Motel Trogir

Motel Trogir:
It is not future that always
comes after
MOTEL TROGIR:
Nije uvijek budućnost to što dolazi
MOTEL TROGIR:
it is not future that always comes after
Urednici / Editors:
Nataša Bodrožić, Saša Šimpraga
2014
This publication was produced in the frame
of the project SPACES – Sustainable Public
Areas for Culture in Eastern Countries, funded
by the European Union through the Eastern
Partnership Culture Programme.
This publication reflects the views of the
authors only. The European Union cannot be
held responsible for any use which may be
made of the information contained therein.
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Motel Trogir: proizvodnja javnosti
Motel Trogir: the creation of a public
Nataša Bodrožić, Saša Šimpraga
20
Motel i magistrala
The motel and the Adriatic highway
Melita Čavlović
40
Između ceste i mora
Between the road and the sea
Lidija Butković Mićin
62
Duh djela
The spirit of an artwork
Sandra Uskoković
99
Framing structures of
the collective memory
Idis Turato
Levan Asabashvili
Ruben Arevshatyan
Ekaterina Shapiro-Obermair
Maroje Mrduljaš
Silva Kalčić
Izgrađen u vrijeme kada je karakter
trogirskog turizma bio naglašeno tranzitan,
Motel je mišljen paralelno s izgradnjom
Jadranske magistrale (otvoren je dan nakon
nje), i to kao jedan od “performativnih”
elemenata koji bi se uklapali u tadašnju
utopističku viziju ove ceste (za)mišljene
i kao dugometražni film koji će se
“prikazivati putnicima na ekranu njihovog
automobilskog stakla” 1.
7
6
Motel Trogir izgrađen je 1965. godine
po projektu arhitekta Ivana Vitića na
zapadnom ulazu u grad Trogir i danas
označava jednu od njegovih neuralgičnih
točaka, budući da već godinama stoji
devastiran uslijed neriješenih vlasničkih
odnosa.
Motel Trogir, foto: Ludwig Kittinger (2014)
Motel Trogir, photo by Ludwig Kittinger (2014)
Motel Trogir:
proizvodnja
javnosti
Motel Trogir:
the creation of
a public
Nataša Bodrožić,
Saša Šimpraga
Motel Trogir was built in 1965 at the
western entrance to the city of Trogir,
according to the design of the architect
Ivan Vitić, representing today one of its
most neuralgic points, having endured
years of devastation due to unresolved
property relations.
Built during a period of markedly transit
tourism in Trogir, the construction of
the Motel had been planned in parallel
to that of the Adriatic Highway (it was
opened for business a day after the
opening of the Highway), as one of
the “performative” elements which
would fit into the then Utopian vision
of the Highway conceived as a feature
film unfolding “on the passengers’
windscreens” 1.
Motel je, uopće, iznimka u tipologiji
jadranskog turizma, a postoje mišljenja da
je ideja takve građevine u jugoslavensko
socijalističko društvo stigla posredstvom
američkih filmova.
Strategija propadanja
Upravo je veličina parcele, a u manjoj mjeri
sama arhitektura relativno maloga motela,
uvjetovala povećani interes za vlasništvo
nad njime, a uvidom u stanje objekta
danas može se spekulirati i o svojevrsnim
strategijama propadanja kako bi se
parcela “oslobodila” ili otvorila za neku
novu izgradnju.
The Trogir motel, one of the three Vitić’s
motels on the Adriatic coast, consists of
several characteristic buildings arranged
inside a clear and comprehensible
orthogonal system: the main building is
connected to the walkway by means
of two annexes, while in the southern
part of the lot, adjacent to the shoreline,
there are six characteristic bungalows/
pavilions that could be reached by car
because they each had their own parking
spot. A prominent characteristic of the
location is that the motel was built on a
large lot, which was possible due to the
fact that there had not yet been much
construction on the coast at the time.
Today, a lot of such proportions, as well as
the spatial structure i.e. the indentedness
with an incorporated “void” between the
buildings, is almost unimaginable, when
considering construction in the area of
Central Dalmatia, if not that of the entire
Croatian coast. Therefore, the value of
the motel lies not only in its architecture,
but also in the inbuilt space with which it
forms a unity.
The strategy of decay
The size of the lot and, to a lesser
degree, the architecture of the relatively
small motel, caused a raised interest in
obtaining ownership over it, while the
present state of the object may lead
to speculation on a possible planned
Građanske inicijative
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Osobita katakteristika lokacije je što je
motel isto tako izgrađen na velikoj parceli
koja je dijelom uvjetovana činjenicom da
u to vrijeme još nije bilo velike izgradnje
na obali. Danas je takva veličina parcele,
organizacija prostora, razvedenost s
inkorporiranom “prazninom” između
njih, gotovo nezamisliva u promišljanju
prostora srednje Dalmacije, ali i hrvatske
obale uopće. Utoliko vrijednost motela
nije samo u njegovoj arhitekturi, već i u
njegovom neizgrađenom prostoru s
kojim čini cjelinu.
Generally speaking, the motel was an
exception in the typology of tourism on
the Adriatic, and opinions have been
voiced that an idea of such a building had
entered Yugoslav socialist society by way
of American movies.
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Trogirski motel, jedan od tri Vitićeva
motela na jadranskoj obali, sastoji se
od nekoliko karakterističnih zgrada
razmještenih unutar jasnog i preglednog
ortogonalnog sustava: glavna zgrada
spojena je šetnicom s dvije depandanse,
dok se na južnom dijelu parcele, u
neposrednoj blizini morske obale, prostire
šest karakterističnih bungalova/paviljona
do kojih se moglo stići automobilima,
budući da su imali po jedno parkirno
mjesto.
Iz nevedenog, Vitićev Motel u Trogiru2
složen je slučaj urušavanja, prije
svega jedne društvene i prostorne
paradigme, koji u sebi ujedinjuje nekoliko
elemenata: problematičnu privatizaciju
nekadašnje društvene imovine
početkom devedesetih, nepostojanje
artikulirane (građanske) platforme (u
lokalnim okvirima) koja bi postavila
pitanje rekonceptualizacije dominantnog
političkog diskursa uključujući i pitanje
prostornih politika te posljedično,
propadanje i nebrigu za arhitektonsko
nasljeđe moderne arhitekture.
Početkom 2013. godine grupa građana
okupljena oko udruge za suvremene
umjetničke prakse – Slobodne veze,
pridružuje se pojedinačnim nastojanjima
da se Motel, kao vrijedni primjer
arhitekture, zaštiti, te pokreće snažnu
medijsku kampanju, podržanu od strane
stručne, ali i šire kulturne javnosti. Potpora
kampanji za zaštitu očitovala se i u nizu
vrlo brzo pristiglih stručnih mišljenja
brojnih poznavatelja djela Ivana Vitića
iz Hrvatske, ali i međunarodna podrška
u vidu potpore otvaranju pitanja zaštite
moderne arhitekture sredine 20. stoljeća,
aktualnog kako u Europi tako i na postsovjetskom istoku. U relativno kratkom
vremenu, Vitićeva arhitektura postala
je tema mainstream medija, a kampanja
za Motel TROGIR dobila nastavak u
nizu stručnih tura za javnost s ciljem
reaktualizacije njegovog opusa, u prvom
redu kroz njegova ostvarenja u Zagrebu
kao što su Kockica (zgrada bivšeg CK
SKH na Prisavlju) i Pionirskog grada
(danas Grad mladih).
strategy of decay aimed at “freeing up”
the lot or opening it for new construction.
It is evident from the above stated that
Vitić’s Motel in Trogir2 is a complex case
of collapse, primarily that of a social and
spatial paradigm, which incorporates
several elements: a problematic process
of the privatization of formerly public
property at the beginning of the 1990s,
the non-existence of an articulate (civic)
platform (in local terms) which would
raise the subject of reconceptualising the
dominant political discourse, including the
issue of spatial policies and consequently,
the decay of the architectural legacy of
modern architecture and neglect of it.
Civic initiatives
At the beginning of 2013, a group
of citizens gathered around Loose
Associations, an association for
contemporary artistic practices, joined
the attempts if individuals arguing for
placing the Motel under protection as a
valuable architectural work, launching a
strong media campaign supported by
the professional community, as well as
the wider cultural community. Support
for the campaign was also reflected in
expert opinions promptly received from
numerous Croatian connoisseurs of Ivan
Vitić’s work, as well as in international
support to broaching the subject of
the conservation of mid-20th century
modern architecture, a current issue
both in Europe and the post-Soviet East.
In a relatively short period of time, Vitić’s
architecture has become a mainstream
media topic, and the Motel TROGIR
campaign continued through a series
A view on Kockica (The Cube) building during the guided tour,
photo by Igor Duda (2014)
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Projekt/kampanja Motel TROGIR
predstavlja rijedak primjer građanskog
angažmana u kontekstu problematiziranja
prezervacije pomalo stigmatizirane
arhitekture socijalističkog modernizma
u Hrvatskoj.
Građani na krovu Kockice, foto: Petra Vidović (2014)
Citizens on the roof top of Kockica building, photo by Petra Vidović (2014)
Pogled na Vitićevu Kockicu za vrijeme stručnog vodstva,
foto: Igor Duda (2014)
U slučaju Kockice bile su to ujedno prve
ture toga objekta otvorene za širu javnost,
a polučile su ogromni interes.
Kampanji Motela TROGIR unazad nekoliko
godina prethodila je inicijativa umjetničke
skupine Bacači sjenki nazvana “Vitić
pleše”3 koju je 2004. započeo umjetnik
Boris Bakal. Njihov projekt bio je usmjeren
na podizanje svijesti o vrijednosti i potrebi
obnove takozvanog Šarenog nebodera
u zagrebačkoj Laginjinoj ulici, također
djelu arhitekta Vitića. Svakako još
treba spomenuti i međunarodni projekt
“Nedovršene modernizacije”4 voditelja
Vladimira Kulića i Maroja Mrduljaša, kao
neizostavan prilog kontekstualiziranju
i kanoniziranju jugoslavenskog dijela
moderne prošlosti, predstavljajući
karakteristične arhitektonske i
urbanističke prakse iz socijalističkog
razdoblja u odnosu na društveni kontekst
u kojem su nastale i njihove posljedice u
urbanom tkivu današnjice.
Kampanja za zaštitu
Kampanja za zaštitu Motela TROGIR
odvijala se kroz nekoliko faza: okupljanje
radnog tima, povezivanje sa stručnjacima
i prikupljanje stručnih mišljenja o potrebi
zaštite Motela, informiranje putem niza
medijskih platformi, uz ekstenzivno
korištenje društvenih mreža (Motel
TROGIR blog, Facebook), javna rasprava
o stanju Motela u gradu Trogiru (studeni
2013.), stručna obrada kroz niz tekstova
of professionally guided tours for the
public with the aim of reaffirming his
opus, primarily through his works in
Zagreb such as the Kockica (the “Cube” –
formerly the headquarters of the Central
Committee of the League of Communists
of Croatia) and the Pioneer City (today
City of Youth).
In the case of Kockica, these were the
first tours of the building open to the
broader public and there was a huge
amount of interest in them.
The Motel TROGIR project/campaign
presents a rare example of civic
engagement in the context of
problematising the conservation of
the somewhat stigmatized Socialist
Modernist architecture in Croatia.
A few years back, The Motel TROGIR
campaign had been preceded by the
“Vitić Dances” initiative of the Shadow
Casters art group3, launched by artist
Boris Bakal in 2004. Their project was
aimed at raising awareness of the value
and necessity of the renovation of the
so-called Multi-Coloured Skyscraper
in Laginjina Street in Zagreb, also
an architectural work by Vitić. The
international project entitled “Unfinished
modernizations”4 led by Vladimir Kulić
and Maroje Mrduljaš also deserves
to be mentioned, as it is an essential
contribution to the contextualization
and canonization of the Yugoslav part
of modern history, representing the
characteristic architectural and urbandevelopment practices of the Socialist
period in relation to the social context
they arose from and their impact on the
urban fabric of today.
Kockica, kongresna dvorana, foto: Petra Vidović (2014)
Kockica, congress hall, during the guided tour, photo by Petra Vidović (2014)
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The purpose of the campaign in its initial
phase was to inform the local and wider
public, the Trogir city authorities and
even the potential owners about the
unquestionable architectural and cultural
value of the Vitić’s motel and its local
importance as one of the rare examples
of modern architecture in the city. One
of the project goals was to enter Motel
Trogir into the Register of Cultural Goods
of the Republic of Croatia, thus ensuring
that the Motel and its surrounding area
are treated as a single monument unit
whose renovation would have to be
carried out according to the principles
of the conservation profession, i.e. the
original architectural plan, by preserving
the required radius of the complex and
the existing spatial relations. Generally
speaking, the intention of the project was
the evaluation and popularization of that
specific part of Vitić’s opus, as well as,
Kod problematizacije motela svakako
se ne radi samo o estetskoj kanonizaciji,
već i društvenoj afirmaciji moderne,
njenih dosega i vrijednosti, a u kontekstu
ostvarene arhitekture i njenog značenja
danas. Priča o Vitićevim motelima priča je
o socijalističkom modernizmu, tj. njegovoj
prostornoj manifestaciji koja je ostavila
ikonička djela hrvatske arhitekture i bitno
utjecala na razvoj ne samo arhitekture
Ivan Vitić: The West Germany exhibition pavillion at the Zagreb Fair
(realized in 1957)
Paralelno uz formalnu zaštitu objekta, na
primjeru Motela Trogir htjeli smo potaknuti
i širu raspravu o javnom prostoru, ali
i afirmirati poziciju “podruštvljavanja”,
nasuprot onoj privatizacije. Naime,
“složenost procesa koji diktiraju
organizaciju i upravljanje našim gradovima
mora biti ne samo sustavno raspravljana,
The Motel TROGIR conservation
campaign went through several phases:
the gathering of a working team,
connecting with experts and obtaining
expert opinions on the necessity of the
conservation of the Motel, informing
the public through social networks
(the Motel TROGIR blog, Facebook), a
public debate on the state of the Motel
held in the city of Trogir (November
2013), expert analysis through a series
of papers (first published in the Zarez
bi-monthly publication at the end of
2013), international networking and wider
contextualization, i.e. cooperation with
similar initiatives in the region and in
Eastern Europe, professional guided tours
for the general public and lectures by
visiting international experts.
