potential weaknesses?

N. F.

U svakom trenutku i segmentu može doći do nerazumijevanja, pretjerivanja, disproporcija. Koncentracija odlučuje. U tome i tada profesorski je autoritet presudan. Odgoj, obrazovanje i moral ciljane su i trajne emisije svakoga dobrog pedagoga. Ili bi tako trebalo biti. Tu se, naime, nalazi odgovornost intervencija i zona suptilnih mentorskih korekcija. Korekcija mislima i uputama, a ne crtežom.

At any moment and segment, a misunderstanding, over-emphasis or disproportion can occur. Concentration is the deciding factor. It is then that the authority of the professor counts as the deciding factor. Nurture, education and morals are the enduring consequences of a good pedagogue. At least, that is how it should be. In fact, one finds herein the responsibility of interventions and zones of subtle mentor corrections. A correction by way of thoughts and instructions, rather than drawings.

Neka ozbiljnija, potpuno otvorena analiza “kako student bira mentora”, ili obrnuto, pokazala bi potrebu za promjenom upitnih kriterija zbog mogućih kalkulacija i komocije tijekom rada. Po našemu tradicionalnom principu profesorskoga diskrecionog prava tolerira se (i vjeruje) da profesor mentor zna što radi: kome, kako i zašto. Moguće zablude u nes(p)retnoj kooperaciji student – mentor postaju evidentne na prijavi i na obrani diplomskog rada. Moja je dužnost, zajedno s članovima diplomske komisije, upozoriti na moguća odstupanja na svim razinama diplomskog zadatka – od kvalitete teme i lokacije do kvantitete zadatka i projekta. Mislim da duh tolerancije i suzdržanosti nadjačava bilo čiji autoritet i apodiktički sud. To je danas uobičajeno i jedino moguće.

Were a more serious and entirely open analysis to be conducted on “how a student chooses his mentor”, or vice versa, it would show a need for change of the criteria in question, due to possible calculations and commotions in the course of the work. According to our traditional principle of the professor’s discretionary rights, it is tolerated (and believed) that the mentor professor knows what he is doing: to whom, how and why. Possible errors in the clumsy/unhappy student-mentor cooperation become evident at the submission and defence stages of the graduate project. It is my duty, along with the members of the graduate commission, to warn about possible errors on all levels of the graduate task – from the quality of the chosen topic and location to the quantity of tasks and projects. I believe that the spirit of tolerance and stepping back is stronger than any authority or court room. Today this is normal and the only possible option.

Kakav bi diplomski rad i edukacija arhitekata trebala biti u budućnosti, koje bi vrijednosti trebala njegovati i kultivirati?

What should the graduate project and the education of architects look like in the future, and what values should they nurture and cultivate?

V. B.

Zbog mirovanja reforme cjelovitoga obrazovnog sustava te konzerviranja inertnih i forsiranih bolonjskih zabluda teško je procijeniti razvoj budućega edukativnog modela u nas. Ovisi o nizu razvojnih okolnosti. Težinu te projekcije mjerim mnogim i vrlo subjektivnim dilemama, kojima sada i u ovome razgovoru nije mjesto. Sigurno je jedno: potrebno je stabilno osigurati visoku razinu znanja, komparabilnost i kompetitivnost sa strujama koje će – nadam se s poštovanjem za naš ambijent i kulturu – nositi međunarodna razmjena. Arhitektima poniklim ovdje škola je dosad provjereno jamčila dovoljnu dozu znanja i snalažljivosti, otvorila mogućnost prilagodbe i konkurencije u raznim situacijama, ma gdje se našli. Naše izvorne, skromne dimenzije, priče i sudbine ne moraju ograditi našu volju, znanje i dar u perspektivi. Sasvim obrnuto. Stanja i uvjeti često su otežavajuća okolnost koju treba uključiti kao stalnu pretpostavku, ali i kao poticaj. Kreativna moć je koncentrat koji treba znati čuvati. Rezultati se mjere i broje individualno, ali vrijede ako djeluju na sve, svugdje i trajno.

Due to the halted reform of the entire educational system and the conservation of inert and forced Bologna blunders, it is difficult to gage the future development of our own educational model. It depends on a host of developmental conditions. I measure the hardship of such a projection through a number of very subjective dilemmas, which don’t have their place now and in this conversation. One thing is certain – it is necessary to establish a high level of knowledge, comparability and competitiveness with the currents that an international exchange will bring, and which, I hope, will respect our environment and culture. To the architects grown here, the university has guaranteed a sufficient dose of knowledge and resourcefulness, and opened up the opportunities of adaptation and competition in various situations, wherever they may find themselves. Our original, discreet dimensions, stories and destinies do not have to be a barrier to our will, knowledge and gift to the future. Quite the opposite. Situations and conditions are often a hindering circumstance, which should be included as a constant assumption, as well as an incentive. Creative power is a concentrate, which one should know how to take care of. The results are measured and counted individually, but they are certainly worth it if they exert a lasting power over everyone and everything.

N. F.

Godišnjak AF 15/16 dijalozi o diplomskom radu AF Yearbook 15/16 Dialogues on master thesis project

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RazmiĹĄljanja o diplomskom radu Thoughts on the master thesis Project Diplomsko povjerenstvo â&#x20AC;&#x201D; Graduate Thesis committee

Bojana Bojanić Obad Šćitaroci

Andrej Uchytil

Tonči Žarnić

Karin Šerman

Miroslav Geng

Mateo Biluš

Tradicija otpora

Istraživanje kroz projekt i projektiranje kao refleksivna praksa

Nova aura povijesno– teorijskih diplomskih radionica

Balans između tehničkih znanja i umjetničkih “spoznaja”

Funkcija, konstrukcija i forma

Research through a design and design as reflective practice

A new dawn for Master thesis Studios in history and theory

Balance of technical knowledge and artistic “revelations”

Tehnologija je utjelovljena mašta Tradition of resistance Technology is imagination personified

Function, construction and form

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Bojana Bojanić Obad Šćitaroci

Tehnologija je utjelovljena mašta

Technology is imagination personified

Grad se može shvatiti kao zbirka priča koje je bilježila zemlja, i dalje bilježi. Grad postaje analogan knjizi, spremištu u kojem su pisani događaji. Arhitektura je od vitalnog značaja za snimanje i pisanje narativa grada. Ipak, to su individualne i kolektivne priče koje pružaju trajnu ostavštinu, dok zgrade dolaze i odlaze. — Graham Livesey, 1994.

The city may be understood as a collection of stories that have been recorded land continue to be written over time. The city becomes analogous to a book, a repository into which events are written. Architecture is vital to the recording and writing of the narratives of the city. Nevertheless, it is individual and collective stories that provide the enduring legacy, for buildings come and go. — Graham Livesey, 1994.

Diplomski rad je kultura stvaranja, to je istovremeno razgovor, rasprava i stvaranje. Za mene je priča najfascinantniji dio arhitekture. Pretpostavka priče jest da odluka stvaranja nije vezana isključivo za morfološka svojstva prostora niti za kulturni proces njegova oblikovanja i interpretacije, nego je vezana za dinamičnu mrežu prostornih i vremenskih mijena i njihov kontinuum.

A master thesis project is the culture of creating, a simultaneous conversation, discussion and creation. Personally, I find the story to be the most fascinating part of architecture. The story’s assumption is that the decision to create is not linked solely to the morphological elements of a space, nor to the cultural process of its design and interpretation, but also to the dynamic network of spatial and time changes and their continuum.

Ovo razmišljanje o diplomskom radu razmatra kulturu stvaranja priče, prostor u kojem se definira i klasificira znanje cijelog studija, te postaje i prvo legitimno javno pojavljivanje. Diplomski rad u sebi sadržava prikaz progresa učenja, procesa stvaranja i metode djelovanja. Potrebno je postaviti pred studente zadatak pronalaženja jedinstvene ravnoteže između geometrije i geomorfologije, artefakta i prirode, oblika i funkcije. Mora se vidjeti prostor kao kontekstualna podloga za razumijevanje, određivanje i postupanje u projektnim transformacijama. Treba naglasiti povijesni kontinuitet prostora kao proces stvaranja kroz sve njegove aspekte, uključujući, ali ne ograničavajući – od planiranja do izvedbe, od teorijskog razmatranja i istraživanja do prakse, i to kroz mapiranje prostora, vremena i fenomena. Treba promovirati rad iz cijelog spektra arhitekture i urbanizma, te poticati razgovor između dizajna i znanosti. Diplomski rad započinje izborom teme za koju su otvoreni različiti putovi. Najprije student identificira sebi najzanimljiviju temu, zatim istražuje prostorni razvoj, prikuplja podatake i analizira ih, razvija modele, analizira funkcionalne i operativne sustave te na kraju pristupa projektiranju. Zadatak diplomskog rada zahtijeva disciplinu uma i strogu radnu disciplinu. Čitajući literaturu i komunicirajući medjusobno i s mentorom, studenti se upoznaju sa stvarnim stanjem u istraživanjima koja se odnose na odabranu temu. Na taj će se način odčitati problemi, postaviti ciljevi i pretpostaviti posljedice projekta. Sljedeći je korak ograničiti projekt u savladive okvire koristeći konceptualna i maštovita znanja. Diplomski rad treba prikazati razvoj kroz problem, teoretsku pozadinu i pregled literature s primjerima, metodološki pristup, razvoj i oblikovanje rješenja, simulaciju i evaluaciju, te zaključak što predstavlja projekt koji kritički mijenja postojeće značenje prostornog razmišljanja i prostorne inteligencije. Diplomski rad priča priču tehnologije utjelovljene u mašti.

Such thinking about a master thesis project considers the culture of creating a story, as well as the space it is defined in, and classifies the knowledge of the entire study, thus also bestowing on it its first legitimate public appearance. A master thesis project contains the learning curve, the creative process and the method of reacting. It is essential to present the student with the task of discovering a unique balance between geometry and geomorphology, artefact and nature, shape and function. Space should be viewed as a contextual background for understanding, defining and treating transformational projects. The historical continuity of a space should be emphasised as a creative process through all its aspects, including, but not limiting – from the planning to the performance, from theoretical observation and research to praxis, through the mapping out of space, time and phenomenon. Work within the entire architectural and urban spectrum should be promoted, and a conversation between design and science encouraged. A master thesis project commences with the choice of a theme, which is open to different interpretations. Firstly, the student identifies the theme which they find the most interesting. They then research the spatial evolution, collect and analyse information, develop models, and analyse functional and operative systems. Finally, they approach the task of designing. Carrying out a master thesis project requires a discipline of mind and a strong work discipline. Through the reading of relevant material and communicating with their colleagues and mentor, a student learns about the real situation of the researches related to their chosen topic. This way, problems will come to light, aims will be established and effects of the project anticipated. The next step is to limit the project by setting achievable parameters through the use of conceptual and imaginative knowledge. A master thesis project should present the various stages of solving a problem, a theoretical background and an overview of literature with examples, a methodological approach, development and shaping of the solution, and simulation and evaluation. Last but not least, a conclusion that puts to the fore a project which changes the existing meaning of spatial thinking and spatial intelligence. A master thesis project tells the story of technology given shape by the imagination.

Tradicija otpora

Tradition of resistance

Rasprava o edukaciji arhitekata razapeta između slobode umjetničke volje i obvezujuće odgovornosti aktualnom društvenom trenutku vodi se još od starta modernizacijskog ubrzanja. Eho ove dileme stoji i u profilaciji diplomskog rada AF-a: je li to posljednji rad studentske vitalnost ili prvi rad realne prakse? I unutar projekcija budućnosti arhitekture ova dihotomija provlači se u slojevitim raskoracima, najčešće u vidu odnosa likovnoga i socijalnoga. Razjašnjenje tinja u “tradiciji otpora”, ideji shvaćanja discipline kao iskonske prakse koja njeguje kreativni potencijal, onaj izvan oktroiranih principa teorijskih ili ideoloških kanona. Vrijeme dvadeset prvoga stoljeća očigledno pokazuje da je ovakav kreativni trud izuzetno težak zadatak.

The debate about the education of architects, with one side arguing for the artist’s freedom of will and the other for the binding responsibility towards the current social climate, has been held since the start of modernization’s acceleration. The echo of this dilemma can also be found in the interpretation of the FA’s master thesis project: is this the final project resulting from the student’s energy and enthusiasm or their first project of real praxis? Even within the projections of the future of architecture, this dichotomy threads itself through a layering of discrepancies, most frequently in the relation between the artistic and the social. The explanation simmers in the “tradition of resistance”, the idea of understanding the discipline as a pristine practice, which nurtures creative potential, one that is outside imposed principles of theoretical or ideological canons. The 21st century clearly demonstrates that such a creative effort is an especially demanding task.

