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Andrej Hrausky Janez Koželj

ARCHITECTURAL GUIDE TO

LJUBLJANA 107 Selected Buildings

Photographs: Miran Kambič Design: Beti Jazbec Translation: Erica Johnson Debeljak, Jana Cedilnik, Darja Sunesko Editor: Barbara Bogataj Printed by: Schwarz d.o.o.

First printing Rokus Gifts, Ltd., 2007.

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72(497.4Ljubljana)(036)

HRAUSKY, Andrej Architectural guide to Ljubljana : 107 selected buildings / Andrej Hrausky, Janez Koželj ; [photographs Miran Kambič]. 1. printing. - Ljubljana : Darila Rokus, 2007. - (Heart edition)

CMYK 10/100/90/0

Prevod dela: Arhitekturni vodnik po Ljubljani ISBN 978-961-6531-32-0 1. Koželj, Janez, 1945232455680

5/22/07 10:24:04 AM

heart edition

Andrej Hrausky Janez Ko탑elj

ARCHITECTURAL GUIDE TO

LJUBLJANA 107 Selected Buildings

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Contents

Architectural Guide to Ljubljana

8 Introduction 19 107 Selected Buildings Ljubljanski grad 20 Ljubljana Castle ©kofijski dvorec 22 Bishop’s Hall Grad Fuæine 24 Fuæine Castle Codellijev kanonikat 26 Codelli Canonry Cerkev sv. Jakoba 28 Saint James’ Church Stiπki dvorec 30 StiËna Hall Auerspergova palaËa 32 Auersperg Palace FranËiπkanska cerkev Marijinega 34 Franciscan Church of the Annunciation oznanjenja of Mary Stolnica sv. Nikolaja 36 Saint Nicholas’ Cathedral SemeniπËe 38 Seminary Kriæevniπka cerkev 40 Kriæanke Church Magistrat/Mestna hiπa 42 City Hall Urπulinska cerkev sv. Trojice 44 Ursuline Church of the Holy Trinity Cerkev sv. Petra 46 Saint Peter’s Church Schweigerjeva hiπa/Hiπa Lili Novy 48 Schweiger House/Lili Novy House Steinbergova hiπa 50 Steinberg House Cekinov grad/Muzej novejπe zgodovine 52 Sequin Castle/The Museum of the Barbova palaËa 54 Contemporary History Gruberjeva palaËa 56 Barbo Palace Lontovæ/Slovenska akademija 58 Gruber Palace znanosti in umetnosti Slovenian Academy of Arts and Sciences Friedl-Recharjeva hiπa 60 Friedl-Rechar House Souvanova hiπa 62 Souvan House Kazina 64 Kazina Evropa 66 Evropa Realka/Srednja πola zaCMYK 68 Secondary School of Electrical elektrotehniko in raËunalniπtvo Engineering and Computer Science 10/100/90/0 Cerkev Srca Jezusovega 70 Sacred Heart Church Rudolfinum/Narodni muzej 72 National Museum Deæelno gledaliπËe/Opera 74 Provincial Theatre/Opera House

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Contents

Architectural Guide to Ljubljana

Slovenska filharmonija 76 Slovenian Philharmonic Hall Narodni dom/Narodna galerija 78 National House/National Gallery Poslopje Deæelne vlade/ 80 The Palace of the Provincial Government/ Vladna palaËa Government Palace Filipov dvorec in Kresija 82 Philip Hall and Kresija SodiπËe 84 Court Building Deæelni dvorec/Univerza 86 Provincial Hall/University Building Zmajski most 88 Dragon Bridge Krisperjeva hiπa 90 Krisper House »udnova hiπa 92 »uden House Centromerkur 94 Centromerkur Hribarjeva hiπa 96 Hribar House Stanovanjska stavba na Dalmatinovi ulici 98 Dalmatinova Apartment House Mestna hranilnica 100 City Savings Bank Hotel Union 102 Hotel Union Mladika 104 Mladika Stanovanjski stavbi Kmetske 106 Apartment Houses of the Agricultural Loan Bank posojilnice Bambergova hiπa 108 Bamberg House Nemπko gledaliπËe/ 110 German Theatre/Slovenian National Theatre Drama Cerkev sv. Joæefa 112 Saint Joseph’s Church Nemπka hiπa 114 German House Drofenigova hiπa 116 Drofenig House Stavba Zemljiπke knjige 118 Building for Land Registry PleËnikova hiπa 120 PleËnik House Trgovinska zbornica/Ustavno sodiπËe 122 Chamber of Commerce/Constitutional Court of the Republic of Slovenia Republike Slovenije Cerkev sv. FranËiπka Asiπkega 124 Church of Saint Francis of Assisi Sokolski dom/Dom na Taboru 126 Sokol Gymnastic Hall/Sports Hall Tabor MeksikaCMYK 128 Meksika PalaËa Poπtne hranilnice 130 The Post Office Savings Bank 10/100/90/0 Vzajemna zavarovalnica 132 The Mutual Insurance Building Tromostovje 134 The Three Bridges NebotiËnik 136 Skyscraper