Ivan Vitić: Izložbeni paviljon Zapadne Njemačke, Zagrebački velesajam
(izveden 1957. godine)
Važnost za lokalnu zajednicu
Conservation campaign
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Namjera kampanje u početnoj fazi
bila je informirati lokalnu i širu javnost,
gradsku vlast Trogira, pa i potencijalne
vlasnike o neupitnoj arhitektonskoj te
kulturnoj vrijednosti Vitićevog motela i
njegovog lokalnog značaja kao jednog
od rijetkih primjera moderne arhitekture
u gradu. Jedan od ciljeva projekta bio je
upisati Motel Trogir u registar kulturnih
dobara Republike Hrvatske s trajnim
statusom, a time također osigurati da
se Motel i pripadajuće područje tretira
kao jedinstvena spomenička cjelina
čija bi obnova trebala poštovati načela
konzervatorske struke, tj. originalno
arhitektonsko rješenje i to kroz osiguranje
nužnog radijusa objekta i postojećih
prostornih odnosa. Uopće, namjera
projekta bila je valorizacija i popularizacija
tog specifičnog dijela Vitićevog opusa, te
možda najvažnije – otvaranje perspektive
za njegovu budućnost u kontekstu grada.
Kao (ne)izravna posljedica kampanje,
Motel je dobio trajnu službenu zaštitu u
prosincu 2013.
već više no ikad dijeljena i otvorena
među proširenim poljem sudionika”5.
Utoliko projekt nije bio samo pokušaj
skretanja pažnje i formalne trajne zaštite
jedne izuzetne zgrade ili zgrada, već
i “protagonist”/generator rasprave o
prostornom djelovanju u lokalnoj sredini,
trogirskoj svakodnevici, tj. životu njegovih
građana, nadajući se da takav projekt u
svojoj proširenoj verziji ima mogućnost
doprinijeti emancipaciji marginaliziranih
glasova, kritičkog mišljenja i prakse s
dugoročnom posljedicom većeg interesa
za sudjelovanje u procesima od važnosti
za lokalnu zajednicu, od prostornih
politika nadalje.
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(prvi put objavljenih u časopisu “Zarez”
koncem 2013.), međunarodno povezivanje
i širu kontekstualizaciju, odnosno suradnju
sa sličnim inicijativama u regiji i istočnoj
Europi, stručne ture za najširu javnost te
gostovanja međunarodnih stručnjaka.
what is probably most important – the
opening up of a perspective for its future
in the context of the city.
As an (in)direct consequence of the
campaign, the Motel was placed
under permanent official protection in
December 2013.
Importance for the local
community
Parallel to obtaining the complex’s official
protection, we wanted to use the Motel
Trogir example to start a wider debate
on public space, as well as affirm the
position of “socialization”, as opposed
to privatization. Namely, the “complexity
of the processes which dictate the
organization and administration of
our cities should be not only subject
1 Melita Čavlović prema članku Jadranska magistrala,
“Čovjek i prostor“, Zagreb, IV(68): 2 (19 (1957)
2 Originalni naziv Vitićevog trogirskog motela bio je
Motel Sljeme
3 Vidjeti više na službenom blogu Bacača sjenki:
http://shadowcasters.blogspot.co.at/ (studeni 2014)
4 Riječ je o višegodišnjem istraživačkom projektu, koji
je pokrenulo Udruženje hrvatskih arhitekata u suradnji
s Oris - kućom arhitekture (Zagreb), Muzejem za
arhitekturu i dizajn (Ljubljana), Umjetničkom galerijom
Maribor (Maribor), Društvom arhitekata Beograda i
Koalicijom za održivi razvoj (Skopje) 2012. Uz voditelje
projekta Maroja Mrduljaša s Arhitektonskog fakulteta
u Zagrebu i Vladimira Kulića s Arhitektonskog
fakulteta Univerziteta Florida Atlantic, u projektu je
sudjelovalo više od 30 istraživača s prostora bivše
Jugoslavije
5 Luciano Basauri u članku ”Sezona urbanizma”
objavljenog na: http://www.covjekiprostor.net/
hr/arhiva/hrvatska-arhitektura-danas-promjenaparadigme~18/sezona-urbanizma~2/
In problematising the motel, the question
at hand is certainly not only one of
aesthetic canonization, but also of
the social affirmation of modernity,
its achievements and its lasting
value, all in the context architectural
accomplishments and their present
significance. The story of Vitić’s motels
is a story of Socialist Modernism, i.e. its
spatial manifestation which produced
iconic works of Croatian architecture and
crucially influenced the development
of architecture, not only in Croatia and
Yugoslavia. By marking the cultural
landscape, it also left a testimony of a
moment of social history of which the
architect Ivan Vitić was certainly and
important protagonist, recognized today
as one of the most prominent Croatian
architects of the 20th century.
As structures do not have a purpose
in themselves, a renovation process
which would not venture further than
reconstructing their walls would merely
put off decay. The point of renovation is
the creation of content, and through it,
the creation of a public. In the words of
Željka Čorak, the past is interesting to us
only inasmuch as it is contemporary, so
the question isn’t simply what the Motel
means per se, but what it means and
might mean for the people, the society
and the city where it is located.
1 Melita Čavlović, according to the article entitled
Jadranska magistrala (Adriatic Highway), “Čovjek i
prostor“, Zagreb, IV(68): 2 (19 (1957))
2 The original name of Vitić’s motel in Trogir was
Motel Sljeme.
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Kako objekti sami sebi nisu svrha, obnova
koja ne bi imala zadaću širu od obnove
zidova ne bi imala puno smisla već samo
odgodila propadanje. Smisao obnove
proizvodnja je sadržaja, a time i javnosti.
Ili, riječima Željke Čorak, prošlost nas
zanima samo u svojoj suvremenosti, pa
pitanje nije samo što Motel znači sam po
sebi, već što on znači i može biti za ljude,
društvo i grad u kojem se nalazi.
to systematic debate, but, more than
ever, divided amongst and open to an
extensive number of participants” 5. In this
regard, the project wasn’t just an attempt
to call attention to and secure permanent
formal protection of a singular exceptional
building or complex of buildings, but also
a “protagonist”/generator of debate on
physical planning in a local community,
everyday life in Trogir, i.e. the lives of its
inhabitants, with hope that such a project,
in its wider scope, might contribute to
the emancipation of marginalized voices
and critical thinking and practice, with
the long-term effect of raising interest
for participation in the processes of
importance for the local community,
whether related to spatial politics or
other themes.
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u Hrvatskoj i Jugoslaviji. Obilježivši
kulturni krajolik, ona je ujedno ostavila
svjedočanstvo o društvenom trenutku
čega je jedan od bitnih protagonista
svakako bio i arhitekt Ivan Vitić, danas
jedan od najistaknutijih hrvatskih
arhitekata 20. stoljeća.
3 More at the Bacači sjenki offical blog: http://
shadowcasters.blogspot.co.at/ (November 2014).
4 It is a multi-annual research project initiated by the
Croatian Association of Architects in cooperation
with the Oris House of Architecture (Zagreb), the
Museum of Architecture and Design (Ljubljana),
the Maribor Art Galery (Maribor), the Belgrade
Association of Architects and the Coalition for
Sustainable Development (Skopje) in 2012. Apart from
project leaders Maroje Mrduljaš from the Zagreb
Faculty of Architecture and Vladimir Kulić from the
Florida Atlantic University School of Architecture,
more than 30 researchers from the area of former
Yugoslavia participated in the project.
5 Luciano Basauri in the article entitled ”Sezona
urbanizma” (Season of urban planning) published on:
http://www.covjekiprostor.net/hr/arhiva/hrvatskaarhitektura-danas-promjena-paradigme~18/sezonaurbanizma~2/
Okupljanje građana na platou Kockice za vrijeme stručnog vodstva (2014)
Citizens gathering at the plateau of the Kockica building, public guided tour (2014)
19
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Gradnja Jadranske magistrale, od
pripremnih radnji 1955. do otvorenja 1965.
godine, zauvijek je izmijenila prostor
hrvatskog priobalja. Već iduća godina
kroz časopise “Turističke novine“ ili
“Turizam“, bilježi više nego udvostručenje
broja turista koji su novom prometnicom
posjetili obalu; turizma koji će od tada pa
na dalje ostati glavni zamašnjak razvoju
obale. Cesta se prostirala prirodnim
resursima bogatim obalnim prostorom, a
putovanja kroz krajobraz su prezentirana
kao serija izmjenjujućih vizualnih
podražaja, koja su se konzumirala
prolaskom kroz prirodne ljepote ili obalne
gradove i manja mjesta.
Jadranska magistrala, arhivska fotografija
The Adriatic Highway, archive photo
21
20
The motel and
the Adriatic
highway
Motel i
magistrala
MELITA
ČAVLOVIĆ
The construction of the Adriatic
Highway, from preparatory activities
in 1955 until its opening in 1965, forever
changed the Croatian coastal area.
The following year, the Turističke novosti
and Turizam magazines reported
that the number of tourists which had
used the new road to visit the coastline
more than doubled; ever since, tourism
would remain the main driving force of
the development of the coastline.
The road stretched along a coastal
area abundant in natural resources, while
journeys through the landscape were
presented as a succession of visual
stimuli, consumed while passing through
the natural beauties or coastal cities
and small towns.
If we take into consideration that the
two popular objects of desire at that time
were the car and the television set, the
expectations according to which “the
highway should accumulate, in its entire
length, distinctive contents, so as to
create a kind of a ‘continuing’ city.” 1,
along with the ones that from the
“psychological and aesthetic standpoint,
the Adriatic Highway should be designed
as a feature-length film to be presented
on the screen of the car window, for
the travellers’ maximum enjoyment
during the journey”, are not in the least
surprising.2
SERIJA MOTELA
(1967), “Sljeme”, The Journal of the Workers Collective
of the Agricultural-Industrial Plant Sljeme-Zagreb
(1967.), “Sljeme“ List radnog kolektiva poljoprivrednoindustrijskog kombinata Sljeme-Zagreb
22
The Motel Sljeme in Biograd in 1964,
archive photo
Motel “Sljeme” u Biogradu, 1964.,
arhivska fotografija
Obalna cesta je prvi puta dotadašnje
fragmente prometnica povezala u putanju,
koja je oblikovala i poseban fenomen
automobilskih karavana, kojima je iskustvo
tranzita, prezentirano kao istinsko
iskustvo putovanja. Automobil je bio
statusni predmet i simbol slobode, pa se
na obitelji koje su posjedovale automobil
gledalo kao na one koje gaje moderne
nazore. Arhitektura ih je samo trebala
udomiti u novom tipu, onom motela.
Osim prenoćišta, za motele je uobičajena
bila ponuda i auto-servisa, benzinske
stanice, restorana, auto-kampa itd. Cijene
su u motelima bile osjetno niže nego u
sličnim objektima te vrste, a sličnost i
ujednačenost motela u sustavu ponude,
garantirao je i razinu pružanja usluge
posjetiocu.
23
Ako se uzme u obzir da su dva popularna
objekta želje toga vremena bili automobil
i televizor, nimalo ne iznenađuju
očekivanja kojima je “magistrala uz sebe
trebala akumulirati u čitavoj svojoj dužini
prostiranja sadržaje, ne bi li se stvorio
svojevrsni “kontinuirani“ grad.“ 1 I ona da
sa “psihološkog i estetskog stanovišta
Jadransku cestu treba oblikovati kao jedan
dugometražni film, koji će biti prikazivan
putnicima na ekranu automobilskog
stakla, u kojemu će oni za čitavo vrijeme
vožnje savršeno uživati.“ 2
Godine 1965. poljoprivredni industrijski
kombinat “Sljeme“ otvorio je istovremeno
motele u Trogiru, Biogradu i Rijeci.
Uz motele, “Sljeme“ je posjedovalo i
sedam “ekspres-restorana“ koji su nudili
vlastite proizvode, a cijenom bili među
najjeftinijima u zemlji. Ne iznenađuje
investicija “Sljemena“ u lanac motela. Uzor
pojavi treba tražiti u upravo i geografski
bliskoj Italiji, gdje su uz Autostrade,
prehrambeno industrijske kompanije,
uobičajeno podizale motele kako bi
osigurale prodaju svojih proizvoda (npr.
Motta, Pavesini, itd.). Te su kompanije
poslovale po nižim cijenama, te uz motele
su gradile i druge vrste ugostiteljskih,
trgovačkih i servisnih zgrada, kao što su
“snack-barovi“, autokampovi, servisne
i benzinske stanice. Njihova isplativost
nije počivala na njihovom individualnom
rentabilitetu, već upravo na postojanju
tog lanca motela, koje su uglavnom
koristili strani turisti, dok prosječan broj
zadržavanja u njima nije bio duži od svega
jednoga dana.
For the first time, the coast connected
what were previously fragments of
various roads into a single route which
has also given rise to the unique
phenomenon of car caravans, presenting
the experience of transit as the true
experience of traveling. The car was a
status symbol and a symbol of freedom,
which is why the families which owned
one were considered modern in
their views. All architecture had to do
was provide a new type of home for
them, namely, the motel. Apart from
overnight stay, the motels usually offered
car-service centres, petrol stations,
restaurants, caravan camping sites etc.