U hrvatskoj stvarnosti, na tragu učitelja Otta Wagnera, ovu moguću opciju promovira na Tehničkom fakultetu još Viktor Kovačić u tekstu “Moderna arhitektura”, Alfred Albini “Arhitekturom sadašnjice”, a na Umjetničkoj akademiji Drago Ibler u traganju za estetikom funkcionalizma. Poslije Andrija Mohorovičić formulira poopćeni funkcionalizam, a Neven Šegvić traži vjekovni kontinuitet prakse u metodi koja prostornom koncepcijom oblikuje životnu stvarnost izvan stilskih obrazaca arhitekture. Povjesničar umjetnosti Ljubo Karaman aktivira vitalnost periferijske umjetnosti. Rasprava o odnosu centra i periferije koji, iako recentno interferiraju, izoštrava odnos prema temeljnoj vrijednosti hrvatskoga teritorija – njezinu kulturnom i prostornom resursu. Stoga prosudbu diplomskog rada iz rakursa “povijesti i teorije” arhitekture tražimo u prethodno navedenom nasljeđu kojim se stvarni zadatci svakodnevice sagledavaju u izvanvremenskoj širini i projekciji za budućnost. Diplomski studij AF-a pokušao je objediniti arhitektonsku sintezu atelijera Iblerove škole i analitiku parcijalnih znanja Tehničkoga fakulteta. Praksa zagrebačkog AF-a ne njeguje diplomu iz grane povijesti i teorije niti postoji instrument komentorstva kojim se pridonosi istraživačkom dijelu projekta. U uvodnome dijelu rada stoga diplomant samostalno dokazuje intelektualni arhitektonski habitus, ozbiljnost, istraživački nerv i kulturu pristupa prostornom kontekstu, te formulira idejna polazišta i postavlja prostorni koncept. Međutim, s obzirom na bit projektantskoga procesa te mogući iterativni odnos idejnih postavki i objektivne stvarnosti, poželjna je profilacija inicijalne ideje sve do konačnog rješenja. Dapače, direktan rez teorije i projekta, prijenos činjenica bez kritičko-kreativnog oslonca može dovesti do dijagramatskog pristupa, što je izvan kulturološke tradicije zagrebačke škole. S obzirom na sintetski karakter projektantskoga procesa, opsežnost elaboracije istraživačkog projekta ne uvjetuje kvalitetu konačnog rješenja. Stoga je od bitnog značenja pedagoška vrlina mentora koji vodi studenta ciljanim impulsima prema optimalnom rezultatu.

Andrej Uchytil

In the Croatian reality, in the footsteps of the teacher Otto Wagner, this possible option was promoted at the Technical University by Viktor Kovačić in his “Modern architecture” text and by Afred Albini in his “Architecture of today”. Meanwhile, at the Arts Academy, Drago Ibler encouraged it through his search for the aesthetics of functionality. Later on, Andrija Mohorovičić formulates a generalized functionality, while Neven Šegvić seeks an everlasting continuity of the practice in a method, which, by means of its spatial conception, shapes a vivid reality outside architecture’s stylistic forms. Art historian Ljubo Karaman activates the vitality of peripheral art. The debate about the relationship between the centre and periphery, even if they have recently interacted, sharpens the attitude towards an intrinsic value of Croatian territory – its cultural and spatial resources. Therefore, we seek the judgment of the graduate project from an architectural “history and theory” perspective in the above-mentioned inheritance. Through it, the true tasks of everyday life are perceived in a timeless space and projection for the future. The FA’s master thesis project has attempted to encompass the architectural synthesis of the Ibler school atelier and the analytics of the Technical University’s partial knowledge. The practice of Zagreb’s FA does not nurture a diploma from a branch of history, nor does there exist a mentoring instrument with which one can contribute to the project’s research. Thus, in the project’s introductory part, the graduate, through his or her own attempts, proves architecture’s intellectual stance, seriousness, the researcher’s dedication and the cultural approach to a spatial context. They formulate the starting points of ideas and establish the spatial context. However, considering the importance of the design process, as well as a possible iterative relationship between conceived ideas and objective reality, an outlining of the initial idea right up to the final solution is desirable. Indeed, a clear-cut separation of theory and project, that is, the transmission of facts without the support of a critical-creative stance, can result in a diagrammatical approach, which is outside the Zagreb school’s cultural tradition. Bearing in mind the synthetic character of the design process, the range of the research project’s elaboration does not affect the quality of the final solution. Therefore, the pedagogical prowess of the mentor, who through targeted impulses leads the student towards an optimal result, is of the utmost importance.

Godišnjak AF 15/16 diplomsko povjerenstvo AF Yearbook 15/16 graduate thesis committee

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Tonči Žarnić

Istraživanje kroz projekt i projektiranje kao refleksivna praksa

Research through a design and design as reflective practice

Oni koji će graditi svijet u sljedećim decenijima diplomiraju danas. Sadržaj i smisao diplomskog rada u arhitekturi određeni su zahtjevima vremena i univerzalnim značenjem poziva. Nisu svodivi na sposobnost građenja. Misao gradi arhitekturu, stoga diplomski rad koristi leksiku i sintaksu arhitektonskog jezika kao sredstvo problematiziranja prostornih i metaprostornih poprišta ljudskog života i stvaranja, u rasponu od sobe do teritorija.

Those who will build the world in the next decades graduate today. The content and sense of a master thesis architectural project are defined by the demands of time and universal meaning of the calling. They are not down to building capabilities. Thought builds architecture, therefore the master thesis project makes use of lexis and syntax of the architectural language as a means of problematising the spatial and metaspatial basis of human life and creativity, within a room to territory span.

Iskaz kreativnosti unutar uvjetovanosti i odgovornosti discipline koja konstruira dom čovjeku i institucijama zajednice. Nacrti nastaju u procesu istraživanja kroz projekt i projektiranja kao refleksivne prakse. Tehnička znanja, standardi zdrave i sigurne sredine, ravnoteža s prirodnom podlogom civilizacije neizostavan su, ali ne i dovoljan, sadržaj diplomske interpretacije arhitekture. Diplomski rad nije niz proizvoljnih odluka, nije napuštanje utilitasa i firmitasa, nije puko proizvođenje oblika, nije neodgovornost olako uzete slobode stvaranja. Dokaz je namjere da se izgradi nova ili poboljša naslijeđena životna sredina s humanističkim idealom, s ciljem stvaranja novoga evolutivnog prostora. Diplomski rad eksplicira jedno jasno arhitektonsko i ljudsko stajalište, identificira kandidatkinju ili kandidata. Nacrtima se pokazuje razumijevanje ideala u ideji i materijalnosti u konkretizaciji stvarnosti arhitekture. Uzgred, kandidati/kinje i mentori/ce sudionici su jedne akademske konverzacije, konverzacije koja je izrasla iz korekcija i konzultacija kao modela prethodnih semestralnih susreta u dugom obrazovanju za arhitekturu. Možda možemo Loosovu “Bog je stvorio umjetnika, umjetnik stvara vrijeme, vrijeme stvara zanatliju, zanatlija stvara gumb. To je put.” razumjeti kao alegorijski opis ciljeva u akademskom obrazovanju.

A creative expression within the conditionality and responsibility of a discipline, which constructs a home for people and a community’s institutions. Like reflective practice, drawings take shape in the process of project and design research. Technical knowledge, the standards of a healthy and safe society, and a balance with civilisation’s natural basis all form the content, even if not sufficient, of a master thesis’s architectural interpretation. A master thesis project is not a series of arbitrary decisions, it is not disregard of utilitas and firmitas, it is not a mere creation of shapes, nor is it an irresponsible attitude that accompanies a too easily gained creative freedom. Instead, it is evidence of the intention to build a new or improved inherited environment with a humanist ideal, with the aim of creating a new evolutionary space. The master thesis project explains a clear architectural and human stance, and it identifies the right candidate. Preliminary drawings point to an understanding of the ideal in an idea and the materiality involved in the pinning down of architecture’s reality. Meanwhile, candidates and mentors are also judges of an academic conversation, a conversation which has developed from a series of corrections and consultations in the guise of a model of former semester meetings held during a lengthy architectural education. Perhaps we can understand the following quote by Loos, “God created the artist, the artist creates time, time creates the craftsman, the craftsman creates the button. That is the path”, as an allegorical description of the aims of an academic education.

Nova aura povijesno – teorijskih diplomskih radionica

A new dawn for Master Thesis Studios in history and theory

U akutnoj globalnoj prevalenciji izgrađenog prostora i dominaciji izgrađenog svijeta, s notornim viškom gradnje u gradovima i oko njih, nameće se istinski relevantan izazov arhitektonskog angažmana današnjice – rekonstrukcija, recikliranje i reprogramiranje već postojećega graditeljskog fonda: arhitektonsko djelovanje obnavljanjem i adaptiranjem te kreativnim korištenjem naslijeđenoga izgrađenog inventara. Uobičajeni zadaci projektiranja stalno novih kvadrata tako pomalo gube primat u odnosu na imperativ ispitivanja mogućnosti novih vidova korištenja postojećih prostora i zdanja. Na to nas, u konačnici, u ovoj našoj specifičnoj kulturnoj sredini obvezuje i posebno bogato i vrijedno graditeljsko naslijeđe koje upravo kroz primjerene nove namjene traga za održivim modalitetima svog opstanka i smislenoga suvremenog života.

In the prevailing of an acutely global built environment and the domination of the built world, marked by a notoriously high level of construction works taking place in towns and their surroundings, a truly relevant challenge to today’s architectural engagement is making itself felt. What is needed is the reconstruction, recycling and reprogramming of an already existing construction fund, with an emphasis on architectural involvement by means of renovation and adaptation, as well as the creative use of the inherited built inventory. The usual design tasks involved in the constantly growing square footage are slightly losing importance in relation to the imperative of exploring new possibilities for the usage of existing spaces and buildings. In the end, in such a unique culture as is ours, our markedly rich and valuable building inheritance obliges us to carry this out. It is our inheritance which, specifically through appropriate new applications, searches for tenable modalities that will guarantee its survival and a meaningful contemporary life.

Kao nužni preduvjet utemeljenog pristupa takvim uzbudljivim zadacima obveza je egzaktnog identificiranja i razumijevanja postojećega graditeljskog fonda, nužnost njegova preciznog dokumentiranja i istraživanja, analize i interpretiranja, teorijskog promišljanja, te objektivne valorizacije i procjene njegovih vrijednosti i potencijala. Tek tada kreće informirano kreativno nadograđivanje i projektantsko oplođivanje registriranog kapitala. Upravo takav znanstveni i istraživački, kritički i analitički, ali podjednako i projektantski i kreativni pristup prioritetnim izazovima današnjice razvija i njeguje Katedra za teoriju i povijest arhitekture. A ta se njezina istraživačka preokupacija reflektira i u profilaciji i karakteru njezinih diplomskih radova. Zaštititi ono vrijedno izgrađeno, sačuvati baštinjeno povijesno, ali isto tako otvoriti mogućnost za novo i suvremeno - način je da održivim korakom ispunimo i naslijeđene obveze prema prošlosti baš kao i naslućena očekivanja budućnosti.

Karin Šerman

A crucial precondition of the reasoned approach to such exciting tasks is an obligatory and exact identification of the existing construction fund, including precise documentation and research of the fund, analysis and interpretation, theoretical thinking, and an objective valorisation and evaluation of its potential and worth. Only then, once the capital has been registered, can it be used to bear the fruits of informed and creative additions and design. It is just such an approach – scientific and research-based, critical and analytical, but also design-led and creative in equal measure – that is necessary to deal with the key challenges of today and that the Department of History and Theory of Architecture seeks to develop and nurture. In turn, such a research-focused attitude is reflected in the profiling and character of the Department’s master thesis projects. By protecting that which is built and valuable and maintaining the historical and traditional, all the while opening up possibilities for the new and contemporary, we can succeed in fulfilling our inherited obligations towards the past, as well as expectations for the future.