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Contents

Architectural Guide to Ljubljana

Ekonomska πola Ljubljana 138 Ljubljana High School of Economics Mali nebotiËnik 140 Little Skyscraper Vila Oblak 142 Villa Oblak Peglezen 144 Flat Iron Building DukiÊevi bloki 146 DukiÊ Apartment Houses Narodna in univerzitetna knjiænica 148 National University Library Fakulteta za montanistiko 150 Faculty of Mining Cerkev sv. Mihaela na Barju 152 Church of Saint Michael in the Marsh Æale 154 Æale Cemetery Zapornica na Ljubljanici 156 The Ljubljanica Lock Gate Trænice 158 Main Market Moderna galerija 160 Modern Gallery Urad vlade RS za komuniciranje 162 Government Communication Office Kriæanke/Festival Ljubljana 164 Kriæanke/Festival Ljubljana Gospodarsko razstaviπËe 166 Convention Center Ministrstvo za pravosodje in 168 Ministry of Justice and Finance finance Republike Slovenije of the Republic of Slovenia Stavba Okroænega dræavnega toæilstva 170 Attorney General's Buidling ©tudentski center 172 Student Union Kozolec 174 Kozolec Parlament/Dræavni zbor 176 Parliament/National Assembly of the Republike Slovenije Republic of Slovenia Stanovanjski blok na Prulah 178 Prule Apartment House Trg Republike in 180 Republic Square and Cankar Cultural and Cankarjev dom 184 Congress Center Metalka 186 Metalka Tiskarna Mladinska knjiga 188 Mladinska knjiga Printing House Astra Business Center Poslovno-trgovski center Astra Trgovska hiπa v ©iπki 190 ©iπka Commercial Center Poslovna stavba Konstrukta 192 Konstrukta Business Building MurgleCMYK 194 Murgle Ferantov vrt 196 Ferant Garden 10/100/90/0 Stanovanjski stolpnici na 198 Kersnikova Apartment Houses Kersnikovi ulici Otroπki vrtec Mladi rod, enota Vetrnica 200 Mladi rod Kindergarten, Vetrnica

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Contents

Architectural Guide to Ljubljana

Mednarodna avtomatska 202 telefonska centrala GledaliπËe za otroke in mladino 204 TehniËni center Ljubljanske banke 206 Cerkev Kristusovega uËloveËenja 208 v Dravljah Poslovno-stanovanjska hiπa 210 na Poljanski cesti Stanovanjska stavba na Slomπkovi ulici 212 Srednja zdravstvena πola 214 Gospodarska zbornica Slovenije 216 Kompleks Kapitelj s Pravno fakulteto 218 Podjetje in trgovina Arcadia 220 Poslovno-stanovanjska stavba ©martinka 222 Poslovna stavba Linde 224 Rezidenca veleposlanika kraljevine 226 Nizozemske v Sloveniji Condominium Trnovski pristan 228 Hiπa XXS v Krakovem v Ljubljani 230 Dijaπki dom 232 VzpenjaËa na Ljubljanski grad 234