The prices in motels were considerably
lower than those in similar facilities, while
the similarity and uniformity of motels
whose services were offered within this
system also guaranteed an adequate
level of service for their guests.
A SERIES OF MOTELS
In 1965, the Sljeme agricultural industrial
combine simultaneously opened motels
in Trogir, Biograd and Rijeka. Apart
from the motels, Sljeme also owned
seven “snack-bars” which offered their
own products, at prices which were
among the lowest in in the country.
Sljeme’s investment in the chain of
motels is not surprising. The model
for this phenomenon is to be found in
neighbouring Italy, where food industry
companies usually built motels along the
Autostrade, in order to ensure the sale
of their products (e.g. Motta, Pavesini,
etc.). These companies operated at lower
prices and, apart from motels, built other
types of catering, commercial and service
25
24
“Sljeme” - List radnog kolektiva, br. 8, kolovoz 1967. godine
Sljeme - The Journal of the Workers Collective, number 8, August 1967
Ivan Vitić, rođeni Šibenčanin i autor
motela, ujedno je i sam vozio Alfu Romeo
i bio gorljivi i temperamentan ljubitelj
vožnje i potvrđeni ljubitelj automobilizma.
Svoj prvi projekt koji će postati predložak
za tip, izradio je 1962. godine za investitora
u Trstu. Za potrebe kombinata “Sljeme“,
korišten je tršćanski projekt, premda
bitno smanjenog opsega i broja različitih
elemenata. Od cjelokupnog sljemenskog
programa izgradnje motela povjerenih
Vitiću (njih pet: u Umagu, Primoštenu,
Biogradu, Rijeci i Trogiru) izvedeno je njih
tri, iako je “Sljeme“ još posjedovalo motele
primjerice u Karlobagu i Delnicama.
Vitićev riječki motel je 1965. godine
nagrađen republičkom i federalnom
Borbinom nagradom za najviše
postignuće u arhitekturi Jugoslavije.
Sljedeće godine Vitić će izvesti još
jedan motel, koji pripada istom tipu, a
taj je manje poznat motel “Košuta“ kod
Kragujevca u Srbiji.
Cjelokupni lanac motela projektiran
je kao sklop sačinjen od nekolicine
volumetrijski jasno definiranih elemenata,
koji su međusobno povezani pješačkim
trijemovima, a neki isključivo cestama,
odnosno postavljeni slobodno u prostor
čineći tako složenu prostornu kompoziciju.
Ključna urbanistička odrednica tipa je
izuzetno mala izgrađenost u odnosu na
veličinu parcele, mišljene kao parkovno
dovršene cjeline, što je bitno naglasiti
budući da je kod nas rubna izgrađenost
parcele, iz današnje perspektive
očekivane razine rentabilnosti turističkih
investicija, postala uobičajena praksa.
Ovako definiran složeni tip permutira
raspored, broj i međusoban odnos
elemenata ovisno o datostima pojedine
lokacije, poput veličine parcele i
topografije. Tako će biogradski slučaj
buildings, such as snack-bars, caravan
camping sites, service and petrol stations.
Their profitability was not based on their
individual rentability, but on the existence
of a chain of motels, mostly occupied
by foreign tourists and with an average
length of stay not longer than one day.
Ivan Vitić, a native of Šibenik and the
creator of the motel, also drove an
Alpha Romeo and was an ardent and
temperamental lover of driving, as well as
a renowned car racing enthusiast.
He designed his first project, which will
become the blueprint for a type, in 1962
for an investor in Trieste. The Trieste
project was used for the purposes of
the Sljeme combine, although it was
significantly reduced in terms of scope
and number of different elements.
Three motels within the entire Sljeme
programme of motel construction
entrusted to Vitić (including five motels:
in Umag, Primošten, Biograd, Rijeka
and Trogir) were built, although Sljeme
also has owned motels in, for example,
Karlobag and Delnice. In 1965, Vitić’s
Rijeka motel was presented with the
republic and federal award of the Borba
newspaper for the highest achievement
of Yugoslav architecture. Next year, Vitić
constructed another motel of the same
type, the lesser-known Košuta motel near
Kragujevac, Serbia.
The entire motel chain has been designed
as a complex composed of several
volumetrically clearly defined elements,
connected to each other by pedestrian
decks, or in some cases, only by roads,
that is, positioned freely in space, thus
creating a complex spatial composition.
Karakteristična kompozicija pročelja glavne motelske zgrade, Trogir
Typical composition of the facade of the main motel building, Trogir
27
26
29
28
Aerial photo of the town of Trogir with a view partly showing the motel
and its relationship to the landscape
CEREMONIJA PARKIRANJA
A view on the Trogir waterfront with architect
Šegvić’s building, archive photo
Pogled na trogirsku rivu sa Šegvićevom zgradom,
arhivska fotografija
Moderna arhitektura nije bila novost u
gradu Trogiru. Već su na zapadnom dijelu
starog dijela grada, praznine nastale
Izvod iz katastra Trogira
The Land Register extract
Zračni snimak Trogira s djelomičnim prikazom motela
i njegovog odnosa prema pejzažu
biti zrcalna slika urbanističke situacije
trogirskog motela, s paviljonima
orijentiranim na sjeverozapad, a ne na
jug s pogledom na borovu šumu kao
kod trogirskog slučaja. Zanimljivo je da
najavljivani i u Rijeci, samostalni paviljoni
tamo nikad nisu izgrađeni, dok Kragujevac
jedini posjeduje čak deset izgrađenih, od
uobičajenih šest samostalnih dvoetažnih
paviljona. Utoliko možemo govoriti o
specifičnostima svake pojedine realizacije.
Potrebu brze gradnje tipa, koji je u tu svrhu
projektiran polumontažno, odnosno brzog
povrata investicije potvrđuje i činjenica da
su sva tri motela izgrađena iste 1965., dok
je za realizaciju cjelokupnog programa
ponestalo financijskih sredstava. Glavna
je zgrada trebala raditi duž cijele godine,
te je postojala namjera se da se moteli
opreme i centralnim grijanjem, kako bi se
osigurao njihov kontinuirani rad.
The key physical-planning characteristic
of this type is the exceptionally small
scale of development with respect to
the size of the land plot, which was
envisioned as a unit complete with a park.
This calls for attention, considering that
in our country, from today’s standpoint
of the expected level of profitability
of tourist investments, boundary
development of the land plot has
become standard practice. A complex
type defined in this manner involves
permutations of the arrangement,
number and interrelation of elements,
depending on the given conditions of a
particular location, such as the size of the
land plot and the topography. Therefore,
in the case of Biograd, we are presented
with a mirror image of the physicalplanning situation of the Trogir motel, with
its pavilions oriented towards the northwest and not the south, overlooking
the pine forest, as in the case of Trogir.
Do svih zgrada se individualno pristupalo
osobnim automobilima, a upravo je
njima dano prvenstvo, budući da je
vanjski prirodni okoliš artikuliran i prema
radijusima automobilskog kretanja.
Paviljoni su osobiti. Ostavljeni su izvan
sustava pješačkih šetnica s predviđenim
parkirališnim mjestima između pojedinih
jedinica. U Rijeci je automobilski protokol
nalagao da ulaskom u motelski sklop,
gost automobilom ceremonijalno prolazi
ispod glavne motelske zgrade – koja
bi se na taj način ekspresivno naginjala
iznad njega – nastavljajući svoju vožnju
do mjesta parkiranja. Mjestima su dani
pogledi na more, ravnopravni onima koje
bi posjedovali paviljoni. Kako paviljoni u
riječkom slučaju nisu izgrađeni, trogirski
sklop je utoliko vrjedniji, budući da su
kod njega ostvareni paviljoni, položeni
THE PARKING CEREMONY
Modern architecture was no novelty
in the city of Trogir. The gaps on the
western side of the old part of the city,
caused by the bombing during the
Second World War, were filled by a
residential complex of three buildings
by architect Berislav Kalogjera and one
building by architect Neven Šegvić.
Kalogjera positioned the buildings with
the intention of recovering the urban
feature of denseness, in terms of the
existing lost building stock, and therefore
provided all houses with a distinctive
stone facade. Modern architecture
was not a part of the usual postcard
folklore and the tourists discontentedly
Otvorenje Jadranske magistrale
Opening of the Adriatic Highway
Trogirski motel se sastoji od nekoliko
karakterističnih zgrada razmještenih
unutar jasnog i preglednog ortogonalnog
sustava. Glavna je zgrada recepcije
s restoranom i njegovom vanjskom
natkrivenom terasom. Na prvi se kat –
na kojem su spavaće sobe – uspinjalo
vanjskim čeličnim stubištem. Terasa je
njezinog prizemnog restorana vanjskom
šetnicom povezana s jednokatnom
depandansom, koja je u komunikacijskoj
vezi s još jednom, no ovoga puta
Interestingly, although the construction of
stand-alone pavilions was announced in
Rijeka, they were never built there, while
in Kragujevac alone there are as much
as ten of them, even though the usual
number is six stand-alone two-storey
pavilions. With this in mind, one can talk
about the specific characteristics of
each realised project. The need for a
speedy erection of buildings of a specific
type, designed as semi-prefabricated for
that purpose, that is, for a fast return on
investment, is further confirmed by the
fact that all three motels were built the
same year, 1965, whereas the realization
of the entire programme required financial
resources which were by then already
exhausted. The main building was to be
open all year round and there was also
the intention to equip the motels with
central heating, in order to ensure their
continued operation.
31
Historijat Motela Sljeme, arhitekta
Ivana Vitića smještenom izvan granica
povijesnog grada, neodvojiv je od
historijata magistrale. Potvrda tome je i
sam čin otvorenja magistrale i paralelna
manifestacija otvorenja motela – dan
nakon toga – koje su se obje dogodile
upravo u Trogiru. Karakter trogirskog
turizma je do tada bio naglašeno
tranzitan, te je prosječan boravak
posjetioca u Trogiru bio najviše pet do
šest dana. Kroz njega je nakon toga u
vrijeme ljetne turističke sezone dnevno
prolazilo gotovo 160 redovitih autobusnih
linija i više od pet tisuća motornih vozila
u pravcu od sjevera prema jugu.
drugačije oblikovanom dvokatnom
depandansom. Južno od svega su
postavljeni samostalni paviljoni.
30
bombardiranjem nakon Drugog svjetskog
rata ispunjene stambenim kompleksom
od tri građevine arhitekta Berislava
Kalogjere i jedne arhitekta Nevena
Šegvića. Kalogjera je zgrade postavio
s intencijom rekuperiranja urbanih
obilježja gustoće, prema postojećem
izgubljenom građevnom fondu, dajući
svim kućama karakteristična kamena
oplošja. Moderna arhitektura nije bila dio
uobičajenog folklora razglednica, a turisti
su nezadovoljno komentirali nepotrebno
oskvrnjenje obilježja srednjovjekovnog grada.
commented on the unnecessary
debasement of the medieval city
features.
The history of Motel Sljeme, designed
by architect Ivan Vitić and located
outside of the historical city boundaries,
is inseparable from the history of the
highway. A confirmation of this is
the opening of the highway and the
concurrent opening of the motel –
on the following day – both of which
happened in Trogir.
Till then, tourism in Trogir had been of a
markedly transit character, the average
length of stay of its visitors being no
more than five to six days. After the
mentioned events, during the summer
The facade of the main motel building featured in the 1967 catalog of the
Vitić Architectural Bureau
Prikaz pročelja glavne motelske zgrade u Trogiru iz kataloga
Vitićevog biroa za 1967. godinu
prostorija što je primjerice bilo kod restorana.
U slučajevima kada bi zidovi djelomice
zahvaćali javne, a djelomično privatne
prostorije soba, u svojim vertikalnim
ekstenzijama u gornje spavaće traktove,
redovito bi bili žbukani sa svoje unutarnje,
intimne strane sobe. Tako bi sobe na
gornjim katovima ponekad imale žbukane,
a ponekad kamene vanjske strane zidova,
a sve vođeno vanjskom kompozicijom
pročelja. Izbor podnih materijala jednako
je tako bio kodiran. Hodnici ispred soba su
primjerice na prvom katu opločeni istim
materijalom kao i prizemna ulazna niša ili
vanjske natkrivene šetnice. Podni materijal
sustava šetnica putem vanjskih čeličnih
stuba naznačio je i javni karakter hodnika
ispred soba. Oni doista i pripadaju obitelji
vanjskih šetnica, budući da su kao i one
natkrivene ali ujedno i izložene vanjskim
atmosferskim prilikama.
The Trogir motel consists of several
distinctive buildings placed within a
definite and clear orthogonal system.
The main building is the reception
building, with a restaurant and its external
roofed terrace. The first floor – on which
bedrooms are located – was accessible
by an external steel stairway. The
terrace of its ground-floor restaurant is
connected to a single-storey annex by
means of an outdoor walkway, which
is in a communication link with another,
though differently shaped, two-story
33
tourist season, close to 160 regular bus
lines and more than five thousand motor
vehicles passed through it every day in
the direction from the north to the south.
32
u smjeru juga s pogledima kroz
vjetrobranska stakla honorirani pogledom
na borovu šumu. Pročelja glavne zgrade
vješta su kompozicijska igra, koju čine
kameni paravani, tamni čelični prozorski
otvori, bijela žbukana platna i ponekad
“praznine“ nastale potpunim ukidanjem
zidnog platna. Izbor konstruktivnog
sistema glavne zgrade – a kojeg čine vitki
čelični stupovi koji nose čelične traverze i
tanke betonske ploče – omogućio je igru
otvorima na pročeljima intrigantnijom.