Godišnjak AF 15/16 diplomsko povjerenstvo AF Yearbook 15/16 graduate thesis committee

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Balans između tehničkih znanja i umjetničkih “spoznaja” Miroslav Geng

U ovome trenutku osobna su razmišljanja sklonija evokaciji negoli provokaciji. Ne pitajući se o dobru takva pristupa, jednostavno ću ga prihvatiti. Stoga kad mi je spomenuto da bih trebao napisati nekoliko riječi o diplomskom radu određenom Bolonjskim procesom i kako ga danas provodimo na Arhitektonskom fakultetu u Zagrebu, prizvao sam neke slike i misli iz vremena kad sam radio svoj diplomski rad. Diplomirao sam pod mentorstvom prof. Begovića, u vrijeme maloga broja starijih i iskusnih mentora, u pravilu doajena. Tada je diploma bila u najvećoj mogućoj mjeri samostalan rad, izrađen nakon početne i odobrene skice, ni približno tako velik kao danas. Bila je to tzv. “mala diploma”. Mala po broju priloga, izrazito samostalna, nekad I samosvojna, ali usprkos tomu – s ponosom smo u generaciji isticali mentorstvo profesora u trenutku diplomiranja, ali i poslije u svojim životopisima. Danas je diploma daleko veća, organizacijski preuzima cijeli semestar pa možemo govoriti o tzv. “velikoj diplomi”. U osnovnoj strukturi ima dva dijela - istraživanje i sam diplomski rad, a razvija se kroz određenje teorijskih postavki, čitanje kontekstualnih odnosa, prikaz referentnih, recentnih i inih primjera, te kritičku analizu i razvoj rada kroz skice, planarne i prostorne prikaze, simulacije i modele, shemu nosive strukture i realni detalj, a na kraju i krajnji rezultat – diplomski rad kandidata. U svojoj sveobuhvatnosti ona odražava opći karakter studija, balansom između tehničkih znanja i umjetničkih “spoznaja”. Ovu sveobuhvatnost, ali i potpunu samostalnost kandidata mentor treba poticati, izražavajući, ali ne namećući, u razgovoru svoje mišljenje u trenutku kad kandidat propituje svoje stavove kroz afirmativnu sumnju, promišljanje i argumentaciju. Na kraju diplomski rad podliježe vrjednovanju ispitnoga povjerenstva kroz pitanja, te katkad komentare različito disciplinarno opredijeljenih nastavnika. Razlika izmedju diplomskog rada koji sam prizvao i ovoga kakav je danas uistinu je velika, ali iščitavajući bit u oba pristupa, svakako treba poticati njegov osnovni karakter, sveobuhvatnost discipline kojoj pripada, te po sebi definiranu samostalnost, ”samousvojnost” do samosvojnosti.

Balance of technical knowledge and artistic “revelations” At this point, personal thoughts are more akin to evocation than to provocation. Not questioning the benefits of such an approach, I will simply embrace it. Thus, when it was mentioned to me that I should write a few words about the master thesis project according to the Bologna process and as we carry it out today at the Faculty of Architecture in Zagreb, I called forth a few images and thought from the time when I worked on my own master thesis project. I graduated under the mentorship of professor Begović, at a time when there were very few older and experienced mentors, in other words doyens. The master thesis project was then an independent piece of work, carried out after the initial, approved sketch, and nowhere near as big as today’s. It was a so-called “small diploma” – small in terms of contributions and, as mentioned, self-guided, sometimes even original. Despite this, on graduating, as well in later autobiographies, our generation proudly highlighted the role of the professor’s mentorship. Today the diploma is far bigger and is focused on during the entire semester, so it can be referred to as a “big diploma”. Its essential structure consists of two parts – the research and the project itself. It develops by means of specifying theoretical ideas, interpreting contextual relationships, expounding on referential, recent and current examples, as well as critical analysis and the development of the project by means of sketches, planar and spatial explanations, simulations and models, the traction scheme and realistic detailing. Finally, the end product is a candidate’s master thesis project. In its all-embracing character and through a balance of technical knowledge and artistic “revelations”, it maintains the essence of the study. This all-embracing nature, as well as the absolute self-sufficiency of the candidate, should be encouraged by the candidate’s mentor. At the point where the candidate is questioning his or her stances through affirmation of suspicions, reflection and debate, the mentors should express, although not insist on, their own thoughts on the subject. At the final stage, the master thesis project undergoes an evaluation by the examination board. This is done through questions and also through comments made by teachers from varying disciplines with alternative approaches.The difference between the master thesis project which I have outlined and that of today is indeed marked. However, defining the essence of both approaches should certainly encourage the project’s fundamental character, the all-encompassing nature of the discipline it belongs to, and a self-defined independence, from autonomous to original.

Funkcija, konstrukcija i forma

Function, construction and form

Diplomski je rad na Arhitektonskom fakultetu samostalni rad studenta – budućeg arhitekta kojim se pokazuje njegova kompetencija, znanje i vještina stečeni tijekom edukacije. Sudjelovanje mentora na diplomskom radu treba biti nenametljivo. On treba tek ukazivati na složenost razrade projekta, upućivati na potrebna istraživanja prije ili tijekom izrade projekta, kako bi se stvarna kompetencija i osobnost studenta kroz gotovi diplomski rad mogle iskazati u punoj mjeri.

The Faculty of Architecture’s master thesis project is an autonomous work carried out by the student, or future architect, which demonstrates their competency, knowledge and prowess acquired during the educational process. The mentor’s participation in the project should be unobtrusive. They should only hint at the complexity of its unfolding and guide towards the necessary research before or during the project, in order to bring forth the student’s true competency and individuality.

Trenutni model izrade i obrane diplome obuhvaća sve komponente koje opravdavaju buduće zvanje – magistar inženjer arhitekture i urbanizma – kompetencije i kreativnost u projektiranju, prostornom planiranju, ali i inženjerske kompetencije uz akceptiranje zahtjeva regulative, koje ne bi trebale biti limitirajuće u željenoj razini kreativnosti. S druge strane, inzistiranje na sadašnjem opsegu diplomskog rada i težnji da svi kandidati prikažu sve aspekte dosegnute razine kompetencije (kreativnu planersku i projektantsku, inženjersku, teoretsku…) u opreci je s mogućnostima dubinskog posvećivanja i razrade realizirane teme diplomskog rada, pogotovo ako se radi o diplomama koje nisu primarno bazirane na arhitektonskom projektu zgrade, već su iz domene prostornog planiranja, teorije arhitekture, energetskog koncepta, tehnološkog sustava ili nekog drugog željenogpodručja diplomskog rada. Vrijedno bi bilo u tom pogledu razmotriti i neke druge moguće modele diplomskih radova, ali bi pritom za svaki od njih trebalo definirati obvezan sadržaj diplomskog rada kojim će se opravdati buduće zvanje magistar inženjer. U prezentaciji i obrani diplomskog radane ne smije se ignorirati oblikovanje i potrebni podsustavi zgrade. Nosiva konstrukcija treba biti funkcionalna i primjerena odabranoj zgradi, treba integrirati neizostavne termotehničke sustave, ispravno i funkcionalno oblikovati detalje te odabirati materijale, osigurati uvjete ugodnosti i sigurnosti boravka u prostoru. Katkad je zanemaren aspekt održivoga građenja – primijenjeni materijali i energetska efikasnost, koji su u arhitekturi nužni već pri koncipiranju i oblikovanju zgrada, a koji utječu na sve aspekte prostornog planiranja i projektiranja. Kao arhitekti u praksi prisiljeni smo, htjeli to ili ne, primijeniti načelo “form follows energy”, što je teško ostvarivo u naknadnim razradama projekta ako inicijalno ova načela nisu implementirana u planiranje ili projektiranje. Kao član diplomskog povjerenstva i komisije smatram da sve komponente svetog trojstva arhitekture – funkcija, konstrukcija i forma – moraju biti zadovoljene da bi diplomski rad mogao dobiti visoku ocjenu i biti s ponosom prezentiran od strane budućega mladog arhitekta u nekom budućem portfoliu – kao krunsko ostvarenje edukacije na našem Fakultetu.

Mateo Biluš

The current model for the master thesis project’s realisation and defence encompasses all the components which merit the future profession – master engineer of architecture and urban planning. These include competence and creativity in design and spatial planning, as well as engineering competence, which accepts the demands of the regulatory bodies while not feeling limited by them in the expression of the required level of creativity. On the other hand, insisting on the current extent of the master thesis project and requiring candidates to demonstrate all aspects of the required level of competence (in creative planning and design, engineering, theory, etc) is at odds with the potential of an indepth development and elaboration of the project’s realised theme. The concern, above all, is with projects not based primarily on a building’s architectural design, but which are instead in the domain of spatial planning, architectural theory, energy concept, technological system or another desired area of the graduate project. In this instance, it is worth considering other possible graduate project models, but these should each have a defined and obligatory content that would merit the future master of engineering profession. In the presentation and defence of the master thesis project one should not ignore the shaping and necessary subsystems of a building. The bearing structure should be functional and adapted to the chosen building, it should comprise the crucial thermotechnical systems, correctly and functionally shape details, and finally select the right materials and assure a comfortable and safe experience of the space. Occasionally, the sustainable building aspect is overlooked – the chosen materials and energy efficiency, necessary from the very start of the design’s concept and shaping, and which influence all aspects of spatial planning and design. Like architects in praxis, we are, whether we like it or not, forced to apply the “form follows energy” principle, and this is hard to realise in subsequent project elaborations if these principles are not initially implemented at the planning and design stage. As a member of the examination board and commission, I believe that the three key components of architecture – function, construction and form – should be satisfied in order to give a graduate project a high mark and for it to be presented with pride by the future young architect in his or her portfolio. Such a project will stand as a crowning achievement of our Faculty’s education.

Godišnjak AF 15/16 diplomsko povjerenstvo AF Yearbook 15/16 graduate thesis committee

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diplomski radovi master thesis projects

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Student Ivana Krmpotić Mentor Igor Franić

Student Vedrana Pecotić Mentor Veljko Oluić

Revitalizacija Frankopanskog Trga u Senju – zgrada tržnice i Kuća Senjskih Književnika

Ljetno kino Korčula

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Student Dorotea Klinčić Mentor Bojana Bojanić Obad Šćitaroci Park Zajarki u Zaprešiću

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Student Karla Sršen Mentor Veljko Oluić

Student Marija Medoš Mentor Tonči Žarnić

Turistička infrastruktura na ušću Neretve – Hostel i kamp za veslače i kitesurfere

Novo groblje u Makarskoj

Korčula Open-air Theatre

New Cemetery in Makarska Zajarki Park in Zaprešić

Revitalisation of Frankopan Square in Senj – Public Market Building and Senj Writers Memorial House

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Student Bruna Stipaničić Mentor Veljko Oluić Transformacija unutrašnjosti zagrebačkoga donjogradskog bloka – Studij suvremenog plesa

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Tourist Facilities at the Mouth of Neretva River – Hostel and Camp for Kiteboarders and Rowers

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Student Mia Andrašević Mentor Igor Franić

Student Marina Šaić Mentor Idis Turato

Student Filip Romić Mentor Tonči Žarnić

Student Monika Prinčić Mentor Vanja Rister

Hvar extra muros pazar

Revitalizacija Müllerove ciglane – Črnomerec, Zagreb

Dvorana za koncerte, Osijek. Arhitektura generira kulturu, kultura stimulira društvo

Termalne kupke lječilišta u Sisku

Hvar Extra Muros Market Revitalisation of Müller Brickworks – Črnomerec, Zagreb

Transformation of the Inner Courtyard of a Zagreb Lower-town Block Into a Contemporary Dance Studio)

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Student Tena Knežević Mentor Mia Roth-Čerina Višegeneracijski centar u Đakovu

Concert Hall, Osijek. Architecture Generates Culture, Culture Stimulates Society

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Student Marin Knežević Mentor Mia Roth-Čerina

Student Mario Kralj Mentor Ivana Ergić

Student Katija Violić Mentor Igor Franić

Agronomska škola

Novo zagorsko selo – kuća za buče, koze i ljude

Rekonstrukcija i nadogradnja vinarije s pjacom na lokaciji Potomje, Pelješac

Thermal Baths in the Sanatorium in Sisak

Agronomy School Multigenerational Centre in Đakovo

New Village in the Zagorje Countryside – A House for Pumpkins, Goats and People

Winery Reconstruction and Upgrade Through Piazza Addition at Potomje, Pelješac

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Student Ivana Krmpotić Mentor Igor Franić Revitalizacija Frankopanskog Trga u Senju – zgrada tržnice i Kuća Senjskih Književnika Revitalisation of Frankopan Square in Senj – Public Market Building and Senj Writers Memorial House

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B 0

Kuća 1 postaje dio trga i trg postaje ona. Međuodnosima koje uspostavljaju generira se bivanje u oboma. Veličina trga iziskuje interijerski pristup u projektiranju njegovih elemenata. Preklapanje zona kretanja i mirovanja titra u harmoničnoj cjelini, interferirajući međusobno.