International Telephone Exchange Theatre for Children and Youth Ljubljanska Bank Technical Center Church of Christ’s Incarnation in Dravlje Poljanska Business/Residential Complex Slomπkova Apartment House Medical High School Slovenian Chamber of Commerce Kapitelj Complex and Law School Arcadia Building Office and apartment building ©martinka The office building Linde The Royal Netherlands Embassy's Offices, Slovenia Condominium Trnovski pristan House XXS in Krakovo, Ljubljana Student dormitory Funicular Railway to Ljubljana Castle

Slovar manj znanih izrazov 237 Glossary Kazalo zgradb 243 Index of Buildings Kazalo arhitektov 248 Index of Architects Viri in literatura 255 Sources and Bibliography BaroËna Ljubljana 257 Baroque Ljubljana Secesijska Ljubljana 261 Secession Ljubljana PleËnikova Ljubljana 265 PleËnik’s Ljubljana Zemljevid mestnega srediπËa 268 Map of Central Ljubljana Zemljevid mesta z vrisanimiCMYK 277 Map of Ljubljana with City Bus Lines avtobusnimi progami

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Introduction Architectural Guide to Ljubljana

Roman City Cities emerge in important places: at the junctures of roads, lands and cultures. Ljubljana — positioned on the way from Rome to Byzantium, from Vienna to the Adriatic Sea, from the Balkans toward Europe — is no exception. Anton Tomaæ Linhart, in his history of Carniola, refers to the legend of a settlement on the site of contemporary Ljubljana and established by the Argonauts, no less. The Ljubljanica River, with its source only 65 kilometres away from the city in the direction of the Adriatic Sea, but still flowing into the Sava, the Danube, and finally the distant Black Sea, supports this legend. The Argonauts fled home from Black Sea by the river and

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not by the sea. They could come all the way to Ljubljana and take their boats over the mountains, and were then only a short distance from Greece. It has been proven that this was the way of the “Amber road” and that boats were carried over the mountains. But whatever the reasons may be, this place was inhabited long before the Romans came in the beginning of the first century A.D. and built a stronghold named Julia Emona on the left bank of the Ljubljanica. By decree of the Roman Emperors August and Tiberius, the colony was given the status of a municipality and became the first urban settlement on this territory. The remnants of the Roman city walls, organized into an archaeological park by the 20th century Slovenian architect Joæe PleËnik, can be seen on Jamova Street in the neighbourhood of Mirje. Slovenska and Rimska Streets run in the direction of the Roman cardo and decumanus, and at their crossing there used to be a forum. Today the area contains the Ferant Garden apartment house complex designed by the architect Edvard Ravnikar. The architect recalled the forum with a semi-circular brick wall on one of the facades, following the shapes of a circular Roman building that stood there.

Fortified City Until the completion of the Southern Railway in the 19th century, Ljubljana was an important river port. Shipments came by road to the Ljubljanica and were then carried by barge across the vast marshy plain of the Ljubljansko Barje to the south.

The city’s name was mentioned in the middle of the 12th century: first by the German name Laibach, and, soon afterward, by the Slovenian version, Luwigana. Originally, the settlement beneath the castle, which received city rights circa 1200, was the property of the noble Spanheims. Later, it was elevated to the capital of the Carniola province. In 1335, the city passed into the hands of Habsburgs and became an important stronghold on the way to the sea.

Medieval Ljubljana evolved around three squares: Stari trg and Mestni trg on one side of the Ljubljanica River, and Novi trg on the other. In the city’s early years, only Mestni trg was linked to the castle and its fortified walls. Later, ramparts surrounded the areas around both Stari trg and Novi trg also. Stari trg and Mestni trg are wedged between Castle Hill and the river, and a series of funnel-shaped squares evolved along these streets. Only the part of Novi trg around Kriæanke monastery, the provincial mansion, and the pier on the left bank of the Ljubljanica had a regular shape. The square was surrounded by a wall and moat that abutted the east side CMYK of the ancient Roman fortifications. The centre of medieval Ljubljana was in TranËa 10/100/90/0 until 1484, when City Hall was constructed on Mestni trg on the same site where it is today. In order to optimally use the circumvallated (walled) lots, town houses had only three window axes facing the street. Medieval row houses were separated

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Ground plan of medieval city

by 1-meter-wide corridors in order to reduce the danger of fire. The corridors were closed at their street entrances with doors. Some of these houses with characteristic gables facing the street are still preserved in Gornji trg.