Naime, karakteristično se ponavljaju
horizontalni uski prozorski prorezi u dužini
ispod betonske ploče, koji nagovještaju
nenosivu ulogu kamenog ziđa ispod
njega. U trogirskom slučaju korištena
je verzija “kiklopskog“ načina zidanja
lomljenog kamena. Kod spomenutih
zidova kamen je korišten dosljedno u
okolnostima kada je zid izložen vanjskim
vizurama. On je isto tako prenesen u
interijer, kada je njime postojala intencija
dodatnog naglašavanja javnog karaktera
Sustav vanjskih šetnica danas nam je
dvostruko zanimljiv. One jesu odgovor
na potrebu da gosti prilikom ulaska
i izlaska iz vozila budu natkriveni, no
istovremeno daju važnost samoj stazi
i poticanju kretanja i susretanja pješaka
distancirajući parkirana vozila od ulazaka
u sobe ili usmjeravajući i manevrirajući
pješačko kretanje između dviju točaka
kroz uređeni okoliš. Nanizani paviljoni
na jugu nudili su komforniji smještaj za
obitelji na svoje dvije etaže. One su se
mogle u svojim automobilima dovesti tik
do ulaza u paviljon i parkirati pored njega.
Identičan je ritam ponavljanja paviljonskih
kamenih zabatnih zidova, tako da između
dva kamena zida jednom je stambena
jedinica, a jednom parkirališno mjesto za
obiteljski automobil.
annex. The stand-alone pavilions have
been placed south of all the structures.
All of the buildings could be reached
by personal automobiles, which were
given priority by having the natural
surroundings articulated according to
automobile movement radiuses as well.
The pavilions are distinct. They’ve been
excluded from the system of pedestrian
walkways and provided with parking
spots between individual units. The
automobile protocol in Rijeka dictated
that, by entering the motel circuit,
guests would ceremonially pass in front
of the main motel building – towering
expressively above them – on their way
to their parking spot. The spots had a
view to the sea, on par with that of the
pavilions. As the pavilions in Rijeka were
not built, the Trogir circuit is all the more
valuable, seeing how it’s pavilions were
built, oriented towards the south and,
along with windshield views, honored
by the view to the pine forest. The main
building facades represent an artful play
with the composition and are composed
of stone screens, dark steel window
apertures, white plaster canvases and
sometimes “gaps” created by completely
forgoing the wall canvas. The choice of
the construction system for the main
building - which is made up of lean steel
pillars and slim concrete slabs - has
enabled the aperture play on the facade
to be all the more intriguing. Namely,
narrow window slits characteristically
appear in succession below the concrete
slab and along its length, and accentuate
the non-supporting role of the wall
below it. In the case of Trogir, a version
of “cyclopean” masonry technique was
applied to the quarry stone. The stone is
TRAŽENJE NOVE NAMJENE
A display showing carefully managed pedestrian and automobile
communication through the plot of the motel in Trogir
Prikaz pažljivog vođenja pješačkih i automobilskih komunikacija
kroz parcelu trogirskog motela
35
34
Početak sedamdesetih najavio je prodaju
motela kao i dovršetak gradnje obližnjeg
hotela “Medena“ deseterostruko većeg
kapaciteta od motela, kao i dodatnih
auto kampova. Daljnjem progresivnom
razvoju turističke infrastrukture na
području Trogira nije više bio potreban
toliko specifičan dokument određenog
vremena i njegove kulture opredmećen
u onome što se pokazalo kao ne toliko
profitabilnoj tipologiji motelske izgradnje.
Utoliko je motel postepeno gubio na
atraktivnosti.
Trogirski motel u odnosu na Vitićev sustav
pokazuje pripadnost istom tipološkom
predlošku, no nije identičan niti sa jednim
od njih. Usporedimo li samo taj već
često puta spominjani kameni zid, treba
uvesti distinkciju. Naime iako je u sva tri
motelske slučaja korišten zid, u Rijeci je to
kameni zid od pločasto lomljenog kamena
s prekinutom horizontalnom reškom,
Biograd ima zid od grubog lomljenog
kamena, a Trogir posjeduje “kiklopsko“
ziđe od lomljenog kamena. Osim toga
kod Kragujevca u Srbiji u kojemu je Vitić
izveo motel “Košuta“, koji pripada istom
tipološkom sustavu, umjesto kamena
posegnuo je za opekom kao vanjskom
membranom, na mjestima na kojima je taj
zid kod nas izveden u kamenu.
Zadrške o vrednovanju pojedinih
dijelova sustava i njihovoj međusobnoj
zamjenjivosti trebalo bi odbaciti. Današnje
stanje zapuštenosti i devastiranosti
motelskog sklopa rezultat je višestruko
nepovoljnih okolnosti. Kako je magistrala
oko trogirskog područja s vremenom
postala gotovo kontinuirano izgrađen
teritorij s ponudom različitih restorana i
consistently used in the aforementioned
walls in circumstances where they are
exposed to outside view. This carries
over to the interior, when there was
an intention to put additional emphasis
the public nature of the rooms, such
as in the case of the restaurant. In the
cases where the walls would partially
touch the public, and partially the
private compartments of the rooms, in
their vertical extensions into the upper
sleeping tracts, they would regularly be
plastered on the inner, private side of
the room. Thus, the upper-floor rooms
would sometimes have plastered and
sometimes stone outer walls, all directed
by the outside composition of the facade.
The choice of the natural materials was
also coded. The hallways in front of the
rooms on the first floor had, for example,
been tiled with the same material as
the ground-floor entrance niche or the
outdoor roofed walkways. The walkway
system floor material included outer
steel steps to put emphasis on the public
nature of the hallways in front of the
rooms. They do, in fact, belong to the
outdoor walkway system, seeing that
they are both covered yet, at the same
time, exposed to the outside atmospheric
conditions.
The outdoor walkway system is
interesting today for two main reasons.
It is the answer to the need for guests
to be covered while entering and exiting
the vehicles, but adds importance to the
path itself at the same time, directing
pedestrian movement and mingling by
distancing parked vehicles from room
entrances or directing and maneuvering
pedestrian movement between points in
a designed exterior environment.
1 ***(1957.), Jadranska magistrala,
“Čovjek i prostor“, Zagreb, IV(68): 2
2 Isto.
A row of two-storey pavilions to the
south offered more comfortable lodging
for families. Families could drive right next
to a pavilion entrance in their automobiles
and park right beside it. The pattern of
stone on gable walls is always the same,
so a lodging unit between two walls is
always followed by a single parking spot
for a family car.
The early 1970s heralded the motel sale,
as well as the completion of construction
works on the nearby Medena hotel ,
which had ten times as much capacity
as the motel did, as well additional car
camping sites. The further progress of
tourist infrastructure development in
Trogir saw no need for such a specific
document of a particular time and its
cultural embodiment in what turned out
to be not the most profitable typology
of motel design. Therefore, the motel
gradually lost its appeal.
The Trogir motel exhibits typology
characteristics related to those found in
the buildings of the Vitić system, but is
not identical to any of them. If we are to
compare the aforementioned stone walls,
a distinction should be made. Namely,
even though all three motels make use
of the wall, in Rijeka it’s a stone wall
made with quarry stone slabs, in Biograd
it’s rough quarry stone and Trogir has
“cyclopean” masonry style quarry stone.
Also, near Kragujevac in Serbia, where
Vitić built the Košuta motel which belongs
to the same typology system, instead of
stone, he used bricks as the outer wall
membrane in places where he would use
stone in the South of Croatia.
37
SEARCHING FOR A NEW USE
36
odmarališta, atraktivnost motela je time
jenjavala. Njegova parcela iako u vrijeme
izgrađenosti izvan obuhvata grada,
širenjem gradskog teritorija dobivala je
sve više na vrijednosti. Za pretpostaviti je
da će daljnje odugovlačenje neizvjesne
pozicije samo progresivno narušavati
njegovo autentično stanje, budući da
mu je izgrađenost nedovoljna za svaku
iole ozbiljniju namjeru oživljavanja
turističke namjene. Njegovu vrijednost
treba prepoznati u organizaciji parcele,
specifičnostima arhitektonskih volumena,
potencijalnom krajobraznom bogatstvu
i identitetskom obilježju kamenih zidova.
Razina propadanja građevnih elemenata,
nije ireverzibilna, a za pretpostaviti je da je
unutarnje uređenje bilo standardno, to jest
kataloški odabrano. Svaka buduća obnova
trebala bi ići u smjeru njegove prenamjene
u širokom rasponu kulturnih i edukacijskih
programa naglašeno javne orijentacije,
koje bi sklop u svojim prostorijama
svakako mogao objeručke udomiti.
Reservations regarding evaluation of the
particular parts of the system and their
interchangeability should be discarded.
The present state of neglect and
devastation of the motel circuit is a result
of multiple unfavorable conditions. As
the highway around the Trogir area had,
with time, become an almost continually
developed area with an array of
restaurants and accommodation facilities,
the appeal of the motel waned. Its land
plot, although outside of the city limits
at the time of construction, had risen
in value as the city expanded. It’s safe
to assume that delaying the resolution
of the current uncertain situation will
only progressively worsen its authentic
condition, as its stage of development
is insufficient for any serious attempts
of reviving its use in tourism. Its value
should be recognized in the land plot
organisation, architectural volume
specifics, potential landscape value and
the strong identity of its stone walls.
The state of decay of its construction
elements is not irreversible, and it’s safe
to assume that the elements of its interior
decoration were standard, which is to
say chosen from a catalog. Any effort
at renovating it should aim to convert it
for use in anything within a wide array
of cultural or educational programmes
of prominently public character, which
the complex could certainly suitably
accommodate in its rooms.
1 ***(1957.), Jadranska magistrala,
“Čovjek i prostor“, Zagreb, IV(68): 2
2 Ibid.
Motel Trogir, detalj, foto: Marko Salapura (2013)
Motel Trogir, detail, photo by Marko Salapura (2013)
39
38
“Arh. Ivan Vitić lapidarnim arhitektonskim
rečnikom rešava jedan vrlo osetljiv
problem naše Jadranske magistrale.
Pokušajem da se tipiziranim projektom
koji se sastoji od samostalnih jedinica
okupljenih oko jezgra, a koje slobodno
raspoređuje i prilagođava prema zadanim
lokacijama i veličini posete, postignuta su
arhitektonska rešenja velike vrednosti.”
“Borba”, Beograd, 20. 2. 1966.
“Through the use of a lapidary
architectural vocabulary, architect Ivan
Vitić solves an extremely delicate issue
pertaining to our Adriatic Highway.
The attempt involving the use of a
standardised project consisting of standalone units assembled around the centre,
freely arranged and modified according
to default location and the number
of guests, has achieved great
architectural value.”
Borba, Beograd, 20th February 1966
The Borba front page with the article about the awarded motel
designed by Ivan Vitić, near Rijeka
Naslovnica “Borbe” s člankom o nagrađenom Vitićevom riječkom motelu
41
40
Between
the road and
the sea
Izmedu
ceste i mora
Lidija
Butković Mićin
Owing to Borba’s large printing run,
the photo of Vitić’s motel taken from
the low angle, which emphasises the
expressiveness of the “floating” structure
of the complex’s central building, became,
at least for a day, a visual representation
of the social modernisation in thousands
of Yugoslav homes. A comfortable and
affordable stay at the “motor-hotel”,
conveniently located beside a busy
tourist route, with one’s own means
of transport for getting to know the
homeland according to one’s own
interest and pace, is at the heart of the
alluring vision of adventure, leisure and
freedom implicit in the illustrations of
Vitić’s motel on the pages of the daily
press. Fortunately, all this was within
reach of the domestic, average worker
43
Fotografija Vitićeva motela snimljena
iz donjeg rakursa koji naglašava
ekspresivnost “lebdeće“ konstrukcije
centralne zgrade kompleksa, zahvaljujući
tiražnosti “Borbe” postala je, barem
na jedan dan, vizualnim reprezentom
društvene modernizacije u tisućama
jugoslavenskih domova. Komforno i
povoljno odsjedanje u “motor-hotelu“
priručno smještenom uz frekventnu
turističku rutu, i to sa vlastitim prijevoznim
sredstvom za upoznavanje domovine
prema individualnom interesu i tempu,
u srži je primamljive vizije avanture,
dokolice i slobode implicitno prisutne
u ilustracijama Vitićeva motela na
stranicama dnevnog tiska. Nasreću, sve
to nije bilo izvan domašaja domaćih,
prosječnih radničkih obitelji čije su životne
navike već podrazumijevale kraće ili
duže izlete i putovanja izvan mjesta
boravka, a sve više su prolazile i iskustvo
This was the explanation provided by the
panel of judges who presented architect
Ivan Vitić with the Borba federal award
for the Sljeme motel project in Preluk near
Rijeka, which started the tradition of this
respectable annual event. Among the
protagonists of the domestic architectural
scene, the acknowledgment of the
Belgrade daily paper Borba for best
architectural achievement in Yugoslavia
held the status of an Oscar Award or a
Nobel Prize. Although we cannot fully
grasp, even from a time distance, the
reasons for the longevity and success
of the Borba model of award, they
probably lie in the sincere desire for
promoting modern achievements in the
field of architecture through an influential
public medium, which suited everyone:
the journalistic ego, the flattered
“starchitects” and the propaganda of the
political system.1
kupnje prvog automobila.2 Nagrada
riječkom motelu posredno je obilježila i
nedavni dovršetak posljednjih kilometara
Jadranske magistrale, ključne investicije
u prometnu infrastrukturu šezdesetih
godina koja je hrvatsku obalu od
Dragonje i Buja, preko Pule, Rijeke, Zadra,
Šibenika, Splita do Dubrovnika učinila
još privlačnijom inozemnim gostima koji
su od 1966. godine preuzeli primat po
broju noćenja signalizirajući okretanje
cjelokupne jugoslavenske turističke
privrede deviznoj zaradi.3
42
Ovim riječima je ocjenjivački sud
obrazložio dodjeljivanje savezne nagrade
Borba arhitektu Ivanu Vitiću za projekt
motela “Sljeme” na Preluku kraj Rijeke
čime je započela tradicija te ugledne
godišnje manifestacije. Priznanje
beogradskih dnevnih novina Borba
za najbolje arhitektonsko ostvarenje
u Jugoslaviji uživala je status Oskara ili
Nobela među protagonistima domaće
arhitektonske scene. Premda niti sa
vremenske distance ne možemo do
kraja prosuditi razloge dugovječnosti i
uspješnosti modela Borbine nagrade,
vjerojatno su počivali u iskrenoj težnji
za promocijom suvremenih realizacija
na polju arhitekture putem utjecajnog
javnog medija što je odgovaralo
svima: i novinarskom egu i polaskanim
“starhitektima“ i propagandi
političkog sustava.1
U turističkom boomu poslijeratnih
godina Rijeci je pripala uloga tranzitnog
središta zapadne Hrvatske što je
posljedično transformiralo grad kako
na fizičkoj, tako i na identitetskoj razini.