The house 1 becomes part of the square and vice versa. Through their mutual relationship, they create usage of both. The size of the square calls for an interior approach in the designing of its elements. Circulation and rest/static zones overlap, communicate and flicker as a harmonious whole.

Poput kuće, trg posjeduje ritual korištenja svojih ambijenata, njihovu otvorenost ili intimnost. Poput grada – on je ambivalentan, nepravilan, pravilan, koncentriran I raspršen. Traži društvo i poštuje osamu.

Similar to the house, the square possesses usage rituals of its spaces, their openness or intimacy. Just like the town, which is ambivalent, irregular, regular, concentrated and sparse. It seeks company and respects solitude.

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Sobica gdje gospođa Valpurga sa svojom kćeri dane i noći boravi, gleda u tamnu i usku uličicu, a kako je neprodušno zatvorena naprama vanjskom zraku, prodire u nju samo šum od strahovite bure što pokoji put potrese kućicom iz samoga temelja. Inače vlada tu jedina neprekidna i jednolična tišina i polumrak kao u kakvoj kapelici na osami sred pustog polja. —Vjenceslav Novak, Posljednji Stipančići

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The little room where Mrs Valpruga and her daughter spend their days and nights looks out onto a dark and narrow little street. Sealed as it is from the outside air, the only sound to be heard is a whisper from the raging storm, which every now and then shakes the little house from its very foundations. Otherwise, there reigns an uninterrupted and uniform silence and a semi-darkness, as if in a little chapel in the middle of a lonely field. —Vjenceslav Novak, The last of the Stipančići

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A—A

Presjek kroz kuću Senjskih književnika

Senj writers memorial house cross-section

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Sjeverno proÄ?elje North elevation

Pogled s jugozapada Southwestern view

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Interijer trĹžnice Market interior

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Student Vedrana Pecotić Mentor Veljko Oluić Ljetno kino Korčula Korčula Open-air Theatre

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Ljetno kino Korčula odnosi se na maleni svijet uvučen u međuprostore i praznine stare gradske jezgre, koji danas funkcionira pod zajedničkim nazivnikom Moreška.

The open-air theatre refers to a small world hidden inside the empty and in-between spaces of the town’s old centre, which today functions under the communal name of Moreška.

Razmatrani (potencijalni!) sklop sastoji se od dviju kula 1 , Kneževa dvora 2 , ljetnoga kina 3 i ravnoga prohodnog krova Lučke kapetanije 4 . Knežev prolaz 5 , koji okuplja različite ulaze, stube i rute, dobiva prošireni smisao i produžetak kako bi povezao sve vanjske i unutarnje javne prostore šupljikave strukture sklopa.

The researched (and potentially viable) system comprises two towers 1 , the Prince’s court 2 , outdoor cinema 3 and the flat walkable roof of the Port authority 4 . The Prince’s passage 5 , which draws to it various entrances, staircases and paths, is accorded a wider meaning by way of a new extension. This joins together all inside and outside spaces of the system’s porous structure.

Kapetanski vrt Captain’s garden

Ubacivanjem programa koji nadopunjuju postojeće potiče se povezivanje i preobrazba neiskorištenih i devastiranih prostora u sustav koji nema početka ni kraja i postaje stvar iskustva.

Introducing a programme which adds to the existing structures encourages the linking and transformation of unused and devastated spaces within a system that has no beginning or end. The system thus becomes a thing of experience.

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Presjek kroz Veliku Kneževu kulu Big Prince’s tower section

B—B

Presjek kroz terasu ljetnog kina Open air-theatre section

Glavni zadatak i problem koji se nastoji riješiti jest naknadno građen kameni zid koji zatvara ljetno kino i zaklanja pogled na onaj stari, srednjovjekovni, te preuzima ulogu fortifikacijskog plašta u memoriji o ovome prostoru. Ideja je zamijeniti “lažni” zid novim 6 – koji zaprima funkciju gledališta i jasno govori o svome vremenu, ali na način da se svi fenomeni prostora zadrže.

The main problem this project seeks to solve concerns the stone wall which was subsequently built and which closes in the openair cinema, obscuring the view of the old medieval wall. It therefore takes on the role of a fortification cloak in the memory of this particular space. The plan is to replace the “fake” wall with a new one 6 – one that takes on the role of auditorium and refers clearly to its time, but in such a way that all aspects of the space are retained.

Tribine = "Škver" Stands = "Škver"

Objasnilo nam se da ljeto nije ništa drugo nego ljetno kino. Da se kino ne zove ljetno zato što se u njega ide ljeti, nego zato što se u njemu prikazuje ljeto samo. — Pavao Pavičić: Ljetno kino

We were told that the summer was nothing other than a summer cinema. That it wasn’t called a summer cinema because it was frequented in the summer, but because summer was all it projected. — Pavao Pavičić: Summer cinema

Godišnjak AF 15/16 Diplomski radovi AF Yearbook 15/16 Diploma Thesis

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Student Dorotea Klinčić Mentor Bojana Bojanić Obad Šćitaroci Park Zajarki u Zaprešiću Zajarki Park in Zaprešić

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250

Koncept projekta temeljen je na trima razinama sagledavanja prostora. Prva je odnos jezera Zajarki i okolnih gradova. Druga i treća odnose se na uži obuhvat, gdje se određuje veza između jezera Zajarki i grada Zaprešića te konteksta jezera i njegove najuže okolice. Uspostavljanjem veza stvara se Park Zajarki koji omogućuje funkcioniranje sve tri razine.

Linearna veza između gradskih jezera i njihovo međusobno povezivanje u jedinstveni sustav pješačko-biciklističkih putova postaje rješenje šireg obuhvata, a jezera postaju aktivatori prostora u kojem se nalaze. Uži obuhvat prepoznaje zeleni pojas koji obavija grad i time usmjerava njegov razvoj, umrežavajući sve sadržaje grada Zaprešića u cjelinu.

Jezero Zajarki i njegova okolica kao najuži obuhvat formiraju park sa sportsko-rekreacijskim sadržajima, u sklopu kojeg nastaje posjetiteljski centar – kao veza s ornitološkim rezervatom i prirodnim okruženjem. Očuvanjem prirodnih karakteristika, bez velikog zadiranja u prostor, proizlazi arhitektura, kao i oblikovanje njezine okoline.

The concept for this project is based on three ways of considering space. First is the relationship between Zajarki and the surrounding towns. The second and third relate to a narrower scope, where a link between Zajarki lake and the town of Zaprešić is defined, as well as the context of the lake and its immediate surroundings. By establishing links, Zajarki Park is formed, which in turn allows the functioning of all three treatments of space. The linear connection between the town lakes and their grouping into a unique system of pedestrian and cycle paths transpires into a solution with a wider scope. Meanwhile, the lakes become the catalysts of the space they are in. The narrower scope takes into account the town’s green belt, which has an influence on its development and unifies all the components of the town of Zaprešić into a whole.

Zajarki lake and its most immediate surroundings are formed by a park with sports and recreational activities. This gives rise to a visitor centre – as a link with the ornithological sanctuary and surrounding nature. By not encroaching extensively into the space and retaining the natural elements, architecture transpires and its environment also takes shape.

Godišnjak AF 15/16 Diplomski radovi AF Yearbook 15/16 Diploma Thesis

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Aksonometrija mosta Bridge axonomerty

Aâ&#x20AC;&#x201D;A

Presjek kroz jezero Lake cross-section

Detalj ĹĄetnice Promenade detail

Pogled s istoka Eastern view

Detalj ĹĄetnice Promenade detail

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Student Karla Sršen Mentor Veljko Oluić Turistička infrastruktura na ušću Neretve – Hostel i kamp za veslače i kitesurfere Tourist Facilities at the Mouth of Neretva River – Hostel and Camp for Kiteboarders and Rowers

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Presjek kroz hostel Hostel section

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Presjek kroz hostel Hostel section

Lokacija je napušteni autokamp na ušću Neretve, smješten u borovoj šumi na vrhu 1500m dugog i 50-ak metara širokog nasipa između rijeke i mora. U neposrednoj blizini nalazi se pješčana plaža sa sprudovima, koja je postala mjestom okupljanja karakteristične skupine korisnika.

The location is a disused auto-camp at the mouth of Neretva, in a pine forest at the top of a 1,500m-high and 50m-wide dam between the river and the sea. In the immediate vicinity lies a beach with sand bars, which attracts a specific group of users.

1 A

B a

Osnova koncepta jest minimalna intervencija pa su stoga svi objekti montažni. Zgrada hostela 1 postavljena je u zoni između ceste i nasipa. Povezivanjem različitih presjeka nastaje objekt linearne geometrije koji naglašava linearnost nasipa. Plohe krova i poda poprimaju oblik dviju suprotstavljenih topografija koje svojim odnosom definiraju prostore između njih.

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The project is based on the idea of minimal intervention and all the structures are therefore prefabricated. The hostel building 1 is situated in the area between the road and dam. By linking various intersections, a geometrically linear structure is formed, emphasising the linear nature of the dam. Roof and floor surfaces take on the shape of two opposing topographies, which through their relationship define the spaces in between.

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Hotel â&#x20AC;&#x201C; pogled s obale Hostel â&#x20AC;&#x201C; view from the shore

Objekt hostela definira granicu kampa orijentiranog prema rijeci, dok su spavaonice hostela orijentirane prema moru. U zonama zajedničkih prostora dolazi do povezivanja vizura mora i rijeke. Poprimajući obilježja topografije, zgrada se suptilno sjedinila sa specifičnim krajolikom u kojem se nalazi.

The hostel defines the limits of the camp oriented towards the river, while its bedrooms are oriented towards the sea. In the communal areas, sea and river views combine. Echoing topographical aspects, the building subtly blends in with the specific landscape it finds itself in.

Godišnjak AF 15/16 Diplomski radovi AF Yearbook 15/16 Diploma Thesis

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Student Marija Medoš Mentor Tonči Žarnić Novo groblje u Makarskoj New Cemetery in Makarska

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Arhitektonsko-urbanističko rješenje temelji se na opreci prirodnoga i umjetnoga, akropole i nekropole, pravilnoga i nepravilnoga. Pristupna zaravan i crkvica na brdu 1 iznad nje organizirane su kao ceremonijalni prostor trga 2 , mrtvačnice i posljednjih oproštaja. Prostor je to kolektivnog osjećaja, okupljanja, podrške. Na osjećaj povezanosti priziva kupola mrtvačnice, a pergola na trgu stvara i osjećaj zaštićenosti. Otuda, gotovo kao definicija ceremonijalnoga, spušta se vijugava staza prema grobnicama.

The architectural and urban solution is based on the conrast of the natural and artificial, acropolis and necropolis, regular and irregular. An accessible plateau and little hilltop church above 1 are organised like a ceremonial square 2 , morgue and final-farewell space. It is an area of collective feeling, gathering and support. This feeling of unification is continued by the morgue’s cupola, while the square’s pergola also creates a sense of protection. From here, almost as a ceremonial definition, a serpentine path leads down towards the graveyard.

A—A

Presjek kroz mrtvačnicu Morgue cross-section

Padine brda ostaju pošumljene gustom šumom crnoga bora, a šuma u sebi krije posljednja počivališta.

The hill’s slopes remain covered with a thick forest of black pine, where lie the final graves.

Trg – akropola – kompozicija je triju elemenata: mrtvačnice, postojeće crkvice i nadstrešnice. Ta tri elementa oblikovana su prema svojim tipološkim karakteristikama, imaju svoju primarnu oblikovnu, značajnu i simboličku ulogu.

The square and acropolis are in fact a composition of three elements: the morgue, the existing church and eaves. Shaped according to their typology characteristics, all three play a symbolic role.

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Interijer ceremonijalne sale Ceremonial hall interior

Pogled prema Biokovu Biokovo view

Kretanje je omogućeno – ili procesijskim putom ili kratkim ispresijecanim poprečnim komunikacijama, brazdama u brdu.

Movement is allowed via the procession pathway or the hill’s network of short criss-cross paths.

Boja, miris i tekstura mediteranskog bilja uvedeni su kao antipod jednoličnoj, gustoj masi borovine i vječnome miru.

The colour, scent and texture of Mediterranean plants are introduced as an antidote to the thick and uniform mass of pine and everlasting peace.