Venetian Baroque City In 1511, a major earthquake struck Ljubljana and caused a great deal of damage all over Carniola. During the restoration process, narrow medieval houses were linked, expanded deeper into building plots, and made into larger palaces with courtyards. The direction of the roofs was changed, and the ridges were thus parallel to the street. More changes, in particular the introduction of Baroque in Carniola, came during the triumphant Counter Reformation. From the point of view of the Jesuits who came to Ljubljana in 1597 and crucially contributed to the defeat of Reformation, both Gothic and Renaissance architecture were unacceptable; the former because it was a sign of Lutheranism CMYKand the latter because it gave a central position to man. Only Baroque cathedrals, with their magnificence and ceremonial 10/100/90/0 grandeur, had the power to inspire the faithful. During this historical period, Baroque art was not merely a matter of taste but also a symbol of affiliation with Roman Catholicism. Baroque reached its peak in Ljubljana at the beginning of the 18th

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century when, on the initiative of the Academia Operosorum Labaciensis (1693—1701), well-known Italian artists, mainly from the neighbouring Venetian Republic, were brought to Ljubljana: the architect Andrea Pozzo, the sculptor Francesco Robba, and the painter Giulio Quaglio, among others. They taught the building trade to Gregor MaËek, who is frequently cited as the first Slovenian architect. In Ljubljana, a number of new churches, Saint Nicholas Cathedral important among them, were systematically built. City Hall was erected and many old houses were heightened and adorned with

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Baroque façades. In this way, Ljubljana both retained its medieval spatial layout and also obtained a distinctly Baroque look. Another noteworthy feature of Ljubljana architecture is that, under the influence of Venetian development, the Baroque movement didn’t progress toward luxurious Rococo but rather in the direction of moderate Classicism.

Classicism and Historicism The end of the 18th century coincided with the Age of Enlightenment, which included, among other things, the rediscovery of antiquity. In terms of architecture, it marked the emergence of Classicism that, unlike the Baroque that originated in the Renaissance, went directly back to Greek antiquity. During the Napoleonic wars against the Austrian monarchy, the French occupied Ljubljana for a short period of time, during which it was called the Illyrian provinces (1809—13). This period was not terribly significant for architectural development, but had the effect of encouraging the gradual emergence of Slovenian national consciousness.

This largely resulted from the fact that under French occupation, the Slovenian language was taught in schools for the first time. For this reason, Napoleon has never been thought of as an oppressive occupier. Indeed, the inhabitants of Ljubljana later erected an obelisk in his honour at the Trg francoske revolucije.

The four-year-old Illyrian provinces were the only break in the Habsburg regime, which lasted another 579 years, from 1335 to 1918. Yet after Napoleon’s retreat, Ljubljana gradually rose from obscurity. In 1821, it hosted the congress of the Holy Alliance, an association of triumphant states striving to maintain the monarchic system. For this occasion, the site of the abandoned Capuchin monastery was converted into Kongresni trg for public events and parades. During this period, a new reorganisation of the city began, directed in accordance with numerous regulations. Biedermeier, a reflection of the simple and comfortable style of the Viennese middle class, prevailed in art and architecture. The simplicity of the style represented not only the aesthetic rejection of the rich decoration of Baroque but also part of a general trend toward economizing and rationalizing projects as dictated by imperial Vienna. In 1848, a railway was built from Vienna to Ljubljana, and in 1857 it was extended south to the port of Trieste. This development spelled the end of Ljubljana’s importance as a river port.

The train, a symbol of a new era of based on industrialization, triggered the accelerated development of cities and posed new challenges in the field of CMYK architecture. The task was divided between architect and engineer. The latter 10/100/90/0 designed a frame, and the architect as artist covered it with an appropriate façade. Classical architectural elements were gradually joined by Renaissance, Romanesque and Gothic elements, and thus historicism emerged: the practice

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of borrowing and mixing elements from the rich treasury of past architectural styles. During this fertile period, a number of important institutions were built in Ljubljana: the National Museum, the National House, the German Theatre and the Philharmonic Hall, Realka, and the Palace of the Provincial Government.