Dalekovidnim potezom riječke općine
već je na prijelazu 1940-ih u 1950-te
godine izgrađena nova Autostrada
Narodnog fronta (1955. preimenovana u
Bulevar Marksa i Engelsa, danas potez
Zvonimirova-Liburnijska) koja je zaobišla
zapadnu industrijsku zonu od Mlake do
Kantride, nudeći alternativnu trasu za
javni i osobni prijevoz na pravcu OpatijaVolosko-Rijeka. Nova gradska kucavica,
do trasiranja riječke zaobilaznice 1980-ih
godina i dionica Jadranske magistrale
kroz Rijeku, bila je aranžirana za scenični
pogled iz “automobilske“ perspektive
na obnovljena i proširena industrijska
postrojenja duž obalnog pojasa te buduća
moderna stambena naselja na sjevernim
padinama, testamente društvenog
prosperiteta i demonstrativnog
“upisivanja“ novog poretka u matricu
grada. Neposredno uz Autostradu će
niknuti i impozantni višestambeni soliteri
(arhitekti J. Uhlik, Šilović, Franković i
Bunetta), među kojima i prvi poslijeratni
neboderi (Kocmut) te reprezentativno
families whose living habits had already
included shorter or longer trips and
travels outside of their place of residence,
and an increasing number of them had
undergone the experience of buying
the first car.2 The award presented to
the Rijeka motel also indirectly marked
the recent completion of the last
kilometres of the Adriatic Highway, a key
investment in the transport infrastructure
of the sixties, which made the Croatia
coastline, from Dragonja and Buje, across
Pula, Rijeka, Zadar, Šibenik and Split to
Dubrovnik, even more attractive to foreign
guests, whose number in the share of
overnight stays had become predominant
as of 1966, signalling a turn of the entire
Yugoslav tourist income towards foreigncurrency earnings.3
In the post-war tourist boom, Rijeka
assumed the role of the transit centre
of western Croatia, which consequently
transformed the city on a physical level,
as well as on the level of identity. At the
transition of the 1940s into the 1950s,
owing to the long-sighted move of the
Rijeka municipality, the new Autostrada of
the People’s Front (renamed in 1955 into
the Marx and Engels Boulevard; today it
is the Zvonimirova-Liburnijska section)
was constructed, bypassing the western
industrial zone from Mlaka to Kantrida
and providing an alternative route for
public and private transport in the OpatijaVolosko-Rijeka direction. Until the marking
of the Rijeka bypass road in the 1980s, the
Zvonimirova-Liburnijska served as the
section of the Adriatic Highway which
ran through Rijeka. This new city artery
was organised to provide a scenic view,
from the “automobile” perspective, of the
reconstructed and extended industrial
Mikrolokacija Pavlovca ili Kuka gdje
će mesni kombinat “Sljeme” osigurati
vlasništvo nad parcelama za motelski
45
Motel u Preluku, kraj Rijeke, zračna perspektiva
The motel in Preluk, near Rijeka, aerial view
DRAGOCJENI KILOMETRI PRIOBALJA
facilities along the coastal area, as well
as the future modern housing estates on
the northern slopes, as a testament of
social prosperity and the demonstrative
“inscription” of the new order in the city’s
matrix. Directly beside the Autostrada,
impressive tall apartment houses (by
architects J. Uhlik, Šilović, Franković and
Bunetta) sprang up, among which the first
post-war skyscrapers (Kocmut) and the
representative Novi List headquarters
(Höllander and Franković), turning the
Autostrada into a kind of a postcard of
socialist Rijeka4. During the fifties, in the
centre of the city, the reconstruction
of the 470 meters long Yugoslav Navy
Quay (today’s Waterfront), a city artery
which connects the bus and maritime
passenger transport terminals, was
under way. The vicinity of the Old Town,
as a relevant tourist destination, as well
as the compliancy with the high aesthetic
standards of a passenger port, justified
the logistically demanding solution of
the reconstruction of traffic corridors
of the Istria and the Croatian Littoral
Urban-Planning Institute (Kolacio and
Sila) and the investment in the paving of
the coastal area, light fixtures, modern
pavilion – booking office, steel flag
columns and the holm oak alley5. Both
examples expresses the desire to design
the experience of the city skyline for
visitors which experience Rijeka through
the windscreens of their cars or from
the decks of ships, therefore, en route
towards their final destination. In the
1960s, there were direct investments in
Rijeka’s tourist capacities: the adaptation
of the Jadran hotel was under way (Emili),
a seven-storey annex to the Bonavia
hotel was being constructed (LučićFrančić-Sulowsky), while in the peripheral
44
sjedište “Novog lista” (Höllander i
Franković), prometnuvši ju u svojevrsnu
razglednicu socijalističke Rijeke.4 U
središtu grada tijekom pedesetih
godina odvijala se rekonstrukcija 470
metara dugačke Obale jugoslavenske
mornarice (danas Riva), gradske arterije
koja povezuje terminale autobusnog i
pomorskog putničkog prometa. Blizina
Starog grada kao turistički značajnog
odredišta te zadovoljenje viših estetskih
standarda putničke luke, opravdavali su
logistički zahtjevno rješenje rekonstrukcije
prometnih koridora Urbanističkog instituta
za Istru i Hrvatsko primorje (Kolacio i Sila)
i ulaganje u novo popločenje obalnog
pojasa, rasvjetna tijela, moderni paviljonbiljetarnicu, čelične stupove za zastave i
drvored primorske crnike.5 Oba primjera
iskazuju htijenje da se doživljaj gradskih
vizura dizajnira za posjetitelje koji Rijeku
doživljavaju kroz vjetrobrane automobila
ili sa palube brodova, dakle, kao usputnu
stanicu prema svojoj finalnoj destinaciji.
Rijeka će 1960-ih godina osjetiti i direktnije
investicije u turističke kapacitete: vrši se
adaptacija hotela “Jadran” (Emili), podiže
se sedmerokatni aneks hotela “Bonavia”
(Lučić-Frančić-Sulowsky), a na rubnom
području gradskog perimetra grade
se moteli “Primorje” u uvali Žurkovo
(Marinović) i naše “Sljeme” na Preluku.
Istovremeno će monumentalni kubus
Bregovčevog hotela “Ambasador”
izmijeniti siluetu Opatije, a uvalu Scott kraj
Kraljevice oplemeniti hotelsko naselje
Igora Emilija.
The Pavlovac or Kuk micro-location,
where the Sljeme meat combine will
secure ownership over land plots for the
motel facility,6 is a transit zone located
on the municipal boundary between
Rijeka and Opatija, separated from the
coastline of the Preluk bay by the defile
of an abandoned quarry. The post-war
urban-development plan, the so-called
Directive Regulatory Basis of the RijekaSušak cities from 1948, and its and
successive strategic documents marked
the area from Volosko to Kantrida as a
recreational-bathing reserve of the city,
and it could be assumed that further
industrialization of the region will not
encompass these precious kilometres
of the coastal area. The ground
configuration was relatively unfavourable
for construction, due to a rather narrow
strip of available even ground along the
road and the dropping terrain towards the
afforested edge of the defile. An excellent
architect like Vitić knew how to turn
these disadvantages into advantages:
the differences in elevation were
compensated by a system of supporting
concrete walls covered by roughly
crushed stone, whereas the tracts of
47
THE PRECIOUS KILOMETERS OF
THE COASTAL AREA
konstrukcije, stijene su građene od
siporexa, stropovi od armiranog betona
(ostali objekti su montažni od siporexa uz
nužni dodatak serklaža). Uvučeni suteren
rezerviran je za urede direktora i ekonoma
motela, a izbačeni dvoetažni volumen
oslonjen na četiri nosača udomljuje
recepciju, snack-bar, restoran, prostore za
dnevni boravak korisnika motela, pogon
kuhinje te još petnaest spavaćih soba.
Istočni krak motela završava manjim
objektom prodavaonice nužnih artikala
i suvenira sa kioskom, a na zapadnom
prilazu trebala se nalaziti benzinska
stanica sa auto-praonicom, no od toga se
naposljetku odustalo. Vitićevo rezoniranje
u pogledu organizacije motelskih
funkcija lako je slijediti: sa magistralne
ceste kompleks se “reklamira“ svojim
ugostiteljskim i trgovačkim sadržajima koji
su na raspolaganju i tranzitnim putnicima
(dućan, restoran za brzu okrjepu, točiona
goriva), a smještajni su kapaciteti i radna
“utroba“ motela pomaknuti iznad i ispod
prizemne zone – na katu centralne
Motel “Sljeme” u Preluku, kraj Rijeke, 1965, arhivska fotografija
The Motel Sljeme in Preluk, near Rijeka, in 1965, archive photo
region of the city perimeter, the Primorje
motel was being built in the Žurkovo bay
(Marinović) and the Sljeme motel was
being built in Preluk. At the same time,
the monumental cube of Bregovac’s
Ambassador hotel was to change the
silhouette of Opatija, while the Scott bay
by Kraljevica was to be refined by Igor
Emili’s hotel compound.
46
objekt6, prolazna je zona smještena
na općinskoj granici Rijeke i Opatije,
odvojena od obale prelučkog zaljeva
usjekom napuštenog kamenoloma.
Predio od Voloska do Kantride prvim
je poslijeratnim urbanističkim planom,
tzv. Direktivnom regulacijskom osnovom
gradova Rijeka-Sušak iz 1948. godine te
sukcesivnim strateškim dokumentima,
markiran kao rekreativno-kupališni
rezervat grada te se moglo pretpostaviti
da daljnja industrijalizacija regije neće
zahvatiti ove dragocjene kilometre
priobalja. Konfiguracija terena bila je
relativno nepovoljna za izgradnju zbog
dosta uskog raspoloživog ravnog tla
uz samu cestu i strmog pada zemljišta
prema pošumljenoj ivici klanca. Vrstan
arhitekt poput Vitića znat će kako ove
nedostatke pretvoriti u prednosti: visinske
razlike kompenziraju se sistemom
potpornih betonskih zidova obloženih
grubo lomljenim kamenom, a traktovi
motelskog sklopa i sami bivaju “podzidani“
ispod razine prilazne ceste. Na zapadnoj
strani polaže se uzdužni volumen od
dvanaest dvokrevetnih soba sa prilazom
preko natkrivene galerije, a krovna ploha
služit će i kao terasa restorana, zaštićena
od buke parkirališta i prometnice
suhozidom od kamena lomljenca u
cementnom mortu. Projektom je bila
predviđena i pergola željezne konstrukcije,
što je uz motiv suhozida trebalo stvoriti
intimno, primorsko okruženje za
ugodni boravak na otvorenom gostiju i
posjetioca motela. U podrumskoj etaži i
niskom prizemlju istočnog krila grupirane
su funkcije servisno-gospodarskog
karaktera: skladišta namirnica, rashladne
komore, gruba priprema hrane, praone i
glačaone rublja, blagovaonica i sanitarne
prostorije osoblja te kotlovnica. Centralni
paviljon motela čelične je skeletne
the motel complex were themselves
“reinforced” under the level of the access
road. On the western side extended a
longitudinal volume of twelve double
rooms with the entrance across a roofed
gallery, while the roof surface also served
as the terrace of a restaurant, protected
from the noise of the car park and the
road by a drystone wall made of crushed
stone in cement mortar. The project also
envisaged a pergola of iron structure,
which, along with the drystone wall
motive, was to create intimate, coastal
surroundings for a pleasant stay in the
open of the motel’s guests and visitors.
The following facilities of a service and
economic character are grouped on the
basement level and low ground floor
of the eastern wing: pantries, cooling
Memorandum motela “Sljeme” u Preluku, kraj Rijeke
Letter-head of the Motel Sljeme in Preluk, near Rijeka
Restoran je zasigurno bio najjači adut
motela tijekom zimskih mjeseci –
zidna stijena u potpunosti rastvorena
ostakljenim plohama uokvirenim tankim
aluminijskim profilima, pružala je prekrasan
vidik na Volosko i Učku, svakako
opravdavajući investiciju poduzeća
“Sljeme” u ovu građevinski zahtjevniju
lokaciju. Smisao za čitanje topografskih
osobitosti i naglašavanje najboljih odlika
zadanog ambijenta opća je karakteristika
Vitićeva opusa te ne začuđuje da su sva
tri motela – riječki, trogirski i biogradski,
premda dijele zajedničke elemente,
po slobodnoj kombinatorici tipiziranih
jedinica i dodatnim prilagodbama
programa lokalnim uvjetima zapravo
dosta individualna ostvarenja. Uočili
su to i članovi žirija nagrade Borba u
ranije citiranom obrazloženju te iako je
tom prilikom riječki motel nominalno
izdvojen kao “predvodnik“ serije,
honoriran je cjelokupni Vitićev pristup
projektnom zadatku. Moteli su također
po mnogočemu i amblematsko djelo
autorove zrele karijere jer sintetiziraju
neke od prepoznatljivih odlika njegova
arhitektonskog jezika, poput inzistiranja
na apstraktnoj čistoći stereometrijskih
49
PRILAGOĐAVANJE OBJEKTIVNIM
OKOLNOSTIMA
chambers, the food pre-preparation area,
laundries and ironing rooms, the dining
hall and sanitary facilities for the staff and
the boiler room. The central pavilion of
the motel is of a steel skeletal structure,
the walls are made from Siporex, the
ceilings are made from reinforced
concrete (the other facilities are
prefabricated, made from Siporex with
the necessary addition of ring beams).