Pogled prema moru Sea view

GodiĹĄnjak AF 15/16 Diplomski radovi AF Yearbook 15/16 Diploma Thesis

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Transformacija unutrašnjosti zagrebačkoga donjogradskog bloka: Martićeva / Tomašićeva / Trg žrtava fašizma / Smičiklasova – Studij suvremenog plesa

Student Bruna Stipaničić Mentor Veljko Oluić

Transformation of the Inner Courtyard of a Zagreb Lower-town Block (Martićeva / Tomašićeva / Trg žrtava fašizma / Smičiklasova) Into a Contemporary Dance Studio)

Modeli bloka u bloku, Zagreb Donji grad Block in the block model, Zagreb Down Town

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Presjek kroz amfiteatar Amphitheatre cross-section

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Presjek kroz plesnu dvoranu Dancing hall cross-section

Projekt Studija suvremenog plesa predviđen je u unutrašnjosti bloka Martićeva/Tomašićeva/Trg žrtava fašizma/Smičiklasova 1 , u zelenoj oazi blizu centra grada. Specifičnost je ovoga bloka njegova struktura bloka u bloku te ulica koja razbija obodno tkivo i ulazi u unutrašnjost. Postojeći objekti koji upotpunjuju povijesnu fizionomiju prostora zadržavaju se i prenamjenjuju u sadržaje kompatibilne Studiju plesa kako bi se prostor revitalizirao. Novoizgrađeni objekt Studija plesa u nadzemnome dijelu zadržava gabarit srušenog objekta pa se time čuva oblik i veličina parka. Glavni je ulaz na jugu, amfiteatar 2 uvlači park u školu i nastavlja se u holu u obliku vertikalnog vrta. Prizemlje je porozno da se omoguće pristupi iz obodnih ulica kroz objekt bez ometanja njegove funkcije. Plesne dvorane nalaze se u podzemnoj etaži i svojim stropovima definiraju topografiju. Njihov je presjek nastavak parka, što omogućava posjetiteljima sudjelovanje u plesnom događanju izvana. Cijeli objekt povezan je galerijom poput uzdignute pješačke ulice koja u prizemlju tvori trijem.

The project for a contemporary dance studio is envisaged for the block’s inner courtyard space, a green oasis close to the town centre surrounded by the streets of Martićeva, Tomašićeva, Trg žrtava fašizma and Smičiklasova 1 . A unique characteristic of this block is its “block within a block” structure, which breaks up the peripheral tissue and enters the interior. The existing structures, which complete the historical physiognomy of the space, are retained and given new uses that serve the purpose of the dance studio and revitalise the space as a whole. The studio’s newly built section sits above ground level and retains the gabarit of a toppled structure, thus helping to preserve the shape and size of the park. The main entrance is to the south, with the amphitheatre 2 introducing the park into the school, after which it continues to spread out into the lobby I in the form of a vertical garden. The ground level is porous, in order to allow access into the building from circumferential streets without interfering with its function. The dance rooms are located below ground level and the topography is defined by their ceilings. Their intersection marks the continuation of the park, which allows visitors to view dance practises and performances from outside. The entire structure is linked by a gallery resembling a raised pedestrian street and which creates its entrance porch at ground level. Godišnjak AF 15/16 Diplomski radovi AF Yearbook 15/16 Diploma Thesis

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Zadržavanjem visine vijenca postojeće izgradnje dovršava se omotač oko parka s akcentima na mjestima nekadašnjih ulaznih portala – staklenih volumena koji izlaze iz gabarita zgrade.

By retaining the height of the existing building’s wreath, the mantle around the park is completed, with accents in the places where once used to stand the entry portals – glass surfaces emanating from the building’s gabarit.

Park u bloku Park in the block

Amfiteatar uvlaÄ?i park u ĹĄkolu Amphitheatre introducing the park into the school

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Student Mia Andrašević Mentor Igor Franić Hvar extra muros pazar

Hvar Extra Muros Market

Projekt Hvar Extra Muros istražuje granice strogo uvjetovanog prostora u kontekstu autohtonosti, pojavnosti prirode i društveno-kulturnih aspekata kroz propitivanje matrice grada. Integriranje arhitekture, kulture mjesta i potreba korisnika prezentirano je kroz tipologiju tržnice, koje materijalizacija predstavlja minornu kariku u sustavu promišljanja. Ona nastaje kao rezultanta odnosa zatečenog – interpretacije unutrašnjosti otoka i funkcioniranja gradskog tkiva.

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By questioning the town’s matrix, the Hvar Extra Muros project researches the limits of a strictly defined space in the context of originality, inclusion of nature and social and cultural aspects. Architectural integration, the culture of place and user needs are presented through the market’s typology. An interpretation of the island’s interior and the functioning of the urban tissue already exists.

Ideogrami scenarija korištenja Usage scenarios ideograms

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Istočno pročelje East elevation

Interferencija što se pojavljuje jest nadogradnja fizičke arhitekture, koje je oblikovanje svedeno na krajnje tehničku komponentu kako prostor ne bi postao zagušen elaboriranim arhitektonskim jezikom.

The element of interference is the addition of physical architecture of a purely technical nature, in order to prevent the suffocation of space by using an elaborate architectural language. Godišnjak AF 15/16 Diplomski radovi AF Yearbook 15/16 Diploma Thesis

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Atmosfera krovne etaže Atmosphere of the roof floors

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Poprečni presjek Cross-section

Interijer tržnice Market interior

Manifest projekta pokušava izbjeći jednoznačnost prostora tržnice generiranjem neopipljivih karakteristika grada. Tako nastalu strukturu ne čine masivni zidovi, već prostori koji omogućavaju simultano odvijanje sadržaja i života mjesta.

The project attempts to avoid the uniformity of the market space by generating intangible town elements. Thus, the resulting structure is not built from massive walls, but spaces that allow simultaneous development of town life and themes.

Godišnjak AF 15/16 Diplomski radovi AF Yearbook 15/16 Diploma Thesis

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Student Marina Šaić Mentor Idis Turato Revitalizacija Müllerove ciglane – Črnomerec, Zagreb Revitalisation of Müller Brickworks – Črnomerec, Zagreb

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Uzdužni presjek Longitudinal section

Tlocrt kata First floor plan

Tlocrt prizemlja Ground floor plan

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Poprečni presjek Cross-section

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Ciglana na Črnomercu – povijesni “landmark”– revitalizirana je suvremenim tehnološkim procesom pretvorbe otpada u električnu i toplinsku energiju. Bazeni za kupanje s toplom vodom 1 jesu rezultat simbioze procesa spaljivanja otpada i grijanja vode. Sudar anonimne infrastrukture i javnoga prostora unutar povijesnih slojeva tvori karakteristične ugođaje prostora. Prostor unutarnjeg vrta sadrži prostore za tjelesnu kulturu i razonodu. Središnji je dio zgrade nova intervencija zbog smještaja strojeva energane 2 i nenametljivo je obložen cortenom. Gusto postavljeni novi lamelirani okviri rekonstruiraju hipostilni doživljaj nekadašnje sušionice opeka. Svjetlost obilno prodire u unutrašnjost kroz novi stakleni krov. Predviđeno parkovno rješenje stabala nastavak je obližnje park-šume Grmoščica 3 ; jezera rashlađuju postrojenje, stvaraju mikroklimu, šire šumu do urbanizirane Ilice i nastavak su projektne etike: ekološka održivost.

Poprečni presjek Cross-section

A historical landmark, the brickworks on Črnomerec have been revitalised by an up-to-date technological process that converts waste into electric and thermal energy. The heated swimming pools 1 are a result of two symbiotic processes – burning of waste and heating of water. The collision of an anonymous infrastructure and a public space, within historic layers, creates specific spatial sensations. The inside garden contains physical education and leisure areas. A new intervention, discreetly covered with corten, is the central part of the building where the power plant’s machines are situated 2 . New, densely positioned laminated frames reconstruct a hypostyle experience of the former brickwork drying area. A new glass roof allows a large amount of light to be let in. Transformed into a park, the surrounding trees are a continuation of the nearby park and forest of Grmoščica 3 , while the lakes cool the plant, create a microclimate and expand the forest to the point of the urban Ilica area. They can be viewed as a continuation of the project’s ethic: ecological sustainability.

Interijer spalionice Incinerator interior

Pogled s juga View from the south

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Student Filip Romić Mentor Tonči Žarnić

Dvorana za koncerte, Osijek. Arhitektura generira kulturu, kultura stimulira društvo

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Concert Hall, Osijek. Architecture Generates Culture, Culture Stimulates Society

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Pročelje riječne promenade River promenade elevation

Arhitektura generira kulturu, kultura stimulira društvo. Vraćanje svojoj ogoljenosti, izvornosti u funkciji, osnovnosti, kao osloncu stvaranja, predstavlja odnose koji definiraju arhitektonske putove. Kultura kohabitira s prostornošću koristeći arhetip i kontekstualizaciju prostora memorije.

Architecture generates culture and culture stimulates society. The architectural paths are defined by the discipline’s return to its basic and intrinsic functions. Culture and space coexist through the use of the archetype and the contextualisation of spatial memory.

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Presjek kroz dvoranu Section through a hall

Tlocrt dvorane – nivo 3 Plan of a hall – level 3

Kultura stvara opnu medija – metafizičku povezanost arhitekture i grada. Konstrukcija dvorane tako postaje urbana infrastruktura, podržavajući sustav koji stvara simbol kulture koja ponovno gradi.

The culture creates a membrane represented by the metaphysical link between town and architecture. Thus, the construction of the hall becomes an urban infrastructure. It supports the system which produces the symbol of culture that builds anew.

Njezina nužnost izgleda definirana je samo svojom izvornošću. The need for such a building, it appears, is defined purely by its original character.

Godišnjak AF 15/16 Diplomski radovi AF Yearbook 15/16 Diploma Thesis

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Pogled s rijeke Drave View from the river Drava

Arhitektura dvorane proizlazi iz vlastita arhetipa, jezgre, unutrašnjih organa iste – razumijevajući memoriju prostora kojipredstavlja i iz kojeg je proizišla. Kao pokretač i razgranitelj, posjeduje svu veličinu prethodnosti koju karakterizira i propituje.

The architecture of the hall is born from its very own archetype, or core, taking into account the spatial memory it represents and from which it emanates. As an instigator that facilitates branching out, it encompasses an entire past, which it governs and questions.

Točka koja sadrži sjećanja svih bivanja, pokretač budućih. Dvorana nastanjuje Grad, Grad nastanjuje Dvoranu. Kuća postaje Simbol.

It is the point that retains the memory of all happenings and the instigator of future ones. The Hall inhabits the Town, the Town inhabits the Hall. The House becomes a symbol.

Godišnjak AF 15/16 Diplomski radovi AF Yearbook 15/16 Diploma Thesis

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Student Monika Prinčić Mentor Vanja Rister Termalne kupke lječilišta u Sisku Thermal Baths in the Sanatorium in Sisak

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Presjek kroz bazensku dvoranu Pool hall section

Zgrada termalnih kupki je introvertirani volumen, orijentiran prema svojim unutrašnjim atrijima. Sedam vrtova s pomno biranim biljnim vrstama koristi se u terapijske svrhe.

The thermal baths building is an introverted volume, oriented towards its inside atriums. Seven gardens containing carefully selected plant species are used for therapeutic purposes.

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Presjek kroz prostor terapije therapy room section

Kretanje kućom zamišljeno je kao kretanje prirodom. Pod i strop blago su savijeni prema rubu, stvarajući ugodnu topografiju i prostore različite visine. Interijer postaje eksterijer i obratno, mijenja boju, poglede, osjete; isti je prostorsvaki put drukčiji. Ozračjeima psihološki učinak na korisnika.

Moving through the house is conceived as moving through nature. The floor and ceiling gently bend towards the edge, creating a pleasant topography and spaces of different height. The interior becomes the exterior, and vice versa. It changes colour, views and sensations. The same space is different every time, while the ambience always has a positive psychological effect on the user.

Godišnjak AF 15/16 Diplomski radovi AF Yearbook 15/16 Diploma Thesis

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Detalj bazenske dvorane Detail of the pool hall

Centralnom postavom i neutralnom geometrijom zgrada termalnih kupki tvori zajedno s okolnim smještajno-zdravstvenim jedinicama jedinstvenu i fleksibilnu cjelinu jodnoga termalnog lječilišta. Projekt otvara staru/novu temu zdravstvenog turizma u Sisku te omogućuje stvaranje vrijednoga gospodarskog, javnog i društvenog prostora od velikoga značenja za grad.