Fabiani’s Ljubljana The 1895 earthquake was a turning point in Ljubljana’s development. Help was sent from imperial Vienna to help rebuild the damaged city: Ljubljana received financial support in the form of favourable loans that enabled building development. One of the first to offer his service was the famous urban planner Camillo Sitte, who presented his plan for reconstruction. However, the nationally minded mayor of Ljubljana, Ivan Hribar, preferred Slavic architects. Besides the Croatian architect Josip Vancaπ, among the Slavic architects that worked in Ljubljana after the earthquake, the most influential was certainly Maks Fabiani, from the Littoral region. During the early years of his career, he worked for Otto Wagner in Secession Vienna. Although Fabiani’s integral city plan was rejected because municipal authorities supported different urban ideas, some of his suggestions are still relevant today. Fabiani introduced the Viennese Secession style to Ljubljana, especially in the area between the old town and the railway station where he designed a new square in front of the judicial palace. This is the section of Ljubljana that possesses the majority of Secession houses derived from Wagner’s architectural school. The more decorative Secession style of Josef Maria Olbrich is rarer. During this period of national awakening, when Slovenians were establishing their own institutions parallel to the existing German ones, choice of architectural style became a sign of national conscience. German architects generally chose historicism, while their Slovenian counterparts opted for the more progressive Secession.

Plečnik’s Capital When the Habsburg Empire disintegrated after World War I, many new states emerged and Ljubljana found itself a part of Yugoslavia, or what was then known as the Kingdom of Slovenes, Croats and Serbs. With this, the long-standing trend toward autonomy was fulfilled. Slavic architects, who had mostly studied with Wagner in Vienna, turned away from their former master, attempting to develop individual national architectural styles. In Slovenia, Ivan Vurnik, who established the Faculty of Architecture in Ljubljana, was the principal advocate of the national CMYK point of view.

The classical regionalism of Joæe10/100/90/0 PleËnik, whom Vurnik invited to be a professor, contrasted with Vurnik’s national romantic architecture. PleËnik, along with Olbrich and Josef Hoffmann, was certainly one of the most talented of Otto Wagner’s

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disciples. Prior to World War I, he designed buildings in Vienna, the most important being the Zacherl House (1905). The Vienna Academy had even proposed PleËnik as Wagner’s successor, but for political reasons (because of his Slovene nationality) the proposal was not approved. In 1911, PleËnik moved to Prague where in 1920 he was appointed by President Masaryk to be the architect in charge of the restoration of Hradcany Castle for the needs of the new state. Despite this prestigious position, PleËnik was ready to return to his own country to implement his vision of the Slovenian capital. Indeed, because of the legacy he ultimately left — the National Library, Æale cemetery, the Church of St Francis of Assisi in ©iπka, and the projects along the Ljubljanica to name only his most important architectural interventions — the Slovenian capital deserves to be called PleËnik’s Ljubljana.

Ignoring trends in contemporary world architecture, PleËnik was guided by his belief in the timelessness of architecture. He wanted his work to speak in the language of classical architectural elements — so that everyone could understand it — but in an entirely original manner. Thus his architecture was not designed according to classical rules, but incorporated classical architecture. His urban schemes were fragmentary but linked to a wider vision. And despite his great ambition for Ljubljana, he had at his disposal only limited financial resources.

To save money for other enrichments of public architecture, he used sand, cement slabs and old stones for paving. An example of this thrift can be found in the seemingly rich regulation of the Three Bridges, where an addition of two pedestrian bridges in artificial stone was a less costly solution than pulling down the old bridge and building a new and wider one. He also made a new parapet on the old bridge.

Šubic’s Cosmopolitan City PleËnik was the undisputed authority of architecture between the two world wars; his style exercised a strong influence over his clients’ choices. In 1924, the painter Avgust »ernigoj returned to Ljubljana from his studies at Bauhaus and discovered that when he exhibited his avant-garde work, nobody was able to understand it.