The drawn-in basement is intended for
the offices of the motel director and
business manager, while the ejected splitlevel volume supported by four supports
contains the reception desk, snack-bar,
restaurant, living room for the users of
the motel’s services, a kitchen facility and
another fifteen bedrooms. The eastern
arm of the motel is completed by a small
shop with essential commodities and
souvenirs accompanied by a kiosk, while
a petrol station with a carwash was to
be located at the western entrance, but
this idea was ultimately abandoned.
Vitić’s reasoning with respect to the
organisation of motel functions is
easy to follow: from the main road, the
complex is “advertised” through catering
and commercial facilities available to
transit passengers as well (the shop,
the snack-bar, the petrol station), while
the accommodation capacities and
the operational “insides” of the motel
have been moved above and under the
ground-floor area – on the floor of the
central building, on the low ground floors
of the motel wings and in the annex
positioned somewhat more to the south
than the other buildings. This singlestorey pavilion with another twenty-four
rooms was used only in the summer
season, when the larger tourist inflow
had been predictably larger, while only
48
zgrade, niskom prizemlju motelskih krila
te u depandansi pozicioniranoj nešto
južnije od ostalih građevina. Taj jednokatni
paviljon sa još dvadeset i četiri sobe
koristio se isključivo u ljetnoj sezoni kad
je očekivano bio veći priljev turista, a
jedino je glavna zgrada bila opremljena
za cjelogodišnji rad jer je sprovedeno
centralno grijanje preko sistema cijevi i
podzemnih rezervoara za tekuće gorivo.
Idejni projekt motela u Preluku
Preliminary project for the motel in Preluk, near Rijeka
51
50
Motel u Preluku, tlocrt
The motel in Preluk, the ground plan
53
52
Memorandum motela “Sljeme” u Preluku, kraj Rijeke
Letter-head of the Motel Sljeme in Preluk, near Rijeka
“Sljemena” na limenoj ploči koji, međutim,
nije postavljen.
the main building was equipped for yearround operation, since central heating
through pipe systems and underground
liquid fuel reservoirs had been installed.
The restaurant was undoubtedly the
motel’s stronger asset during the winter
months – the wall rock fully opened with
glass panes framed by thin aluminium
profiles offered a beautiful view of
Volosko and Učka, definitely justifying
the decision of the Sljeme company to
invest in this location, regardless of its
demanding nature when it comes to
construction. A talent for taking in the
55
ADAPTATION TO OBJECTIVE
CIRCUMSTANCES
54
formi, baratanja vokabularom primorskog
idioma (dalmatinske bunje, posmične
drvene žaluzine) ili fino odgojenoj
intuiciji za ravnotežu i ritam oblikovanih
površina. Visoku kvalitetu realiziranog
arhitektonskog prostora na primjeru
riječkog motela pratilo je i pažljivo
osmišljavanje okoliša, od spomenutih
podzida, preko elegantnih rasvjetnih
tijela serijske proizvodnje, do zasađenog
ukrasnog bilja. Vitiću je posebice bilo
stalo da se maksimalno zadrži postojeća
vegetacija, odnosno da se krajobrazno
uređenje prilagođava zatečenoj situaciji, a
ne obratno, što govori u prilog senzibilitetu
arhitekta za vrijednosti prirodnog krajolika.
Motelski kompleks je bio premrežen
kolnim komunikacijama te dovoljnim
brojem parkirnih mjesta potičući tako
“samoposluživanje“ korisnika prilikom
useljenja soba, bez asistencije motelskog
osoblja. Projekt je predvidio još jedan
nezaobilazni, ikonički detalj “motelskog
iskustva“: osvijetljeni čelični reklamni stup
uz prilaznu cestu sa zaštitnim znakom
Na kraju treba spomenuti kako je
realizacija motela naišla je na nepredviđene poteškoće što je, nažalost,
rezultiralo redukcijom početnog programa
gradnje. Nakon što je “Sljemenu” propisno
odobrena uža lokacija početkom 1964.
godine, izvedba je direktnom pogodbom
povjerena GP “Jadranu” jer je investitor
priželjkivao otvorenje motela već tijekom
te turističke sezone. Procjena nije uzela u
obzir administrativne zavrzlame koje će
ubrzo uslijediti zbog brzopletog početka
radova prije nego je izdana sva potrebna
dokumentacija. Nije riječ o nikakvom
izvanrednom slučaju – u razdoblju
intenzivne urbanizacije šezdesetih i
sedamdesetih godina događalo se da
birokracija kaska za hektičkim tempom
izgradnje ili da ulagači post factum
rješavaju papirologiju. Međutim, kod
motela je problem nastao u samoj
dispoziciji građevina duž priključka
na magistralnu prometnicu koji je,
po mišljenju nadležnih odjela lokalne
samouprave, prejudicirao buduće
rješenje prometnog čvora Pavlovac te se
tražila obustava radova do ishodovanja
suglasnosti kompetentnih republičkih
tijela. Položaj benzinske crpke bio je
naročito sporan radi sigurnosti prometa,
a kako je bilo prekasno mijenjati projekt,
kompromisno je otpala njena izgradnja.
Troškovi energetske infrastrukture (nova
trafostanica, sustav centralnog grijanja,
propan-butanska stanica za kuhinjske
štednjake), kao i poslovično kašnjenje
građevinskih radova koji su okončani tek
u lipnju 1965. godine uz brojne primjedbe
komisije za tehnički pregled, izgleda da
su dodatno iscrpili strpljenje i financijske
mogućnosti “Sljemena” te je sklop ostao
surrounding topography and bringing out
the best features of a given environment
are the general characteristics of Vitić’s
opus, so it’s not a surprise that all three
motels – in Rijeka, Trogir and Biograd,
even though the standardised elements
are common to all of them, are still quite
individually distinct creations when
it comes to the arrangement of the
standardised units and the adaptations
applied to the program with local
conditions in mind. This has been noted
by the members of the Borba award
committee in the explanation quoted
earlier, and despite them singling out
the motel in Rijeka as a nominal “leader”
of the series, Vitić’s general approach
to the whole project had earned high
praise. The motels are also, in many ways,
emblematic of their author’s mature
career period, since they synthesize
some of the notable qualities of his
architectural expression, such as insisting
on the abstract purity of stereometric
forms, the excellent grasp of the coastal
idiom (Dalmatian wells, wooden blinds) or
fine intuition for the balance and rhythm
of the shaped surfaces. The high quality
of realised architectural space in the case
of the Rijeka motel was accompanied by
a careful consideration of landscaping,
which included the aforementioned
lower walls, elegant serial luminaires
and arranged decorative plants. Vitić
took great care to keep the existing
vegetation as intact as possible, to adapt
artificial landscaping to the previously
existing situation and not the other way
around, which illustrates his sensibilities
as an architect towards the qualities
of the natural landscape. The motel
complex was transected with pavement
communication and an adequate supply
zakinut za seriju weekend-kućica (katnih
bungalova) kakvi su izvedeni, primjerice,
u trogirskoj verziji motela.
Motel u Preluku, suvremeno stanje, fotografija: Lidija Butković Mićin (2013)
The motel in Preluk, present condition, photo by Lidija Butković Mićin (2013)
Finally, it should be noted that the
realisation of the motels ran into
unforeseen difficulties which,
unfortunately, resulted in a reduction of
the initial construction plans. After Sljeme
was formally granted the basic location
in early 1964, GP Jadran was awarded
the construction contract by negotiated
procedure, as the investor hoped to see
the motel open in time for that year’s
vacation season. The estimate did not
take into account the administrative
conundrums which would soon ensue,
due to construction having started
before all the necessary papers have
been issued. It was not an extraordinary
case – during the intensive urbanization
period of the sixties and seventies, the
bureaucracy often couldn’t keep up
with the hectic construction tempo and
investors often sorted out paperwork
post festum. In the case of the motel,
however, the problem arouse due to the
arrangement of the buildings towards
the highway which had, according to
the local officials, prejudiced the future
development of the Pavlovac traffic
junction, so a suspension was demanded
until the relevant state bodies could
issue their approval. The location of the
fuelling station had been particularly
contested because of traffic safety
issues, and since it was too late to alter
57
Riječki motel danas je, grubo rečeno,
ruševina u vlasništvu Hrvatske
gospodarske komore. Gledajući objekt
otuđenog namještaja, počupanih
instalacija, razbijenih prozora, prepiljenih
metalnih ograda i vratiju, teško je
prisjetiti se optimizma kasnih šezdesetih
godina kada su uz pročelje motela
tutnjale motociklističke utrke Svjetskog
prvenstva na jednoj od najboljih staza
bivše Jugoslavije, a Zdravko Bregovac
u podnožju padine osmislio urbanistički
plan sportskog centra i auto-kampa
Preluk. Motel nema formalni status
nepokretnog kulturnog dobra Republike
Hrvatske te je potencijalno ranjiv na
intervencije budućih investitora. Područni
Konzervatorski odjel Ministarstva kulture
pokazao je svojevremeno inicijativu, no
nisu poduzeti konkretni koraci, čak niti
u vidu izdavanja rješenja o preventivnoj
zaštiti. U posljednje vrijeme aktualiziran
je prijedlog HGK-Županijske komore
Rijeka za revitalizaciju kompleksa u
kongresno-edukacijski centar prema
idejnom projektu arhitektonskog ureda
Randić-Turato koji, barem načelno, poštuje
integritet i oblikovne vrijednosti Vitićevog
ostvarenja.7 Treba li, međutim, HGK-u (ili
privatnom partneru) vjerovati na riječ kada
i ako dođe do izvedbe projekta ili bi službe
Ministarstva kulture trebale na vrijeme
odraditi svoj dio posla? Realna opasnost
postoji jer su trenutačna razmišljanja
oko budućnosti bivšeg motela prožeta
neskrivenim apetitima za kapitaliziranjem
njegove izvanredne lokacije putem
of parking spaces, encouraging guests
towards “self-service” when moving
into rooms, and eliminating the need for
assistance from the motel staff. The
project envisioned one more unavoidable,
iconic detail of the “motel experience”:
a well lit steel billboard near the access
road with the Sljeme logo on a tin board,
but this was not put up.
56
BEZ FORMALNE ZAŠTITE
Modernisations – Between Utopia and Pragmatism,
(ur.) Maroje Mrduljaš, Vladimir Kulić, Zagreb, 2012,
372-391.
2 Igor Duda, U potrazi za blagostanjem: o povijesti
dokolice i potrošačkog društva u Hrvatskoj 1950-ih i
1960-ih, Zagreb, 2005, 97, 102, 130.
3 Igor Duda (bilj. 2), 119.
4 HR DARI, JU 112, Narodni odbor općine Zamet 1955.1962., kut 103., Ing. Cvetko Premuš: Zašto gradimo
Autostradu Beogradski trg – Kantrida, u: Riječki list,
Rijeka, (1)1947, br. 107, str. 3., IVAN BAN, Stambena
izgradnja Rijeke, u: Čovjek i prostor, 6(1959), 85,
Zdenko Kolacio, Stambeni tornjevi u slici grada, u:
Čovjek i prostor, 6(1959), 82.
5 HR DARI, JU 169, Građevinski arhiv Skupštine općina
Rijeka 1945.-1990., jedinica 959, 1462, 1536 i 1615,
ZDENKO KOLACIO, Obala Jugoslavenske mornarice
u Rijeci, u: Čovjek i prostor, (9)1962, 113.
6 Općina Rijeka maksimalno je izašla u susret
investitoru: Sljeme je imenovano organom
upravljanja nad česticama u društvenom vlasništvu,
a za ostatak zemljišta je proveden postupak
eksproprijacije. Arhitektonski nacrti motela, kao i
popratna dokumentacija (dozvole i sl.), pohranjeni su
u Državnom arhivu u Rijeci - HR DARI, JU 169, jedinica
2163 i mapa 175 (jed. 8533).
7 T. T., Susret Komadina – Vidošević. Bivši hotel
Panorama hitno privesti svrsi, u: “Novi list”, Rijeka, 2.
10. 2013., Alenka Juričić, Prema postojećem idejnom
rješenju hotel Panorama trebao bi postati moderan
edukacijski centar, u: “Novi list”, Rijeka, 13. 5. 2008.
8 Termin prema: Luciano Bassauri, Dafne Berc,
Maroje Mrduljaš, Dinko Peračić, Miranda Veljačić,
Constructing an Affordable Arcadia, u: Unfinished
modernisations (bilj. 1)
NO FORMAL PROTECTION
The Rijeka motel today is, frankly, a ruin
under the ownership of the Croatian
Chamber of Commerce. Seeing the
object with its furniture displaced, its
installations plucked out, its windows
broken, its metal fences and doors filed
off, it’s difficult to recall the optimism of
the late sixties when its facade looked
upon the roaring World Championship
in motorcycle racing run on one of
the greatest runways of the former
Yugoslavia, for which Zdravko Bregovac
came up with the urban plan for a
sports centre and Preluk Motor Camp
at the foot of the mountain. The Motel
doesn’t have the formal status of a
Republic of Croatia real-estate cultural
property and is potentially vulnerable
to interventions from future investors.
