MODERN ARCHITECTURE OF TROGIR/ MODERNA ARHITEKTURA TROGIRA 1945.-1990.

Robna kuća PRIMA Trogir, arhitekt Antun Šatara (1969)_ arhiv Muzeja grada Trogira

Robna kuća PRIMA Trogir, arhitekt Antun Šatara (1969)_ arhiv Muzeja grada Trogira

/PLEASE SCROLL DOWN FOR ENGLISH/

HR

Izložba MODERNA ARHITEKTURA TROGIRA, otvara se u Muzeju grada Trogira/Galerija Cate Dujšin Ribar u ponedjeljak, 21. rujna 2015. u 19 sati. Izložba će se moći razgledati do 30. rujna 2015.

Kustosica je Lidija Butković Mićin, uz potporu Motel Trogir tima, čije višemjesečno istraživanje predstavlja pionirski pokušaj kontekstualiziranja izgradnje grada u razdoblju između 1945. i 1990.

Kao zasebni segment projekta, 22. rujna 2015. s početkom u 18 30 na glavnom trgu, bit će organizirana fikcionalna, alternativna gradska tura njemačke umjetnice Katharine Zimmerhackl.

Izložba i sva događanja segment su projekta MOTEL TROGIR.

O IZLOŽBI:

Uvrštavanjem bivšeg motela Sljeme arhitekta Ivana Vitića na popis zaštićenih kulturnih dobara Republike Hrvatske 2013. godine napravljen je veliki iskorak u društvenoj valorizaciji moderne arhitekture trogirskog područja, ali i osvještavanju potrebe sustavnog istraživanja i očuvanja tog segmenta graditeljske baštine. Ovaj izložbeni projekt motivirala je želja da se započeti javni dijalog o budućnosti Vitićevog ostvarenja potkrijepi sagledavanjem šire situacije, odnosno učini daljnji napor k utvrđivanju koordinata zamašnog urbanog razvoja Trogira nakon Drugog svjetskog rata.
Kako je riječ o uglavnom slabo obrađenom povijesnom sloju grada, istraživanje se fokusiralo na konstataciju činjenica. Dokumentiran je građevinski fond, pretraženi dostupni arhivski izvori i stručna periodika, obavljen niz razgovora, a sve sa ciljem da se dosad anonimnim objektima pridruže imena njihovih projektanata i shvati pozadina pojedinih investicija te na taj način stekne potpunija predodžba o lokalnoj arhitektonskoj produkciji i gradogradnji u tadašnjim političko-ekonomskim prilikama. Dragocjena su bila i zapisana kritička razmišljanja suvremenika o ubrzanoj izgradnji trogirske regije i općenito jadranske obale tijekom ovoga razdoblja, osobito Ive Babića, Željke Čorak, Antoanete Pasinović, Milana Preloga, Grge Gamulina, Tomislava Marasovića i drugih, kao i doprinosi istraživača koji su historizirali pojedine aspekte trogirske povijesti i arhitekture 20. stoljeća, poput Ive Babića, Stanka Piplovića, Dražena Arbutine i Danke Radić. Vesna Perković Jović na temelju svoje doktorske disertacije i kasnijih radova za ovu je izložbu pripremila prezentaciju odabranih vikend-kuća arhitekta Frane Gotovca na Čiovu i u Seget-Vranjici otvorivši važno pitanje kvalitativnog dosega individualne izgradnje.

Brodogradiliþte_-_panorama_arhiva_Danke_Radiå[1]

Brodogradilište u Trogiru, povijesna fotografija (ljubaznošću dr.sc. Danke Radić)