The architects of that era designed buildings that were basically rational, but continued to decorate them with stylised classical elements and figures. One of these architects was Vladimir ©ubic, who built several large, contemporary hybrid buildings in the style of modern classicism. The most significant among CMYK ©ubic’s large urban projects was NebotiËnik (Skyscraper), built in 1933 as a 10/100/90/0 symbol of cosmopolitan Ljubljana.

For many years the tallest building in the Balkans, NebotiËnik nevertheless wore the crown of a diminished classical rotunda undoubtedly derived from the PleËnik school. Although PleËnik’s authority for a time

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prevented radically new ideas from developing within the cultural environment of the city, the influences of modern architecture could not be avoided indefinitely.

A younger generation of architects who studied under Professor Peter Behrens in Vienna, and even some of PleËnik’s students, began to think according to the new principles and to build in a new style. Yet even Villa Oblak by the architect France TomaæiË (1933) or the Little Skyscraper by the architect Herman Hus (1931) are not purely functionalist creations; they reveal the lingering restraint of the PleËnik school.

Ravnikar’s School Circumstances, particularly political circumstances, changed after World War II, and architecture acquired a representative role in the emerging socialism.

Architects of the day turned to their advantage Tito’s rejection of socialist realism in architecture. Even with an edifice as important as the Parliament building (1959) by the architect Vinko Glanz, the monumental quality of new buildings still stemmed more from PleËnik’s tradition than from Soviet influences. Architecture continued to develop in the direction of functionalism even after the war. Two beautiful examples of this trend are the Republic Government Building (1949) by the architect Stanko Rohrman and the ambitious Convention Center (1958) by a group of architects supervised by Branko SimËiË. But the most significant contributions are certainly those of Edvard Ravnikar, who after receiving his degree with PleËnik continued his studies with Le Corbusier in Paris.

In 1946, he became a professor at the Faculty of Architecture in Ljubljana.

Ravnikar consistently observed trends in international contemporary architectural development and incorporated them. At the same time, he kept in mind the particularities of the Slovenian architectural tradition. He retained in his own unique way some of the essential principles and values of PleËnik, especially with regard to his visual sensitivity and respect for space. Ravnikar was also influenced

by Scandinavian architecture. As a result of this approach — the synthesis of heterogeneous styles — the so-called Ljubljana architectural school emerged and was pursued by a generation of Ravnikar students: Savin Sever, Stanko Kristl, Milan MiheliË, and others.

After World War II, Ravnikar absorbed theories of functional urbanism and took up the work of designing residential CMYK neighbourhoods with all their accompanying services within the modern city. In Ljubljana, residential neighbourhoods were 10/100/90/0 mostly being built on the outskirts according to various urban planning schemes and various typologies: for example, atrium and row houses, prefabricated blocks of flats, high-rise apartment buildings, and skyscrapers. In this context, we should

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mention the architects Danilo Fürst and Ilija ArnavtoviÊ as well as the urban planners Mitja Jernejc, Marjan Beæan, Vladimir Braco MuπiË, among others. In the 1960s, development focused on flexible apartment units and original solutions for rational ground plans. Contrary to the notion of a new and uniform socialist city, the successive building of neighbourhoods by the winners of open architectural competitions offered constant opportunities for testing different perspectives on residential architecture as well as for introducing various constructive technologies. This methodology lasted until the end of the 1980s.

Post-Modern Architecture and Back Again Student riots in 1968 put a halt to post-war development all over Europe.

Sociological and philosophical issues came to the fore in the field of architecture as well. For a short period of time, this caused a general decline in the architectural profession, which was accused of rigidity and self-absorption. Only in the 1970s did the profession begin to return to its origins. Post-modern architecture emerged, reintroducing architectural typology and renewing the narrative quality of classical architectural elements, even referring to features of place, to genius loci. This was also the time when the foreign professional public began to discover the tradition of Joæe PleËnik. Indeed, PleËnik was increasingly seen as “the father of post-modern architecture.” More important perhaps, were the increasing number of international contacts, usually made because of frequent pilgrimages to PleËnik’s Ljubljana.