The Regional Conservation Office
at the Ministry of Culture had shown
some initiative in previous times, but no
concrete measures were undertaken,
59
1 Ines Tolić, The Borba for Architecture, u: Unfinished
the project, its construction was halted as
a compromise. The expenses related to
the energy supply infrastructure (a new
substation, central heating system, gas
station for the kitchen stoves), as well
as the proverbial delays in construction
works which only came to a close in 1965
and prompted many complaints from the
technical review commission, seem to
have additionally exhausted the patience
and financial capabilities of Sljeme, which
meant that the complex ended up being
built without an envisioned series of
weekend houses (storey bungalows)
such as those which had been made for
the Trogir version of the motel.
58
novih, ekskluzivnih sadržaja, potpuno
na liniji sličnih planova Grada Rijeke da
se na mjestu dotrajalog auto-kampa
Preluk podignu luksuzni hoteli i nautička
marina. U svakom slučaju, nepovratno su
prošla vremena “priuštive Arkadije“8 za
radničku klasu koja je zasluženi godišnji
odmor mogla provesti za volanom fiće
zaustavivši se na noć-dvije u modernom
motelu osmišljenom za crtaćim stolom
vrhunskog arhitekta.
not even in the form of issuing a formal
document guaranteeing preventative
conservation. Recently, a proposal has
been brought up by the County Chamber
of Commerce in Rijeka concerning the
potential revitalization of the complex as
a congressional and educational centre
according to the plan submitted by the
Randić-Turato architectural office which,
at least in spirit, respects the integrity
and the designed values of Vitić’s work.7
However, should the HGK (or a private
contractor) be trusted to keep their word
when, if it comes to realising the project,
or should the offices of the Ministry
of Culture do their part of the work on
time? The danger is real, because the
current considerations about the future
of the former motel are loaded with
unabashed appetites for capitalizing
on its outstanding location through
new, exclusive facilities, wholly in line
with similar plans of the City of Rijeka
to develop a luxury hotel and a nautical
marina in place of the run-down Preluk
auto-camp. In any case, the times of an
“affordable Arcadia” 8 for the working
class which could spend their welldeserved vacation behind the wheel of a
Fiat, stopping only for a night or two in a
modern motel developed at the drawing
board of a top-of-the-line architect, are
long gone.
1 Ines Tolić, The Borba for Architecture, in: Unfinished
Modernisations – Between Utopia and Pragmatism,
edited by Maroje Mrduljaš and Vladimir Kulić, Zagreb,
2012, p. 372-391
2 Igor Duda, U potrazi za blagostanjem: o povijesti
dokolice i potrošačkog društva u Hrvatskoj 1950-ih i
1960-ih, Zagreb, 2005, p. 97, 102, 130
3 Igor Duda (note 2), p. 119
4 HR DARI, JU 112, The People’s Committee –
Municipality of Zamet 1955-1962., kut 103., Ing. Cvetko
Premuš: Zašto gradimo Autostradu Beogradski trg –
Kantrida, in: Riječki list, Rijeka, (1)1947, No. 107, p. 3., Ivan
Ban, Stambena izgradnja Rijeke, in: Čovjek i prostor,
6(1959), 85, Zdenko Kolacio, Stambeni tornjevi u slici
grada, in: Čovjek i prostor, 6(1959), p. 82.
5 HR DARI, JU 169, Building Archive of the Rijeka
Assembly of Municipalities 1945.-1990., units
959, 1462, 1536 and 1615, Zdenko Kolacio, Obala
Jugoslavenske mornarice u Rijeci, in: Čovjek i prostor,
(9)1962, p. 113
6 The Rijeka Municipality invested all efforts in
assisting the investor: Sljeme has been appointed the
management body of plots in public ownership, while
expropriation procedure has been conducted for the
rest of the land. The architectural blueprints of the
motel, as well as the accompanying documentation
(permits etc.), are stored in the Rijeka National
Archives - HR DARI, JU 169, unit 2163 and file 175 (unit
8533).
7 T. T., Komadina – Vidošević meeting. Bivši hotel
Panorama hitno privesti svrsi, in: Novi list, Rijeka, 2/
10/2013, Alenka Juričić, Prema postojećem idejnom
rješenju hotel Panorama trebao bi postati moderan
edukacijski centar, in: Novi list, Rijeka, 13/5/2008
8 Term according to: Luciano Bassauri, Dafne Berc,
Maroje Mrduljaš, Dinko Peračić, Miranda Veljačić,
Constructing an Affordable Arcadia, in: Unfinished
modernisations (note 1)
Motel u Preluku, aktualno stanje, fotografija: Lidija Butković- Mićin (2013)
The motel in Preluk, current state, photo by Lidija Butković- Mićin (2013)
61
60
Motel Trogir, detalj, foto: Duška Boban (2013)
Motel Trogir, detail, photo by Duška Boban (2013)
62
63
Predmet analize bilo kojeg arhitektonskog
opusa nije (i ne smije biti sama) građevina,
već intelektualna polazišta vezana uz
građevinu u društvenom okruženju: grad,
društvo, kulturna povijest, stanovnik,
naručitelj i naposljetku, indirektno
i sam arhitekt.
The spirit
of an artwork
Duh
djela
Sandra
Uskoković
When considering any architectural
opus, the subject of analysis is not (and
should never be) a particular structure
itself, but rather the intellectual starting
point from which the structure is
envisioned within its social surroundings:
the city, society, cultural heritage, the
residents, the client and ultimately, the
architect in an indirect manner.
The history of architecture has, until
modern times, manifested itself as an
evolution of the level of awareness
and considerations given to space, the
consciousness of the spiritual essence
of spaces made by us and intended for
us, as well as of considerations of works
which were always inspired by the most
common function of living. There is no
such thing as a divide between traditional
and modern architecture, there is only
good architecture and bad architecture,
living architecture and dead architecture.
Consciousness and cognition on the
part of architects regarding the fact that
buildings do not “live” an isolated “life”, but
that they are a part of an economic, social
and physical environment, increased
greatly during the 1960s with the
development of “urban awareness” about
every building being “responsible” for its
relations with its immediate surroundings.
Post-war tourism in this period was a
notable source of income on the Adriatic
coast, but also a significant determining
factor in landscaping and efforts to
raise the standards of urban living.
Through changing space, tourism-related
construction had also transferred and
interpreted its values, which created
an opportunity to affirm the culture it
was contributing to. Unfortunately, the
shaping of the Adriatic seaside and
landscape did not always show creative
attributes which would synthetisize
the previously existing values, and the
most negative treatment of the space
in question had manifested in a type of
tourism-related construction marked
65
Svijest i spoznaja arhitekata da
građevine ne “žive“ izolirano, već da
su dio ekonomske, društvene i fizičke
okoline, naglo je porasla tijekom 1960ih godina kad se javila nova “urbana
svijest“ o tome da je svaka građevina
“odgovorna“ za odnos s neposrednim
ambijentom. Poslijeratni turizam je
u navedenom periodu bio značajan
čimbenik privređivanja na Jadranskoj
obali, no i značajna determinanta
oblikovanja prostora, kao i podizanja
razine urbanog življenja stanovništva.
Turistička je izgradnja naime oblikujući
prostor ujedno i prenosila te tumačila
njegove vrijednosti, čime je doprinosila i
mogućnosti afirmiranja kulture. Nažalost,
oblikovanje jadranskog prostora i krajolika
nije uvijek nosilo kreativne značajke
koje bi sintetizirale zatečene vrijednosti
prostora pri čemu se najnegativniji oblik
djelovanja prema istom prostoru odrazio
u tipu tradicionalne turističke izgradnje
koju je obilježavala disproporcioniranost
i glomaznost volumena. Navedeni tip
izgradnje potvrdio se kao vrsta agresije
prema krajoliku umjesto iskaza ideje
rasta i ritmizacije, koje jadranski
prostor zahtijeva.
The paradigm of the
anthropocentric vision
64
Povijest arhitekture nam se sve do novog
vremena zapravo otkriva kao razvoj
svijesti i mišljenja o prostoru i u prostoru,
svijesti o duhovnom biću prostora
stvaranog od nas i za nas, o djelu koje je
uvijek poticala najobičnija funkcija življenja.
Ne postoji tradicionalna ili moderna
arhitektura, postoji samo dobra i loša, živa
i mrtva arhitektura.
Arhitekt Ivan Vitić je u poslijeratnom
razdoblju na području hotelske izgradnje
ostvario nekoliko iznimno značajnih
arhitektonskih ostvarenja i to paviljonskog
modela hotela. Na pejsažno osjetljivom
položaju, Vitić je uspio postaviti građevine
koja su pridonijele osnovnoj fizionomiji
tradicionalnog ambijenta, a da pri tome
nije pravio ustupke prema prošlosti.
Motelski kompleks u Trogiru je osmislio
kao slikovito “naselje“ malih građevina,
humanih proporcija i funkcija, gotovo
urbanistički povezanih u cjelinu, a u skladu
sa zatečenom pejsažnom tradicijom.
S morfološkog aspekta, Vitićeva hotelska
arhitektura je krajnje humanizirana i
prilagođena ambijentu, o čemu najbolje
svjedoči projekt odmarališta u Baškoj
Vodi (1962.) gdje interpretira strukturu
dalmatinskog sela, tradicionalnih
graditeljskih vrijednosti, u razdoblju
kada su se po Jadranskoj obali još gradili
masivni kubusi hotela. Oblikovanje i
smještaj trogirskih motela omogućavaju
doživljaj neposrednog ambijenta prirode
Motel Trogir, bungalovi, detalj, foto: Duška Boban (2013)
Motel Trogir, bungalows, detail, photo by Duška Boban (2013)
Paradigma antropocentričnog
vizionarstva
by disproportionality and bulky volume.
This type of construction has proven
to be a form of aggression towards the
landscape instead of an expression
of the idea of growth and rhythmicity
demanded by the Adriatic space.
In the post-war period, the architect
Ivan Vitić realized several outstandingly
notable works of architecture designed
according to the pavilion hotel model.
Working in a sensitive location with
respect to landscaping, Vitić managed
to erect buildings that contributed to
the basic makeup of the traditional
environment, while avoiding any
unnecessary concessions to the past. He
envisioned the motel complex in Trogir
as a picturesque “settlement” of small
Motel Trogir, foto: Duška Boban (2013)
Motel TRogir. Photo by Duška Boban (2013)
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Vitić je naglašavao reprezentaciju
društvenog i komunalnog života, oblikujući
građevine koje su više od zadovoljenja
funkcionalne potrebe. U želji da prevaziđe
stilističke konvencije, on je umjesto
imitativnih struktura koje su se tad
gradile, krenuo u potragu za skrivenim
strukturama, koja je za polazište zapravo
imala estetsku motivaciju, no uključujući
i ideju utilitarnosti i reprezentacije. Kod
Vitića je definiranje stila bila borba da
se dade značenje realnosti koje je
utjelovljeno u kulturnoj tradiciji, stvarajući
pri tome arhitekturu na čijim su se
površinama izražavale reprezentacije
ideja, te refleksivna realnost koja
The architecture of the post-war period
to which the Vitić hotels belong has
unfortunately not yet attained historical
status and is not yet perceived as
an integral part of the core cultural
heritage. His works in the field of
tourism construction are a paradigmatic
testament of an anthropocentric vision,
as opposed to the main direction
and tendencies of post-war tourist
construction which had been dominated
by the disproportionate and insensitive
volume of the tourist facilities relating
aggressively to the landscape. Vitić’s
individualistic approach towards the
landscape brought a new, added benefit
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Arhitektura poslijeratnog razdoblja kojem
pripadaju Vitićevi hoteli nažalost još nije
postala povijesno pamćenje, svojina
cjelovitog duhovnog i kulturološkog
obzorja. Vitićeva ostvarenja na području
turističke izgradnje paradigmatsko su
svjedočanstvo antropocentričnog
vizionarstva, s obzirom na glavni smjer i
tendencije poslijeratne turističke izgradnje
u kojoj su prevladavali disproporcionalni i
nesenzibilni volumeni turističkih objekata,
agresivno se odnoseći prema krajoliku.
Vitićev individualistički odnos prema
krajoliku je donio novu, dodatnu vrijednost
prostoru, prenoseći i tumačeći vrijednosti
zatečenog prostora i krajolika, na krajnje
senzibilan način.
buildings, tailored to meet the guests’
needs with respect to proportions and
function, which form a unit almost in
the sense of urban planning, while also
complying with the tenements of the
local landscaping tradition. As for its
morphology, Vitić’s hotel architecture
is wholly humanized and adapted to
its environment. The best example
would be the Baška Voda resort (1962.)
where he interprets the structure
of a Dalmatian village and traditional
builders’ values at a time when massive
hotel cubes were still being built on
the Adriatic coast. The shape and
placement of the Trogir motels enables
experiencing the natural environment
directly and creates a contact with
nature and the sea. The intimate scale
of human proportions and functions
contributed to a more imaginative and
more humane conceptualisation of the
hotel architecture in question, and it is
considered to be among the loveliest and
most attractive motel complexes on the
Adriatic coast.
poštuje vlastite unutarnje zakone. Uloga
takve arhitekture nije isključivo bila da
mijenja svijet, već da ga i predstavlja,
te služi sustavu oblikovanja društva,
što izdvaja Vitića od većine tadašnjih
suvremenika koji su često “dogmatično“
prihvaćali apsolutne vrijednosti moderne
arhitekture.
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ostvaren kroz paviljonsku izgradnju, koji
prate konfiguraciju terena i uspostavljaju
kontakt s prirodom i morem. Intimno
mjerilo ljudskih proporcija i funkcija
pridonijelo je slikovitom i humanijem
osmišljavanju ove hotelske arhitekture,
koja se smatra među privlačnijima i
ljepšim motelskim kompleksima na
Jadranskoj obali.