With its central position and neutral geometry, the thermal baths building creates a unique and flexible whole, together with the sanatorium’s surrounding accommodation and treatment units. The project opens up a theme at once old and new, that of Sisak’s health tourism. It thus allows the creation of an economic, public and social space, which is of great importance to the town.

Atmosfera bazenske dvorane Poll hall atmosphere

Atmosfera prostora terapije Therapy room atmosphere

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Student Tena Knežević Mentor Mia Roth-Čerina Višegeneracijski centar u Đakovu Multigenerational Centre in Đakovo

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Presjek kroz sunčalište Section through sunbathing area

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Presjek kroz teretanu Gym section

Višegeneracijska kuća je tkivo grada u manjem mjerilu. Svojim oblikovanjem stvara različite ambijente. Između volumena titra šetnica,u proširenjima koje izviru mali trgovi,mjesta susreta i druženja.

The multiple-generation home represents the town’s urban tissue on a smaller scale. Depending on its shape, it creates a variety of environments. A promenade flickers amid built structures, while little squares and meeting and socialising places nestle inside the extensions that are created.

Tlocrt prizemlja Ground floor plan

Tlocrt 2. kata Second floor plan

Okosnicu kuće čine dječji vrtić 1 , starački dom 2 i poticajno stanovanje za mlade 3 . Svi se sadržaji međusobno upotpunjuju i isprepleću kako bi se postigla maksimalna interakcija korisnika. Nastavkom na postojeću osnovni stanovnici tako postaju dio stare gradske strukture, dok ostali lako postaju dio nove.

The framework of the house is composed of a kindergarten 1 , an old people’s home 2 and government-funded housing for young people 3 . All elements intertwine and mutually complete each other to achieve maximum user interaction. Thus, the importance of the old town structure is retained and complemented by the new.

Godišnjak AF 15/16 Diplomski radovi AF Yearbook 15/16 Diploma Thesis

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Pogled na savjetovalište View to a counseling center

Zadatak je kuće da ne izolira, već potiče interakciju različitih generacija, ne lišavajući ih privatnosti. Kuća je bliska kontekstu u kojem se nalazi, a korištenjem opeke referira se na “Švajceriju” i tradicionalan način gradnje Đakovštine. Ipak, ona uspijeva na suptilan način postati “landmark” Đakova, mjesto razgovora, igre, a ponajviše kuća postaje dom i mjesto života.

The purpose of the house is to include, not isolate, and to encourage interaction among different generations while still allowing privacy. House and context become one, while the use of brick harks back to traditional building methods. Nevertheless, it subtly manages to take on the status of a Đakovo landmark, a place to meet, talk and play. Above all, the house becomes the home and the place where life happens.

Atmosfera unutarnjeg dvorišta Inner courtyard atmosphere

Pogled prema Đakovačkoj katedrali View towards the Đakovo cathedral

Godišnjak AF 15/16 Diplomski radovi AF Yearbook 15/16 Diploma Thesis

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Student Marin Knežević Mentor Mia Roth-Čerina Agronomska škola

Agronomy School

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Poprečni presjek Cross- section

Delikatno pozicionirana parcela za novu agronomsku školu uvelike je uvjetovala koncept škole, ali ujedno i vanjskog prostora koji je okružuje. Sraz gradske strukture na istoku i obradivih polja na zapadu rezultirao je tijekom godina vrlo heterogenom i nedefiniranom zonom koja umjesto da te dvije cjeline spaja, postaje medij koji ih jasno razdvaja. U tom potezu raznih mikroambijenata predlaže se agronomska škola kao sadržaj koji spaja selo i grad, objedinjuje učionice i nastavne vrtove, te već na programskoj razini prenosi ideju suživota, a ne sukoba dvaju potpuno različitih okoliša koji ga okružuju. Koncept organizacije parcele na služene i služeće trake jasno je pretočen i na koncept same zgrade. Širina traka prilagođena je sadržajima koje udomljava – učionicama, komunikacijama, servisnim prostorima i tematskim vrtovima. Poprečne veze ostvarene su pozicioniranjem većih volumena uz dvoetažni prostor “džungle”, koji na taj način postaju proširene komunikacije i mjesta okupljanja.

The delicate positioning of the plot of land chosen for the new agronomy school played a significant part in the concept of the school, as well as the surrounding area. Over the years, the clash between the city structure to the east and arable fields to the west resulted in a pronouncedly heterogenous and undefined zone, which instead of uniting these two entities became the medium which separates them. In this sweep of diverse microcosms, an agronomy school is being proposed – one that will join town and countryside, and school rooms and educational gardens, thus already at programming stage presenting an idea of coexistence, rather than a rift between two entirely different surrounding entities. The concept of organising the plot of land into served and serviceable tracks is clearly streamed into the concept of the building itself. The proposed width of the lines is adapted to the themes contained within – school rooms, communication and services areas and themed gardens. Transversal links are created by the positioning of larger volumes alongside the two-floor “jungle” space, which thus become wide-spread communication and social areas.

Godišnjak AF 15/16 Diplomski radovi AF Yearbook 15/16 Diploma Thesis

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Aksonometrija ĹĄkole Axonomerty of school

Presjek i pogled na uÄ?ionicu Classroom section and elevation

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SJEVER

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Student Mario Kralj Mentor Ivana Ergić

Novo zagorsko selo – kuća za buče, koze i ljude New Village in the Zagorje Countryside – A House for Pumpkins, Goats and People

nagrada 20. salona arhitekture, novi sad

20th Salon of Architecture Award, Novi Sad

Rad se bavi teritorijem, iščitavanjem slojeva koji ga čine u (ne) materijalnoj pojavnosti. Ideja cjelovitog prostora izražena je kroz mjerilo kuće: kuće za buče,kozeiljude. Proučavan je teritorij zagorskog sela, a na temelju iščitane problematike postojećeg stanja postavljena je strategija razvoja novoga sela. Novo u ovom slučaju nije nova izgrađena struktura nego promišljeni programski koncept razvoja temeljen na principima organske poljoprivrede i redefiniranim imovinsko-pravnim odnosima. Lako je zamisliva situacija da živimo u gradu, a selo postaje mjesto rada.

This project deals with territory and the reading of the layers that form its (im)material appearance. The idea of a complete space is expressed through the measure of the house: a house for pumpkins, goats and people. The territory looked at is a village in the Zagorje area and on the basis of the reading of existing problems a strategy for the development of a new village is put forth. “New” in this case does not refer to a newly built structure, but to an in-depth conceptual programme of development based on the principles of organic agriculture and redefined property laws. It is easy to imagine that we live in town and the village becomes the place of work.

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Uzdužni presjek Longitudinal section

Kuća za buče, koze i ljude posljedica je cjelovitog promišljanja teritorija zagorskog sela. Udomljuje program (uslužnu uljaru, uzgoj koza i seoski turizam) koji na slikovit način želi ukazati na probleme trenutačnoga stanja. Poljoprivredno zemljište, obradive površine -prostor između izgrađenih struktura oduvijek je bio osnova seoskog života i gospodarstva, a zagorski je krajolik direktna posljedica agrarnih aktivnosti. Jedina moguća zaštita ruralnoga zagorskog krajolika (i sela posljedično) jest njegova ponovna aktivacija, u prvom redu agrarna.

A house for pumpkins, goats and people is the result of an all-encompassing research into the territory of a Zagorje village. It introduces a programme (oil mill service, goat rearing and village tourism), which in a colourful way points to the problems of its current state. Agricultural land and arable surfaces – spaces in between built structures – have always been the basis of village life, while the Zagorje landscape is a direct result of agricultural activities. The only way of protecting the Zagorje landscape (and, in turn, that of the village) is by reactivating it, with agriculture coming top of the list.

Godišnjak AF 15/16 Diplomski radovi AF Yearbook 15/16 Diploma Thesis

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Ovaj projekt ne traži svoju (fizičku, konkretnu) izvedbu, on je društveno-prostorni protest koji želi aktivno zaštititi zagorski krajolik i pobuditi zamrle aktivnosti sela. Kuća je oblikovana elementima krajolika, slojevima iščitanima iz (ne)materijalnog teritorija/konteksta; izlazi iz granica arhitekture, može se shvatiti samo kao programski model razvijen na bregovitoj topografiji.

This project does not aim to be carried out in a concrete and physical way, since it is a social and spatial protest, which wishes to actively protect the Zagorje landscape and awaken the past activities of the village. The house is shaped through the elements of the landscape and a reading of its layers in their im(material) context. It breaks out from the realm of architecture and can be understood only as a programme model developed on the basis of a hilly topography.

Poprečni presjek Cross-section

Pogled s istoka Eastern view

Interijer kuÄ&#x2021;e za ljude House for people interior

Interijer kuÄ&#x2021;e za koze House for goats interior

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Student Katija Violić Mentor Igor Franić Rekonstrukcija i nadogradnja vinarije s pjacom na lokaciji Potomje, Pelješac

Winery Reconstruction and Upgrade Through Piazza Addition at Potomje, Pelješac

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Presjek kroz “pjacu” i vinariju “Pjaca” and winery cross-section

Prva asocijacija na vinariju jest stara oronula zgrada, podrumi, ruralno okruženje,a to sve lijepo opisuje postojeću zgradu vinarije Dingač na poluotoku Pelješcu. Sklop vinarije 1 dominira naseljem Potomje, a ideja je da se rekonstruiranjem postojećega kompleksa ponovno pokrene razvoj naselja. Vinarija postaje centar naselja, a pjaca ispred nje svojevrstan generator ukupnoga života zajednice. Volumeni novih zgrada podsjećaju na suhozide koji se penju i lome, a pritom ne odaju sadržaj građevine. Suhozid je svojevrstan spomenik teškoga težačkog života.

The word “winery” conjures images of an old, dilapidated building, cellars and rural surroundings, all of which nicely define the existing building of the Dingač winery on Pelješac peninsula. The winery lot 1 dominates the village of Potomje and the idea is to reconstruct the existing complex, in order to bring about the regeneration of the village. The winery becomes the centre of the village, while the piazza in front of it becomes the generator of community life. The mass of new buildings resemble drywalls (a memorial to the hardships of a worker’s life), climbing and breaking without revealing the structure’s purpose.

Tlocrt prizemlja Ground floor plan

GodiĹĄnjak AF 15/16 Diplomski radovi

Tlocrt 2. kata 2nd floor plan

AF Yearbook 15/16 Diploma Thesis

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Aksonometrija sklopa Axonometry of the assembly

Sportsko natjecanje

Festival folklora

Sajam vina

Koncert

Sheme korištenja Use schemes

Projekt rekonstrukcije vinarije odražava spoj staroga i novoga – od tehnološkog procesa do upotrebe materijala i oblikovanja zgrada, odnosno spoj unutrašnjega i vanjskoga, tradicionalnoga i modernoga, te uza sve to stvaranje novoga prostora. Dodatna je vrijednost očuvanje tradicije ambijenta, poljoprivredne proizvodnje, vinarstva i očuvanja života u svakome segmentu.

The winery reconstruction project retains the link between inside and outside spaces, and between the old and the new – from the technological process to the use of materials and shaping of the buildings. An additional value is its maintaining of traditional rural aspects, including agriculture, wine production and village life as a whole.