Foreign architects searched for traces of PleËnik’s heritage in contemporary Slovenian architecture, generally taking special note of the business-residential building on Poljanska Street (1988) by the architect Janez Koæelj. Of course, post-modern architecture turned out to be just another passing movement and was followed by an even shorter episode called deconstructivism. Slowly, European architecture returned to the traditions of modernist architecture that had been interrupted in 1968. In contemporary Slovenian architecture, this meant a revived interest in the Ravnikar school. In Ljubljana, this can be observed particularly in the works of Jurij Kobe — for example, in the Medical High School on Poljanska Street (1998).

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A Pluralist City

In 1991, the new Slovenian state was born and the old (socialist) political system was replaced by the new (capitalist). CMYK Before that, architecture had principally been the occupation of the state. In the new era, it ran up against the capitalist economy 10/100/90/0 and the logic of a market that rewards short-term impact and profitability. The state no longer holds architectural competitions where the best solution wins; rather, public offers are distributed on the basis of the cheapest bids. Perhaps, however, Architectural Guide to Ljubljana 17

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Bird’s eye view of modern Ljubljana

the new condition that most surprised city authorities was Ljubljana’s role as the capital of a nation for the first time in its history. It took some time to realize that the city could survive only with fresh investment. Since this required positive economic conditions and a well-regulated infrastructure facilitating the flow of funds into construction, the development of the city shifted to the periphery. On the up side, new era architecture was able to benefit from international technology that was not available before. For the new generation of architects, integration in Europe meant no limits on the information or knowledge that could be obtained from foreign universities. Ten years after the great change, a new generation formed in this altered environment is emerging. They understand the demands of capital and know how to create buildings that have a quick impact on the city. They also understand the importance of the media through which they address the global public. Besides PleËnik’s works, no building in Ljubljana has ever received such excellent global feedback as the building of the Chamber of Commerce, designed by the Sadar & CMYK Vuga Architectural group. If the Ravnikar school sought its specific expression within 10/100/90/0 general architectural development, the young generation looks even farther outward as it tries to play a role in global architectural trends.

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Selected

Buildings

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CMYK 10/100/90/0

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CMYK 10/100/90/0

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Ljubljana Castle (Ljubljanski grad) 12th century− Grajska planota 1

Ljubljana Castle

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1905, the city bought the castle from the imperial state, but it continued to be inhabited by either prisoners or the poor until the 1960s. During the 1930s, only one of the architect Joæe PleËnik’s bold ideas about the Slovenian metropolis specifically concerning Castle Hill was realized: ©ance and the tree-lined avenue that connects it to the castle were restored. In the 1940s, the city began the reconstruction of the castle according to plans drawn up by the municipal architect, Boris Kobe, who continued in PleËnik’s footsteps. Since the 1970s, Ljubljana Castle has been gradually restored and fundamentally redesigned according to the plans of the architects Edo Ravnikar, Jr. and Majda Kregar to serve as a venue for cultural performances, weddings, and outdoor and catered events. The two architects, selected after an open architectural competition, made the appearance of the castle in the cityscape more prominent by removing accumulated debris from around the lower castle walls and constructing steeper roofs and a higher belvedere tower.

Service facilities were situated beneath the central castle courtyard while the lapidarium was excavated. In addition to providing new access, they created a walkway along the periphery of the former fortress wall that links the renovated castle buildings and the towers. One of the architects’ principal goals was to make use of demanding technological innovations (such as digging deeper than the foundations and lifting the old walls on steel pillars) to reveal the historical layers within this important city monument.