Premda se u prvoj polovini 20. stoljeća u užoj okolici Trogira mogu očitati određene protomodernističke tendencije, prvenstveno u utilitarnim projektima industrijskih pogona i socijalnoj stanogradnji, arhitektonski modernizam u punom smislu riječi afirmirao se tek nakon Drugog svjetskog rata nošen valom socijalističke modernizacije. Diljem socijalističke Jugoslavije uspostavljena je društveno financirana mreža javnih ustanova i stanogradnje, a arhitektonski okvir navedenih investicija činile su funkcionalne zgrade modernističkog sloga. Stoga je i naglasak ove izložbe stavljen na društvenu izgradnju koja je bila nositelj gospodarskog napretka grada i životnog standarda građana. Poduzeta ulaganja u socijalističkom sustavu imala su nedvojbeno pozitivne učinke: prijelaz iz poljoprivredne u industrijsko-turističku privredu, bolje obrazovne mogućnosti, zajamčena i lako dostupna zdravstvena zaštita, poboljšanje stambenih uvjeta, razvijeniji kulturni i društveni život općine. No, građevinska ekspanzija koja je pratila sveopći društveni napredak ostavila je ozbiljne prostorne i ekološke posljedice. Trogirsko kopno urbanizira se mehaničkim kolažiranjem javne, komercijalne i stambene izgradnje uz reduciranje poljoprivrednog zemljišta i zelenih površina. Propuštena je prilika za formiranje novog, cjelovitog urbanog sustava, čvrste prostorne matrice nekog mogućeg Trogira II. Istovremeno, građevinski pritisak na neposrednu okolicu povijesne jezgre umanjio je njen otočki karakter. Stoljećima definirana, zatvorena fizionomija grada iz panoramske vizure počinje fuzionirati sa puzajućom izgradnjom kopna. Tek nekoliko desetljeća akceleriranog razvoja odgovorno je za drastične promjene na urbanom i prirodnom krajoliku Trogira i okolice. Izložba progovara i o tom problemu koji je postao samo još akutniji povećanjem prostornog, prometnog, vizualnog i socijalnog kaosa nakon 1990. godine.
Prezentirane arhitektonske realizacije ocrtavaju karakteristične faze poslijeratnog modernizma: od pragmatičnog, shematskog funkcionalizma u poraću, preko varijanti zrelog, internacionalnog modernizma 50-ih i 60-ih godina do okretanja kritičkom regionalizmu i postmodernističkim strujanjima u kasnim 70-im i 80-im godinama. Na trogirskom području svoj su trag ostavili brojni arhitekti, manje ili više poznati protagonisti ondašnje arhitektonske scene, među kojima su, osim spomenutog Vitića, još i Neven Šegvić, Berislav Kalogjera, Mira Poletti, Lovro Perković, Zdravko Bregovac, Ante Svarčić, Antun Šatara i drugi, dok posebno mjesto pripada djelatnicima Projektnog biroa Graditelj iz Zagreba: Zvonku Maliću, Damiru Kvočiću i Nikoli Raku. Ova projektna organizacija, najčešće u sinergiji sa lokalnim građevinskim poduzećem Graditelj, realizirala je niz javnih objekata i stambenih naselja doprinoseći, nehotice, prevladavajućem osjećaju jednoobraznosti trogirske arhitekture 70-ih i 80-ih godina. Vitićev motel ostaje, svakako, najvrjedniji arhitektonski artefakt svoje epohe, no uvidom u izvorne projekte i arhivske fotografije drugih gradnji, prepoznaje se još kvalitetnih ostvarenja koja danas, kao i Vitićevo djelo, ne možemo u potpunosti cijeniti zbog neadekvatnog održavanja. Nadamo se kako će daljnja istraživanje i popularizacija moderne arhitekture Trogira podignuti svijest njihovih vlasnika i korisnika te potaknuti skrb za ovo, još uvijek uglavnom neprepoznato graditeljsko nasljeđe.

Motel_trogir_panorama_iz_zraka_1966_Hrvatski_drºavni_arhiv[1]

Panorama Trogira 1966., Hrvatski državni arhiv

Pored provedenog istraživanja trogirske arhitekture od 1945. do 1990. godine, izložba će predstaviti i neke od umjetničkih radova koji su producirani u sklopu projekta Motel Trogir. Riječ je o fotografijama suvremenog stanja trogirskog motela autorice Duške Boban i video zapis svjetlosne intervencije umjetnice Neli Ružić naziva Stolen Future izvedene na istom objektu u prosincu 2014. godine.

Alternativna tura/ Katharina Zimmerhackl

Kao ekstenzija i zasebni segment projekta, 22. rujna 2015. s početkom u 18 30 sati na glavnom gradskom trgu bit će organizirana fikcionalna, alternativna gradska tura, otvorena i besplatna za građanstvo, prema koncepciji njemačke umjetnice Katharine Zimmerhackl. Radi se o spajanju dvaju narativa, dokumentarnog – temeljenog na istraživanju moderne arhitekture Motel Trogir tima te filmskog, prema motivima američkog igranog filma Winnetou (1962.-1968.) snimanog i na trogirskim gradskim lokacijama. Ovaj dio projekta podupire Goethe Institut Hrvatska.