Pjaca Market

Pogled s jugoistoka Southeastern view

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Popis diplomanata akad. god. 2015. 2016. List of graduates for the academic year 2015 2016

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Student Mentor tema diplomskog rada — graduate thesis topic

Natalija Andonova prof. Mladen Jošić Studentsko eksperimentalno kazalište Student Experimental Theatre — Mia Andrašević prof. Igor Franić Hvar extra muros pazar Hvar Extra Muros Market — Marina Antolović izv. prof. dr.sc. Idis Turato Regulacija Zelinskog trga – knjižnica i vinski centar The Regulation of Zelina Square – Library and Wine Centre B

Martina Babić prof. Veljko Oluić Akvarij u Rijeci Rijeka Aquarium — Josipa Bahat doc. Siniša Justić Akademija za suvremeni ples i scensko oblikovanje Academy of Contemporary Dance and Stage Design — Vlado Bandur prof. mr. sc. Boris Koružnjak Sportsko-rekreacijski park Delnice Delnice Sports and Recreation Park — Josip Barišić prof. Igor Franić Forum kulture Novi Zagreb Novi Zagreb Culture Forum — Lorena Belošević doc. Tin-Sven Franić Osnovna škola s centrom za autizam Elementary School with Centre for Autism

Matea Benić doc. Mateo Biluš Obiteljska pasivna kuća. Gradnja u mediteranskom podneblju Single Family Passive House. Designing in a Mediterranean Climate — Tina Biloglav izv. prof. mr. sc. Leo Modrčin Studentski centar Zadar Zadar Student Centre — Barbara Bošković prof. Mladen Jošić Montraker – galerija i lapidarij Montraker – Art Gallery and Lapidarium — Momčilo Božinovski izv. prof. Gordana Žaja Zdravstveni i dnevni centar za onkološke pacijente Health and Day Centre for Oncological Patients — Davor Burja prof. Ljubomir Miščević Višenamjenska zgrada, Osijek Multipurpose Building, Osijek C

Domagoj Ciglar izv. prof. dr.sc. Bojana Bojanić Obad Šćitaroci Turistička afirmacija Medvednice. Sustav vidikovaca kao pokretač razvoja turizma u okviru zagrebačke aglomeracije Touristic Affirmation of Medvednica Mountain. System of Viewpoints as Instigator of Tourism Development within Zagreb Agglomeration — Maja Cindrić doc. Lovorka Prpić Revitalizacija trga Zrinskih i Frankopana s centrom za posjetitelje u Slunju Revitalisation of Zrinski and Frankopan Square and Visitor Centre in Slunj

Marija Čačković doc. Petar Mišković Mrtvačnica na gradskom groblju Otruševec u Samoboru Mortuary at Otruševec Town Cemetery in Samobor — Lucija Čop prof. dr.sc. Sanja Filep Sportski hostel Sports Hostel — Jure Čudina doc. dr.sc. Zlatko Karač Tri centra Pakoštana – revitalizacija, obnova i urbanističko rješenje obalnog pojasa naselja Three Centres of Pakostan – Revitalisation, Restoration and Urban Planning Solution for the Coastal Settlement Zone

Boris Dundović akademik, prof. dr.sc. Mladen Obad Šćitaroci Revitalizacija dvorca Tüköry u Diošu: idejno rješenje naselja s ladanjskim sklopom Revitalisation of Tüköry Castle in Dioš: A Conceptual Design of the Village and Country House Complex) — Sven Duplić prof. Miroslav Geng Agrikulturni centar na otoku Unije Agricultural Centre on the Island of Unije

Ivana Ćorić izv. prof. Helena Paver Njirić Turističko naselje Stoja, Pula Tourist Resort Stoja, Pula — Anita Ćubić izv. prof. dr.sc. Idis Turato Rekreacijski bazen u Stupniku Recreational Swimming Pool in Stupnik

Iva Erak prof. Renata Waldgoni Novi društveno-kulturni prostori uz tržnicu u Zaprešiću New Communal and Cultural Space Next to Zaprešić Town Market

Frana Dulibić doc. Lovorka Prpić Kulturni centar i revitalizacija bloka Sv. Katarina u Šibeniku Cultural Centre and Revitalisation of St. Catherine City Block in Šibenik — Filip Dumbović prof. dr.sc. Aleksandar Homadovski Autobusni kolodvor, tržnica i trgovački centar u Velikoj Gorici (Bus Terminal, Farmers’ Market and Retail Center in Velika Gorica)

Željka Đalto doc. Branimir Rajčić Studentski dom u Kampusu Borongaj Student Accommodation on Borongaj Campus

Helena Ferkula prof. dr.sc. Nenad Lipovac Obnova središta Duge Rese Urban Renewal of Duga Resa Town Centre — Valentina Folnegović doc. Vladimir Kasun Hotel 4* - rehabilitacijski centar Brestovac Hotel 4* – Brestovac Rehabilitation Centre — Bruna Furač prof. Goran Rako Hotel Napoleonov magazin Napoleon Magazin Hotel

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Marko Galić doc. Branimir Rajčić Samostan časnih sestara Anakoreta, Split Monastery of the Anchorite Nuns, Split — Antonija Galac prof. Miroslav Geng Lički gastronomski centar Lika Gastronomy Centre — Ivana Galić prof. Goran Rako Turističko naselje Dječje selo, Baška Voda Dječje selo Tourist Resort, Baška Voda — Janko Gall doc. Mateo Biluš Gradnja drvom i balama slame: pilana Moždenec Constructing with Wood and Straw Bales: Moždenec Lumermill — Iva Gotovac doc. Petar Mišković Eksperimentalna scena i radionice HNK u Splitu Experimental Theatre and HNK Theatre Workshops in Split — Tomislav Grabar izv. prof. mr. sc. Leo Modrčin Jarunske terme, Zagreb Jarun Thermal Baths, Zagreb — Robert Gradečki prof. Ljubomir Miščević Istraživačko-medicinski centar na geotermalnom izvorištu Medical Research Centre on a Geothermal Wellhead — Alice Gröper-Šajber prof. Goran Rako Muzej geologije i rudarstva Museum of Geology and Minning

Jelena Hajdinjak izv. prof. mr. sc. Leo Modrčin Informativno-prezentacijski centar, planina Kalnik Information and Presentation Centre, Kalnik Mountain — Robert Huško prof. Veljko Oluić Plivački centar u Zaboku Swimming Centre in Zabok I

Ivona Idžaković doc. Vanja Rister Hospicij u Zagrebu Hospice in Zagreb — Ivan Ivanović prof. Veljko Oluić Gradska tržnica, Križevci Town Market, Križevci J

Viktorija Jagodić doc. dr.sc. Mia Roth-Čerina Centar za inkluzivne radne aktivnosti Centre for Inclusive Work Activities — Karlo Jukić prof. Goran Rako Tehnološki institut Grobnik Grobnik Institute of Technology K

Dorotea Klinčić izv. prof. dr.sc. Bojana Bojanić Obad Šćitaroci Park Zajarki u Zaprešiću Zajarki Park in Zaprešić — Iva Knego izv. prof. dr.sc. Bojana Bojanić Obad Šćitaroci Revitalizacija Park-šume Velika i Mala Petka Revitalisation of Velika and Mala Petka Urban Forest Marin Knežević doc. dr.sc. Mia Roth-Čerina Agronomska škola Agronomy School

Tena Knežević doc. dr.sc. Mia Roth-Čerina Višegeneracijski centar u Đakovu Multigenerational Centre in Đakovo — Dora Kodrić izv. prof. Helena Njirić Paver Gradske terme Sv. Helena Saint Helena City Thermal Baths — Leona Kodriš prof. Miroslav Geng Kuća leptira i lepidopterološki muzej Butterfly House and Museum — Đurđica Komar prof. dr.sc. Lenko Pleština Kompleks zgrada mješovite namjene Banfica, Varaždin Mixed-Use Building Complex Banfica, Varaždin — Juraj Kopić doc. Tin-Sven Franić Kongresni i sportski centar Promenada Promenada Congress and Sports Centre — Ivana Koretić prof. Veljko Oluić Interpretacijski centar vinske kulture Interpretation Centre for Wine — Bruno Kostanić Prof. Goran Rako Mjesno groblje Drvenik Drvenik Communal Cemetery — Tena Kovaček doc. Tin-Sven Franić Nova žičara i kružni park na Sljemenu New Cable Car and Circular Park, Sljeme — Mario Kralj doc. Ivana Ergić Novo zagorsko selo – kuća za buče, koze i ljude New Village in the Zagorje Countryside – A House for Pumpkins, Goats and People

Ivana Krmpotić Prof. Igor Franić Revitalizacija Frankopanskog Trga u Senju – zgrada tržnice i Kuća Senjskih Književnika Revitalisation of Frankopan Square in Senj – Public Market Building and Senj Writers Memorial House — Luka Krmpotić prof. dr.sc. Lenko Pleština Stambeno-poslovni toranj u Karlovcu Residential and Office Tower in Karlovac L

Mirna Lehunšek izv. prof. dr.sc. Nataša Jakšić Obnova i prenamjena pogonske zgrade tvornice “Iskra” u Zagrebu Reconstruction of the Factory “Iskra” Workshop Building in Zagreb M

Ivana Maček prof. dr.sc. Sanja Filep Difuzni hotel Prožurska Luka Scattered Hotel Prožurska Luka — Luka Matošević prof. Tonči Žarnić Radionice industrijsko-obrtničke škole, Slatina. Prijedlog izmjena UPU-a, Slatina Workshops of an Industrial Craft School, Slatina. Proposed Amendment to the Urban Development Plan — Mira Matulović prof. Tonči Žarnić Galerija Vasko Lipovac u Splitu Vasko Lipovac Gallery in Split — Linda Mavar prof. Renata Waldgoni Plesni centar, Ilica 212–214 u Zagrebu Dance Centre, Ilica 212–214 in Zagreb — Marija Medoš prof. Tonči Žarnić Novo groblje u Makarskoj New Cemetery in Makarska

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Student Mentor tema diplomskog rada — graduate thesis topic

Tea Ivana Medvedović prof. Tonči Žarnić Tržnica uz Šetalište Stjepana Radića, Imotski Marketplace Alongside Stjepan Radić Promenade, Imotski — Maja Merlić izv.prof. dr.sc. Idis Turato Otvorena scena Pustijerna, Dubrovnik Open Theatre Pustijerna, Dubrovnik K

Valentina Nemet prof. Igor Franić Paviljon suvremene umjetnosti Contemporary Art Pavilion — Doroteja Novak prof. Goran Rako Hotel Vila Rebar Vila Rebar Hotel O

Dalibor Obrad prof. Goran Rako Gradske terme Sveta Nedelja Sveta Nedjelja Thermal Baths — Ana Oršolić doc. Siniša Justić Tvornica sardina, Vrboska – Muzej ribarstva i drvene brodogradnje Sardine Factory, Vrboska – Museum of Fishing and Wooden Shipbuilding P

Matija Pajić doc. Siniša Justić Transformacija centra Sesveta – prometni terminal i tržnica Sesvete Transformation of Sesvete District Urban Centre – Transport Interchange and Farmers’ Market — Ivana Palanović doc. Ivana Ergić Nova zagorska kuća: Modularna kuća za stanovanje, rad i odmor New Zagorje House: a Modular House For Living, Work and Leisure

Simon Papeš doc. Neda Cilinger Kazalište Komedija, Skoplje Comedy Theatre, Skopje — Alexandra Paša izv. prof. dr.sc. Dina Vulin Ileković Dom za nezbrinutu djecu, Velika Gorica Orphanage, Velika Gorica — Borna Pavičić doc. Petar Mišković Vatrogasni dom u Starom Gradu na Hvaru Fire Station in Stari Grad on Hvar Island — Kim Pavlić prof. dr.sc. Vesna Mikić Poduzetnički centar Karlovac Karlovac Entrepreneurial Centre — Igor Pavlović izv. prof. dr.sc. Idis Turato Poljoprivredno gospodarstvo “Grgur” “Grgur” Agricultural Holding — Marija Pavlović doc. Branimir Rajčić Turističko-ugostiteljski kompleks na Baćinskim jezerima u Parku prirode Donja Neretva Tourist Complex on the Baćina Lakes in Donja Neretva Nature Park — Vedrana Pecotić prof. Veljko Oluić Ljetno kino Korčula Korčula Open-air Theatre — Matej Požega doc. Mateo Biluš Hostel SLN (Projektiranje na principima održive gradnje) Hostel SLN (Design Based on Sustainable Building Principles) — Dorja Prekratić doc. dr.sc. Mia Roth-Čerina Zadružna vinarija Klanječkog vinogorja, Klanjec Cooperative Winery of the Klanjec Wine Region, Klanjec

Ana Premur doc. Tin-Sven Franić Knjižnica i trg, Varaždin Library and Square, Varaždin — Monika Prinčić doc. Vanja Rister Termalne kupke lječilišta u Sisku Thermal Baths in the Sanatorium in Sisak — Lucija Pušić prof. Nenad Fabijanić Revitalizacija arhitektonsko-perivojne cjeline ljetnikovca Gučetić-Lazarović uz dogradnju kulturno-društvenog centra “Rijeka dubrovačka” Revitalisation of Gučetić-Lazarović Villa and Extension of “Rijeka Dubrovačka” Cultural and Community Centre) R

Ivana Rašpolić prof. Igor Franić Luka nautičkog turizma “Antenal” Nautical Tourism Port “Antenal” — Mateja Rešetić izv. prof. dr.sc. Idis Turato Regeneracija kamenoloma podno Japetića Regeneration of Quarry below Japetić Filip Romić Prof. Tonči Žarnić Dvorana za koncerte, Osijek. Arhitektura generira kulturu, kultura stimulira društvo. Concert Hall, Osijek. Architecture Generates Culture, Culture Stimulates Society. — Mirta Rusan prof. Nenad Fabijanić Kulturno-umjetnički centar grada Trogira Arts and Culture Centre of Trogir