The castle situated on the hill above Ljubljana was once at the center of the property controlled by the noble Spanheim family of Carinthian dukes. Between 1220 and 1243, the Duke of Carinthia more closely connected the castle fortress to Ljubljana by linking it to the city’s already existing walls. When Ljubljana became the seat of the province of Carniola in the 14th century, the castle functioned as the headquarters of the provincial lords as well as a temporary residence for the Habsburg Emperor. In the 15th century, it was inhabited by the governor-general of the province and a military garrison. During the period of Turkish raids on Ljubljana, it became necessary to fortify the castle once again. Peripheral walls with corner towers were added to the residential premises, as well as the gothic chapel of Saint George complete with the coat-of-arms of the Carniolan provincial governors. In the 16th century, city ramparts linked to the castle by a high-ridged avenue were constructed and called ©ance. In the 17th century, the governor-general moved down to the city and the Ljubljana Castle was Information converted to a provincial jail, marking the CMYK beginning of its decline. From this time on, the Open summer every day from 9 AM−11 PM, winter every day from 10 AM−9 PM castle premises were frequently pulled down 10/100/90/0 Telephone 01 232 99 94 and rebuilt. Throughout the 19th century, it Fax 01 232 99 94 continued to serve as a jail for criminals from E-mail virtualni.muzej@ljfestival.si Carniola and Carinthia. In 1845/48, the wooden Entrance fee gazebo was replaced by a stone clock tower. In Possibility of a guided visit by appointment

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CMYK 10/100/90/0

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Bishop’s Hall (Škofijski dvorec) 1512− Architect: Avguštin Prygl - Tyfernus Ciril-Metodov trg 4

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Bishop’s Hall although with less outstanding decoration.

Bishop’s Hall was built by Bishop Kriπtof After the 1895 earthquake, the architect Ravbar after the 1511 earthquake. It was constructed on the ruins of its predecessor, Raimond Jeblinger restored the mansion’s chapel in neo-Romanesque style. Bishop’s which dated from 1461. The new mansion Hall, once the most distinguished building was designed by one of Carniolia’s most erudite and knowledgeable men, Avguπtin in the city, has housed four emperors: Austrian Emperors Leopold I in 1660 and Prygl-Tyfernus. He also supervised the construction of the building. Bishop’s Hall, Karl IV in 1728, French emperor Napoleon in 1797, and the Russian Czar Alexander linked by a narrow covered arcade to the I in 1821. A tablet in the entrance hall nearby Saint James Cathedral, has been designed by Joæe PleËnik marks frequently reconstructed ever since: In Napoleon’s visit. the 17th century, it was heightened and a Baroque arcaded courtyard was added, Information and in the 18th century, a southern wing was added. During the restoration in 1778, Open Monday to Friday from 8 AM−3.30 PM, Telephone 01 234 26 00 CMYK the architect Leopold Hofer decorated the Fax 01 231 41 69 great assembly hall with Rococo stucco E-mail nadskofija.ljubljana@rkc.si 10/100/90/0 and redid the façade of the mansion, No entrance fee

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CMYK 10/100/90/0

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Fužine Castle (Grad Fužine) 1528−1557 Pot na Fužine 2 20 (Fužine) K5

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Fužine Castle are partially preserved, and there is a Fuæine Castle was built by the Ljubljana tradesmen Veit Khisl and Hans Weilhaimer. right corner staircase in the courtyard that has a particularly interesting design.

At the time of its construction, it was The remnants of late 16th century wall located well outside Ljubljana. As its name indicates (fuæine means “smelter”), paintings can still be discerned in the the castle had an important economic chapel and some other rooms. In 1992, the significance. As the castle was situated castle was thoroughly restored to serve near the Ljubljanica River, it was originally as the Ljubljana Museum of Architecture intended that a glassworks and paper according to the plans of the architect mill would be located on the premises.

Peter GabrijelËiË. There is a permanent Although it has been rebuilt several times, exhibition of the architect Joæe PleËnik’s Fuæine Castle is the only Renaissance work and the castle is preparing a castle preserved in Ljubljana. Typical permanent exhibition on the development of Renaissance design, which stressed of architecture in Slovenia. geometry and composition, the castle was designed according to a geometrical Information ground plan composed of a double Open (Museum) Monday to Friday from square. Fortified towers are located at CMYK 9 AM−3 PM, during exhibitions Monday to Saturday from 11 AM−6 PM, Sunday from the corners of the building, with a fifth 10/100/90/0 11 AM−2 PM tower rising above the entrance. At the Telephone 01 540 97 98 time of its construction, Fuæine Castle Fax 01 540 03 44 had a moat, though today only a stone E-mail aml@aml.si bridge remains. The courtyard arcades Entrance fee

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