MOTEL TROGIR: TKO, ŠTO I ZAŠTO?

Projekt Motel Trogir pokrenut je 2013. godine kao građanska kampanja s fokusom na trogirski motel izgrađen 1965. godine po projektu Ivana Vitića, jednog od najistaknutijih hrvatskih arhitekata 20. stoljeća. Vitićev motel jedan je od rijetkih primjera vrhunske moderne arhitekture u Trogiru.
Projekt ima tri temeljne aktivnosti: afirmacija i zaštita kulturne baštine, proizvodnja javnosti i borba za javni interes.
Kroz dosadašnji rad projekta trogirski motel stekao je status trajno zaštićenog kulturnog dobra RH, a isti status osiguran je i za Vitićev motel u Rijeci koji je postao i prvi ikad arhitektonski spomenik s formalnom trajnom zaštitom izgrađen nakon Drugog svjetskog rata u Rijeci i okolici.
Rad na projektu Motel Trogir uključuje i šire područje zaštite naslijeđa socijalističkog modernizma, pa utoliko problematizacija Vitićevih motela i drugih modernističkih zdanja nije samo njihova estetska kanonizacija, već i društvena afirmacija moderne i njenih dosega, odnosno njenog značenja danas.
Uz istraživački rad, izložbenu djelatnost i aktivizam, rad na projektu uključuje i međunarodnu suradnju kroz povezivanje sa sličnim inicijativama u Europi, posebno postsocijalističkim zemljama, uključujući bivše sovjetske republike i zemlje sjeverne Afrike. Projekt paralelno razvija i mediteransku mrežu za suradnju na projektima koji problematiziraju modernističku baštinu.
Godišnja umjetnička manifestacija organizira se u okviru projekta od 2014. godine, a kroz produkciju angažiranih radova domaćih i stranih umjetnika nastoje se problematizirati pitanja javnog prostora grada.
Projekt uopće stremi širem kulturnom angažmanu i izgradnji kritičnosti društvenih procesa i alternativa postojećem stanju. Utoliko pitanje nije samo što motel (trogirski, riječki ili bilo koje drugo slično vrijedno zdanje) znači sam po sebi, već što on znači i može biti za društvo, ljude i grad u kojem se nalazi.
U sklopu projekta 2015. godine bit će objavljena i prva u seriji knjiga, posvećena Vitićevim jadranskim motelima.

Motel_Trogir_povijesni_izgled_arhiva_Muzeja_grada_Trogira[1]

Motel Sljeme, povijesni izgled. Arhiv Muzeja grada Trogira

IMPRESUM
Produkcija i organizacija izložbe: Slobodne veze, udruga za suvremene umjetničke prakse/projekt MOTEL TROGIR

Partneri izložbe: Muzej grada Trogira, Radovan- Društvo za zaštitu kulturnih dobara Trogira

Autorica izložbe: Lidija Butković Mićin

Suradnica u istraživanju: Diana Magdić

Koordinacija: Nataša Bodrožić, Saša Šimpraga

Dizajn: Nikola Križanac

Zahvale: dr.sc. Danka Radić, dr.sc. Fani Celio-Cega, dr.sc. Vesna Perković Jović, dr.sc. Ivo Babić,Aleksandra Bilić Petričević, Dolores Špika, Ante Delalle, Nives Madirazza-Delalle, Zvonko Malić, Ivana Mitar, Zvonko Malić, Morana Ostojić, Sanja Horvatinčić, Ivica Jakus, Igor Matijaš, Danijela Vuković

Projekt Katharine Zimmerhackl podržava Goethe Institut Hrvatska
Projekt Motel Trogir 2015. podržavaju: Ministarstvo kulture Republike Hrvatske i Zaklada Kultura nova

Kultura Nova logo

MK_logo

EN

MODERN ARCHITECTURE OF TROGIR 1945- 1990

The exhibition entitled MODERN ARCHITECTURE OF TROGIR opens at the Trogir City Museum /Cata Dušjin Ribar Gallery on Monday, 21 September at 7.00 p.m. It will be open to the public until 30 September 2015.

The exhibition is curated by Lidija Butković Mićin, with the support of the Motel Trogir team, whose months-long research represents a pioneer attempt at contextualizing the development of the city in the period between 1945 and 1990 .

As a separate segment, the project will also feature a fictional, alternative tour of the city, guided by the German artist Katharina Zimmerhackl and scheduled for 22 September at 6.30 p.m. in the main town square .