Karla Sršen prof. Veljko Oluić Turistička infrastruktura na ušću Neretve – Hostel i kamp za veslače i kitesurfere Tourist Facilities at the Mouth of Neretva River – Hostel and Camp for Kiteboarders and Rowers — Tvrtko Stanković prof. dr.sc. Aleksandar Homadovski Prodajno-servisni centar automobilske industrije Automobile Industry Sales and Service Centre — Matej Stić prof. Goran Rako Knjižnica “Trnjanska Savica” “Trnjanska Savica” Library — Bruna Stipaničić prof. Veljko Oluić Transformacija unutrašnjosti zagrebačkoga donjogradskog bloka: Martićeva / Tomašićeva / Trg žrtava fašizma / Smičiklasova – Studij suvremenog plesa Transformation of the Inner Courtyard of a Zagreb Lower-town Block (Martićeva / Tomašićeva / Trg žrtava fašizma / Smičiklasova) into a Contemporary Dance Studio — Patricija Suša prof. mr. sc. Boris Koružnjak Afirmacija rive u Starigradu Paklenici Affirmation of the Waterfront in Starigrad Paklenica Š

Marina Šaić izv. prof. dr.sc. Idis Turato Revitalizacija Müllerove ciglane – Črnomerec, Zagreb Revitalisation of Müller Brickworks – Črnomerec, Zagreb — Jelena Šardi izv. prof. dr.sc. Bojana Bojanić Obad Šćitaroci Črečan – središte ruralnog turizma općine Nedelišće Črečan – Rural Tourism Centre of Nedelišće Municipality

š Luka-Ante Šarić prof. Veljko Oluić Društveni centar Donja Dubrava Donja Dubrava Community Centre — Natalija Šarlija prof. dr.sc. Idis Turato Muzej suvremene umjetnosti, Zadar Museum of Contemporary Art, Zadar — Tamara Šerbetovski prof. Goran Rako Vidikovac i zvjezdarnica “Sv. Vid” na Pagu Viewpoint and Observatory “St. Vid” on Island of Pag — Nina Šegulja izv. prof. dr.sc. Dina Vulin Ileković Ski-centar / Planinski dom Platak Ski Centre / Platak Mountain Lodge — Matija Šimunić prof. Igor Fanić Katolički obrazovni centar Catholic Educational Centre — Anamarija Šimunović izv. prof. dr.sc. Dina Vulin Ileković Gradska knjižnica Dugo Selo Dugo Selo Public Library — Cvijeta Franka Škarić prof. Veljko Oluić Rekonstrukcija i nadogradnja osnovne škole s novom sportskom dvoranom u Postirima, otok Brač Reconstruction and Exstension of Elementary School with New Sports Hall in Postira, Island of Brač — Irma Šmuc doc. dr.sc. Mia Roth-Čerina Astronomski kampus Tićan Tićan Astronomy Campus Anita Šola izv. prof. dr.sc. Idis Turato Gradska tržnica Zaprešić Zaprešić City Market

Tomi Šoletić prof. Veljko Oluić Terminal za hidroavione u Dubrovniku Seaplane Terminal in Dubrovnik — Alma Špoljarec doc. Siniša Justić Dječji vrtić i školska dvorana u Klisu Kindergarten and School Gym in Klis — Iva Štambuk izv. prof. dr.sc. Bojana Bojanić Obad Šćitaroci Revitalizacija istočnog dijela otoka Brača. Preobrazba zaboravljenih urbanih i pejzažnih prostora Revitalisation of Brač Island’s Eastern Part. Transformation of Neglected Urban and Landscape Areas — Valentina Štivičić doc. dr.sc. Sanja Gašparović Urbanističko-arhitektonsko rješenje središta Požege Urban and Architectural Design of the Centre of Požega — Zdravko Štuljan prof. dr.sc. Lenko Pleština Gradska tržnica Urban Market T

Tomislav Tabain prof. Tonči Žarnić Sportsko-rekreativna zona i plivački bazen “Kale – Vela Luka” “Kale – Vela Luka” Sports and Recreational Area and Swimming Pool — Dijana Tolić prof. Igor Franić Policijska postaja Sesvete Sesvete Police Station — Luka Tomić izv. prof. dr.sc. Idis Turato Kupalište u Puli Bath House in Pula — Monika Tomić doc. dr.sc. Mia Roth-Čerina Sveučilišna knjižnica: Centar integracije Mostara University Library: Integration Centre of Mostar

Dorotea Turčinov doc. Siniša Justić Kapela i pomoćne građevine zajednice na Modravama Community Chapel and Auxiliary Buildings in Modrave — Mateja Tortić doc. Vanja Rister Stambeni centar za starije u Zagrebu Residence for Senior People in Zagreb — Marta Turk izv. prof. dr.sc. Dina Vulin Ileković Hipodrom u Čakovcu Hippodrome in Čakovec U

Mara Uroda izv. prof. dr.sc. Dina Vulin Ileković Tržnica (+) Aquileia Marketplace (+) Aquileia V

Viktor Vdović doc. Siniša Justić Uređenje centra naselja Savski Gaj u Zagrebu Planning and Development of the Centre of the Savski Gaj Quarter in Zagreb — Matija Veleglavac prof. Veljko Oluić Revitalizacija gradskog kupališta Jadrija Revitalisation of Bathing Facilities in Jadrija — Filip Vidović doc. Siniša Justić Interkulturni društveni centar s tržnicom u Dubravi Intercultural Community Centre with Market, Zagreb in Dubrava — Mate Viduka doc. Siniša Justić Multifunkcionalni centar Kantrida Multifunctional Centre Kantrida

Katija Violić prof. Igor Franić Rekonstrukcija i nadogradnja vinarije s pjacom na lokaciji Potomje, Pelješac Winery Reconstruction and Upgrade through Piazza Addition at Potomje, Pelješac — Tonći Vlahović doc. Tin-Sven Franić Tržnica “Borovje” “Borovje” Market — Ivan Vojnić prof. Goran Rako Socijalno stanovanje u Dubrovniku Social Housing in Dubrovnik — Marina Vranić izv. prof. dr.sc. Idis Turato Hotelski kompleks u Krku Hotel Complex in Krk — Ivica Vršić izv. prof. dr.sc. Idis Turato Laboratorij zabave Fun Lab — Marija Vučemilović izv. prof. dr.sc. Dina Vulin Ileković Turističko naselje “Kopačevo” Tourist Resort “Kopačevo” Z

Martina Zeljko izv. prof. dr.sc. Dina Vulin Ileković Lječilište ljekovitim blatom Nin Nin Peloid Health Resort

Godišnjak AF 15/16 Popis diplomanata AF Yearbook 15/16 List of graduates

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Popis djelatnika Arhitektonskog fakulteta Faculty of Architecture Employees List

REDOVITI PROFESORI professors dr.sc. Bojan Baletić dr.sc. Alenka Delić Nenad Fabijanić dr.sc. Sanja Filep Igor Franić Teufik Galijašević Miroslav Geng dr.sc. Aleksandar Homadovski Mladen Jošić dr.sc. Tihomir Jukić mr.sc. Boris Koružnjak dr.sc. Nenad Lipovac dr.sc. Vesna Mikić dr.sc. Anka Mišetić Ljubomir Miščević akademik dr.sc. Mladen Obad Šćitaroci Veljko Oluić dr.sc. Srečko Pegan dr.sc. Lenko Pleština Goran Rako dr.sc. Ariana Štulhofer dr.sc. Andrej Uchytil Dragomir Vlahović Renata Waldgoni Tonči Žarnić IZVANREDNI PROFESORI associate professors dr.sc. Bojana Bojanić Obad Šćitaroci dr.sc. Miljenko Haiman dr.sc. Jesenko Horvat dr.sc. Nataša Jakšić dr.sc. Damir Krajnik dr.sc. Ivan Mlinar mr.sc. Leo Modrčin Helena Paver Njirić dr.sc. Karin Šerman dr.sc. Krunoslav Šmit dr.sc. Idis Turato dr.sc. Dina Vulin Ileković Gordana Žaja DOCENTI assistant professors dr.sc. Zrinka Barišić Marenić Mateo Biluš dr.sc. Kristina Careva Neda Cilinger Vedran Duplančić Ivana Ergić Tin Sven Franić dr.sc. Josip Galić dr.sc. Sanja Gašparović dr.sc. Vedran Ivanković dr.sc. Krunoslav Ivanišin Siniša Justić dr.sc. Zlatko Karač Vladimir Kasun dr.sc. Luka Korlaet Petar Mišković dr.sc. Iva Muraj dr.sc. Lea Petrović Krajnik

dr.sc. Rene Lisac Ivica Plavec Lovorka Prpić Branimir Rajčić Vanja Rister dr.sc. Mia Roth-Čerina dr.sc. Marija Šimić Horvath dr.sc. Marina Šimunić-Buršić mr.sc. Sonja Tadej dr.sc. Zoran Veršić VIŠI PREDAVAČI senior lecturers Ana Martina Bakić Vjera Bakić Marina Bertina dr.sc. Neda Borić mr.sc. Alan Braun mr.sc. Ivan Cetinić Damir Mance Dunja Mandić mr.sc. Berislav Medić Zorana Protić Marino Šneler dr.sc. Ivana Tutek Dalibor Vračan PREDAVAČI lecturers mr.sc. Dubravko Bačić Marin Binički Teodor Cvitanović Juraj Glasinović Tajana Jaklenec Darko Latin Neda Mrinjek Kliska Roberta Pavlović Željko Pavlović Stanka Ostojić Tihomir Rengel Nenad Turčić Darko Užarević Stipe Vidak Nino Virag POSLIJEDOKTORANDI postdoctoral candidates dr.sc. Ana Mrđa dr.sc. Tin Oberman dr.sc. Marko Rukavina VIŠI ASISTENTI senior researchers dr.sc. Gordana Aras-Gazić dr.sc. Zorana Sokol Gojnik ASISTENTI assistants Davor Andrić Andrej Marković Morana Pap Bojan Pažek mr.sc. Roberto Vdović Hrvoje Vukić

ZNANSTVENI NOVACI – ASISTENTI junior researchers and teaching assistants Melita Čavlović mr.sc. Igor Ekštajn Tihana Hrastar Tamara Marić Boško Opalić Mojca Smode Cvitanović

SURADNICI associates Karolina Bunčić Maja Francuz Boris Kostanjšak Maroje Mrduljaš Saša Relić Alan Ropac Paula Šimetin

Projekti Projects Ivana Curić

STUDENTSKA REFERADA Student Services Marina Koštek Daniel Srečec Vesna Šarčević Nikolina Šerbula

ZAPOSLENICI ZAVODA EMPLOYEES OF INSITUTES — zavod za graditeljsko naslijeđe institute of architectural heritage Mladen Cvitanović Tomislav Vidović Zavod za arhitekturu institute of architecture Sarah Baldani Tea Beličev Barabara Bošković Iva Dubovečak Duje Dvornik Marija Džapo Ana Grgurač Dr.sc. Oleg Grgurević Ivana Krstinić Mateja Markešić Ksenija Matacun Višnja Matacun Nives Mlinar Zoran Nikoloski Davor Pavlović Željko Pavlović Tatjana Peraković Ana Rukavina Ivan Škugor Vesna Toth Zavod za urbanizam institute of urban and physical planning and landscape architecture Nikolina Gradečki TAJNIŠTVO secretariat Tihana Grgić Ožvald Sanja Kustić Ljiljana Loina-Hohnjec Ivona Cvitković Zdenko Gajšak Davor Jozepović Kata Peičević

RAČUNOVODSTVO accountancy Vesna Božek Katica Hunjet Anka Kilić Ivana Robina Marija Skočir Anica Subotić TEHNIČKA SLUŽBA technical service Mirzet Đulović Kristijan Petrović Zvonko Trčak SPREMAČICE cleaning staff Darinka Babuder Marija Bobnjarić Ljiljana Braje Boženka Čunčić Dragica Gagulić Sanja Jurkin Smiljka Marinčević Anamarija Nikolić Pavica Novak Đula Pjanić UMIROVLJENI retired Ivan Trumbetaš Zlatko Klanac Vesna Šarić Boženka Čunčić Dragomir Vlahović PREMINULI deceased dr.sc. Radovan Miščević

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9 771848 741004 4 / 2017 125KN

Faculty of architecture, Zagreb, Yearbook

ISSN 1848â&#x20AC;&#x201C;7416