The exhibition and all the events are segments of the MOTEL TROGIR project.

ABOUT THE EXIBITION:

The inclusion of the former “Sljeme” motel designed by architect Ivan Vitić on the list of the protected cultural goods of the Republic of Croatia in 2013 was a great step forward in terms of the public valuation of the modern architecture of the Trogir area, as well as with regard to raising awareness of the need for systematic research and preservation of this part of the architectural legacy. This exhibition project was motivated by a desire to add a broader perspective to the ongoing public dialogue about the future of Vitić’s work, as well as put in further effort towards mapping the coordinates of Trogir’s significant urban development after World War II.
Since this particular historical layer of the city had been poorly explored, the research focused on determining the facts. The building inventory was documented and the available archive sources and expert publications were examined, numerous interviews were conducted, all with the goal of linking the formerly anonymous objects to the names of their designers and understanding the background of particular investments, thus gaining a more complete understanding of the local architectural production and urban development in the political and economic conditions of the period in question.
The critical writings of the contemporaries on the accelerated development of the Trogir area and the Adriatic Coast in general have also proven to be of great value, particularly those of Ivo Babić, Željka Čorak, Antoaneta Pasinović, Milan Prelog, Grgo Gamulin, Tomislav Marasović and others, along with the contributions of researchers who have historicised aspects of the history and architecture of 20th century Trogir – such as Ivo Babić, Stanko Piplović, Dražen Arbutina and Danka Radić. For the purposes of this exhibition, Vesna Perković Jović has prepared, based on her doctoral thesis and later publications, a presentation of select weekend houses designed by architect Frane Gotovac on Čiovo and Seget-Vranjica, opening up the important question of the qualitative achievements of individual construction.

Auto-kamp_Soline_1963_Hrvatski_drºavni_arhiv[1]

Former auto camp Soline, Trogir, 1963._ Croatian State Archive

Even though some proto-Modernist tendencies were present in the Trogir area in the first half of the 20th Century, primarily in utilitarian projects related to industrial plants and social housing, architectural Modernism affirmed itself to full extent only after the Second World War, riding the wave of Socialist modernisation. A state-funded network of public institutions and housing had been established throughout Socialist Yugoslavia, the architectural framework of these investments consisting of functional buildings in the Modernist style. Therefore, this exhibition is focused on social building, which was the foundation of the city’s economic progress and the rise in the living standard of its inhabitants. The investments undertaken within the Socialist system had certain indisputably positive effects: the transition from an economy based on agriculture to one based on industry and tourism, improved educational capacities, guaranteed and easily accessible healthcare, improved housing conditions, the development of the cultural and social life of the municipality. However, the expansion of building activity which followed the overall social progress resulted in serious consequences with respect to physical planning and the environment. The Trogir Mainland has been urbanized through a mechanical patchwork of public, commercial and residential buildings accompanied by the reduction of agricultural and green areas. The opportunity to create a new, integrated urban system with a solid spatial matrix for a potential Trogir II has been missed. At the same time, the recent intensification of construction in the immediate surroundings of the city’s historical centre, has effaced its insular identity. As revealed in the panoramic view, the closed physiognomy of the city, defined through centuries, is now beginning to blend into the construction spreading from the mainland. Only a few decades of accelerated development is all that it took for drastic changes to appear in the urban and natural landscape of Trogir and its surroundings. The exhibition raises this issue as well, as it has only become more pressing following the growth of the spatial, transportation, visual and social chaos after 1990.
The presented architectural works illustrate the characteristic phases of post-war Modernism: from the pragmatic, schematic functionalism of the post-war period, to the variations of the advanced, international Modernism of the 1950s and 1960s, modernism followed by the return to critical regionalism and Postmodernist influences in the late 1970s and 1980s. The Trogir area bears the mark of numerous architects, more or less recognised protagonists of the local architectural scene, including, besides the aforementioned Vitić, Neven Šegvić, Berislav Kalogjera, Mira Poletti, Lovro Perković, Zdravko Bregovac, Ante Svarčić, Antun Šatara and others, with a special mention of the employees of the Graditelj architectural office from Zagreb: Zvonko Malić, Damir Kvočić and Nikola Rak. Usually in collaboration with the local construction company Graditelj, this architectural office created an array of public facilities and residential areas which inadvertently contributed to the prevailing experience of uniformity of the Trogir architecture of the 1970s and 1980s. While Vitić’s motel undoubtedly remains the most valuable architectural artifact of its time, insight into the original designs and archive photographs of other buildings lets us acknowledge other high-quality works which, like Vitić’s work, cannot be fully appreciated nowadays due to lack of adequate maintenance. We hope that further research and popularisation of the modern architecture of Trogir will raise the awareness of its proprietors and users, as well as encourage efforts towards adequate care for this part of the still unappreciated architectural legacy.In addition to the results of the research on the architecture of Trogir from 1945 to 1990, the exhibition will feature some of the artwork produced as part of the Motel Trogir project. These are photographs of the present state of the Trogir motel taken by Duška Boban and a video recording of a light-art intervention by artist Neli Ružić, entitled Stolen Future and performed on the building in December 2014.

ALTERNATIVE TOUR/ KATHARINA ZIMMERHACKL

As an extension and separate segment of the project, a fictional and alternative city tour will be organized on 22 September 2015 at 6.30 p.m., starting on the main city square. The concept of the tour was created by German artist Katharina Zimmerhackl and the tour will be open and free for the public. This project segment will combine two narratives: the documentary one – based on the research of modern architecture carried out by the Motel Trogir team – and the fictional one, based on the motifs of the American movie Winnetou (1962-1968), part of which was shot on location in the city of Trogir. This part of the project is supported by the Goethe-Institut Croatia.

MOTEL TROGIR: WHO, WHAT AND WHY?

The Motel Trogir project was launched in 2013 as a civil campaign focusing on the motel built in Trogir in 1965, according to the design of Ivan Vitić, one of the most prominent Croatian architects of the 20th century. Vitić’s motel is one of the rare examples of world-class modern architecture in Trogir.
The project incorporates three basic activities: the recognition and protection of cultural heritage, the production of a public and the fight for public interest.
The project activities have so far resulted in granting the status of a permanently protected cultural good of the Republic of Croatia to Vitić’s motels in Trogir and Rijeka. The latter thus became the first architectural monument under formal permanent protection built after the Second World War in Rijeka and its surroundings.
The Motel Trogir project activities also concern the wider field of the protection of Socialist Modernist heritage. In this respect, the problematisation of Vitić’s motels and other Modernist structures represents not only their aesthetic canonization, but also the social recognition of modernity and its achievements, that is, its present significance.
Apart from research, exhibition activities and activism, the project activities also include international cooperation through collaboration with similar initiatives in Europe, particularly in the post-Socialist countries, including the former Soviet republics and the countries of North Africa. A Mediterranean network for cooperation on projects which problematise Modernist heritage is simultaneously being developed as part of the project.
An annual artistic event has been organised as part of the project since 2014 and features the production of engaged works by local and foreign artists striving to problematise the question of a city’s public space.
The project’s overall objective is broad-scale cultural engagement and the development of a critical position with regard to social processes, as well as of alternatives to the present state. Thus, it is not only a question of what the motel (whether it is the one in Trogir or Rijeka, as well as any other similarly valuable structure) means per se, but also of what it means and could mean for the society, the people and the city in which it is located.
As part of the project, the first in a series of books dedicated to Vitić’s motels on the Adriatic coast will be published in 2015.

IMPRESSUM

Exhibition production and organization: Loose Associations, an association for contemporary artistic practices/the MOTEL TROGIR project

Exhibition partners: The Trogir City Museum, Radovan – Association for the Protection of the Cultural Heritage of the City of Trogir

Exhibition author: Lidija Butković Mićin

Research associate: Diana Magdić

Coordination: Nataša Bodrožić, Saša Šimpraga

Design: Nikola Križanac

Acknowledgments: Danka Radić, Ph.D., Fani Celio-Cega, Ph.D., Vesna Perković Jović, Ph.D., Ivo Babić, Ph.D., Aleksandra Bilić Petričević, Dolores Špika, Ante Delalle, Nives Madirazza-Delalle, Zvonko Malić, Ivana Mitar, Morana Ostojić, Sanja Horvatinčić, Ivica Jakus, Igor Matijaš, Danijela Vuković; Ylva Floreman, Tamara Brixy

The Motel Trogir project is supported by the Ministry of Culture of the Republic of Croatia and the Kultura nova Foundation.

The project of Katharina Zimmerhackl is supported by Goethe-Institut Croatia.

Advertisements

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s