Arhitekti su oduvijek – kako u prošlosti
tako i danas – htjeli postati dijelom velike
Povijesti Arhitekture, pri čemu su umjesto
uvažavanja specifičnog konteksta kao
bitnog izvora inspiracije, često ignorirali
vizualne odrednice koje oblikuju kontekst
unutar kojeg nastaje nova izgradnja.
Vitićeva djela svjedoče da je moguće
biti dijelom Povijesti Arhitekture, a da
pri tom arhitektov “narcistički” ego ne
nameće arhitektonska ostvarenja koja
isključivo privlače pozornost na sebe,
već da uvažava i obogaćuje postojeći,
neposredni ambijent tj. kontekst u
kojem stvara.
Paradoks “modernog
kulturnog dobra“
Kao što moderna arhitektura predstavlja
izazov u filozofskom i teoretskom smislu
zbog svoga evolucijskog pristupa samoj
ideji umjetničkog djela, tako i njezino
tehničko ustrojstvo predstavlja poseban
izazov pri obnovi, i to uglavnom zbog
kratkotrajnog vijeka građevnog materijala
tih građevina.
Pitanje njihove restauracije postavlja
dodatan izazov u smislu kako nešto
obnoviti dugotrajnim materijalima kad
je sama bit tih građevina počivala
upravo na njihovoj ne-povijesnosti, tj.
njihovoj funkcionalnosti, iskoristivosti.
to space, transferring and interpreting
the qualities of the existing space and
landscape in a very emphatic way.
Vitić had stressed the representation
of the social and communal life while
shaping the buildings to be more than
a contractual fulfilment of functional
needs. Wishing to overcome stylistic
conventions, he eschewed the imitative
structures of the period in favour of
a search for hidden structures with
aesthetics as the primary motivation, but
including also the concepts of utilitarity
and representation. In his work, defining
the style was a struggle to give meaning
to a reality grounded in cultural tradition,
while creating architecture with surfaces
which reflect the representation of ideas
and a reflexive reality adhering to its own
inner laws. The role of such architecture
was not only to change the world, but
to also represent it, to serve the system
which shaped society, which sets Vitić
apart from most of his contemporaries,
who often took the absolutes of modern
architecture at face value and adopted
them in a rather “dogmatic” fashion.
Architects have always – in times past,
as well as today – wanted to become
part of the great History of Architecture,
which often led them to ignore the
visual determinants that shape the
context of new construction, instead of
acknowledging that specific context as
an important source of inspiration. The
works of Vitić attest that it is possible
for an architect to become a part of
the History of Architecture without his
“narcissistic” ego imposing architectural
oeuvres that primarily draw attention to
themselves, but rather by acknowledging
Ivan Vitić: bivši Dom JNA u Komiži iz 1961, otok Vis, arhivska fotografija)
Ivan Vitić: House of the Yugoslav People’s Army (1961), Island of Vis, archive photo
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Vitićev motel u Biogradu, arhivska fotografija
Ivan Vitić’s motel in Biograd, archive photo
Naime, začetnici modernog pokreta
su zagovarali prenamjenu ili rušenje
nakon što se građevina “istroši”. Dakle,
teoretski i filozofski gledano, obnova i
očuvanje moderne arhitekture suprotni
su principima njezinih začetnika.
Nadalje, pitanje restauracije originalnih
modernih materijala je otežano uslijed
nedostupnosti istih jer je riječ o
industrijskim proizvodima koji nisu bili
namijenjeni kao dugoročni proizvod na
tržistu, a i sama građevna industrija se
korijenito promijenila tijekom zadnjih
50 godina.
Prenamjena, koja se sastoji od ponovnog
osmišljavanja živućih funkcija i namjene
napuštene građevine, je jedna od
najparadoksalnijih, najsmionijih i najtežih
oblika valorizacije arhitekture. Naime, s
jedne strane takvim se činom spašava
građevina od stanja napuštenosti i
propadanja, no s druge ga se strane izlaže
svim mogućim modifikacijama integriteta
i autentičnosti koje nova funkcija zahtijeva.
Uzimajući u obzir “kratak” vijek trajanja
modernih materijala i građevnih sustava,
nužno je autentične vrijednosti iznalaziti
i u duhu djela, a ne samo u fizičkim
materijalima od kojih je djelo napravljeno.
Zaštita moderne arhitekture je relativno
nova tema, no treba je početi promatrati
kao doprinos kvaliteti, prepoznatljivosti i
različitosti povijesnog ambijenta. Pitanje
je onda gdje nalazimo vrijednosti te nove
arhitekture? Je li to u idejama povijesti
arhitekture ili u njihovu starenju zajedno s
cjelokupnom povijesnom arhitekturom?
Činjenica je da je moderna arhitektura
zapravo povijest ideja i zbog toga je
problematika valorizacije i očuvanja ove
arhitekture još složenija.
and enhancing the existing, immediate
environment, the context within which
the work is being created.
The “modern cultural
property” paradox
Just as modern architecture poses
a challenge in a philosophical and
theoretical sense due to its evolutionary
approach to the very idea of what
an artwork is, so does its technical
organization present a challenge when it
comes to restoration, mostly because of
the generally short lifespan of the building
materials involved.
The question of their restoration poses
an additional challenge when it comes to
answering the question of how to renew
something using longer-lasting materials
when the very essence of the buildings in
question lies in their non-historicity, their
functionality and usability. The originators
of the modern movement were in favour
of conversion or demolition once a
building had “run its course”. Therefore,
from the perspective of theory and
philosophy, restoring and preserving
modern architecture stands in opposition
to their principles. Furthermore, the
question of restoring the original modern
materials is made more difficult due
to their unavailability, as they were
not produced with long-term market
availability in mind, while the construction
industry itself changed thoroughly in the
past fifty years.
Conversion, which would consist of
deciding upon new living functions and
uses for an abandoned building is at
No, pitanje je kako danas pratiti ideje
kao što je “forma slijedi funkciju” kad
moderne građevine gube svoju originalnu
funkciju? Kako valorizirati tehnologije koje
su nekad bile inovativne i avangardne,
ali su trenutno istrošene, tj. iscrpljene?
Paradoks “modernog kulturnog dobra“
obuhvaća mnoge složene nedoumice po
pitanju “promjene i kontinuiteta”. Edukacija
javnosti, ali i profesije, osviješteni
investitori, kao i stvaranje senzibilnog
konteksta, predstavljaju izglednije razloge
za podizanje općih standarda kvalitetne
zaštite i obnove. Naposlijetku, bolje
razumijevanje intelektualnog i povijesnog
aspekta moderne arhitekture može
pridonijeti boljem očuvanju i osviještenosti
o potrebi zaštite.
Any process of identifying, acknowledging or evaluation “changes” architecture
and influences its definition or the
way we perceive it. Whether it’s a
mental process (an application of ideas
and concepts) or a physical one (the
methods of renovation and restoration),
both equally change our perception of
architecture.
Compared to the conservation and
restoration efforts related to earlier
historical architecture, the motive of
conservation when it comes to modern
architecture isn’t grounded in nostalgia,
Ivan Vitić: Habitation Unit in Laginjina street in Zagreb,
photo by Ludwig Kittinger (2014)
Ivan Vitić: stambeni sklop “Laginjina”, Zagreb,
fotografija: Ludwig Kittinger (2014)
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U usporedbi sa zaštitom i obnovom
ranije povijesne arhitekture, motiv
očuvanja moderne arhitekture ne počiva
u nostalgiji, već u značaju principa ove
arhitekture. Stoga, postojanje samog
objekta ne smije nikad zasjeniti motiv
njegova nastanka. Svrha očuvanja i
zaštite moderne arhitekture nije i ne smije
biti u samom činu obnove/restauracije,
već u modusima valorizacije kako bi se
osigurali temelji za njenu budućnost.
the same time one of the hardest, most
daring and most paradoxical forms of
architecture evaluation. On the one
hand, this would save the building from
abandonment and decay, on the other it
subjects it to all possible modifications of
its integrity and authenticity to meet the
demands of the new function. Taking into
account the “short” lifespan of modern
materials and construction systems, it
is necessary to find authentic qualities
in the spirit of the work, and not only
in the physical materials with which it
was made. Conservation of modern
architecture is a relatively new topic,
but we should start considering it as a
contribution to the quality, recognition and
diversity of the historical environment.
The question then is what do we decide
upon as the essential qualities of this
architecture? Are they among the ideas
from the history of architecture or in their
aging along with the entirety of historical
architecture? It is undeniable that modern
architecture is in fact a history of ideas,
which makes the topic of its evaluation
and conservation all the more complex.
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Svaki proces prepoznavanja, uvažavanja
ili valorizacije, “mijenja“ arhitekturu i
utječe na njenu definiciju tj. fizički oblik
ili naše poimanje o njoj. Bilo da je riječ
o mentalnom procesu (primjena ideja i
koncepata) ili fizičkom (metode obnove,
restauracije), oba podjednako preoblikuju
našu percepciju arhitekture.
but in the importance of the principles it
reflects and represents. Therefore, the
existence of the object itself should never
come before the motive of its creation.
The purpose of preservation and
conservation of modern architecture isn’t
and shouldn’t be restricted only to the act
of restoration, but also in the modes of
evaluation so that the foundations of its
future can be secured.
However, the question today is how to
keep track of ideas such as “form follows
function” now that modern buildings
are losing their original functions? How
to evaluate technologies which used
to be innovative and avant-garde once,
but are now outdated? The paradox of
the “modern cultural property” contains
many complex concerns when it comes
to “change and continuity”. Raising
public awareness as well as awareness
within the profession, having well
informed investors as well as creating
a relatable context, these present more
likely prospects for raising the general
standards of quality in the field of
conservation and restoration. In the end,
a better understanding of the intellectual
and historical aspects of modern
architecture can contribute to better
preservation and a raising of awareness
about the need for conservation.
Motel Trogir, detalj, fotografija: Marina Slunjski (2013)
Motel Trogir, detail, photo by Marina Slunjski (2013)
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It is not
future
that
always
comes
after
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Framing
structures
of the
collective
memory
IDIS TURATO
arhitekt / architect, Rijeka, Hrvatska / Croatia
Arhitektura
pasivne agresije
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The architecture of
passive aggression
Ovo je kratka priča o 30 godina
intenzivnog razvoja, i 20 godina pasivne
agresije nad turističkom arhitekturom
Kvarnera. Priča je nastala u jednom danu,
potaknuta prvenstveno inicijativom
udruge Slobodnih veza, i kao konceptualni
okvir za podršku njihovoj akciji Projekt
Motel Trogir. Temeljena je na jasnim, ali
vrlo osobnim slikama prošlog vremena
kao memorije djeteta iz porodice
arhitekata, osobnog poznanstva se
nekim od vinovnika turističke arhitekture
kvarnerskog područja 70-ih godina
dvadesetog stoljeća, te proživljenog
iskustva kao prakticirajući arhitekt
vremena tranzicije.
U početku smo živjeli, i strpljivo gradili
sustav koji je suštinski sadržavao i
živopisno oslikavao sve elemente
suvremenosti i progresa globalnog
turizma. Bili smo pioniri i graditelji nove
svjetske mreže, a arhitekti Vitić, Magaš,
Emili, Bregovac, i Čičin Šain snažno
su oblikovali arhitekturu kvarnerskog
turizma. Godinama smo strpljivo,
promišljeno i strastveno razvijali različite
inventivne tipologije koje i danas odišu
suvremenošću i kvalitetom. Arhitekt kao
protagonist novih mogućnosti, pokretač i
kreator novih ideja u turizmu bio je svima
na usluzi i potreban. Izvedene su stotine
građevina, realiziran bogat i slojevit okvir
turističke infrastrukture kao kvalitetna
podloga, ulog za buduće vrijeme i
generacije. Jedan od takvih snažnih
This is a short story of 30 years of
intensive development and 20 years of
passive aggression against the tourist
architecture of Kvarner. The story
was created in a single day, inspired by
the Loose Associations initiative, as a
conceptual framework for the support
to their Motel Trogir Project action. It
is based on clear, yet very personal
images of past times as the memory
of a child from a family of architects,
personal acquaintance with some of the
originators of the Kvarner area tourist
architecture of the 1970s, as well as
on my own experience as a practising
architect in the period of transition.
In the beginning we lived and patiently
built a system which essentially
contained and vividly reflected all the
elements of the contemporaneity and
progress of global tourism. We were
pioneers and builders of a new global
network, while the architects Vitić,
Magaš, Emili, Bregovac and Čičin Šain
decisively shaped the architecture of
Kvarner tourism. For years, we patiently,
studiously and passionately developed
different inventive typologies which still
today emanate contemporaneity and
high quality. As a protagonist of new
possibilities, as well as the initiator and
creator of new ideas in tourism, the
architect was at everyone’s service and
indispensable. Hundreds of buildings
were constructed and an opulent
and stratified framework of tourist
infrastructure was realised as a highquality foundation and contribution
temelja turističke arhitekture bio je lanac
Motela Sljeme arhitekta Ivana Vitića,
promišljenih, projektiranih i razmještenih
od Trsta, Umaga, preko Opatije, do
Biograda, i Trogira.
Ponekad, u nekim slučajevima i rijetkim
iznimkama, kada je argumentacija
At one moment – and to this day I do not
know who talked us into it exactly – we
gullibly assumed that all of that had to
be called into question. I should mention
that I remember that we hadn’t thought
this idea through well and carefully
enough. On the contrary, rather than
having thought it through, we heedlessly
entered a peculiar state of euphoria
and a time in which we, with pleasure,
unseen fervor and laconic argumentation
on the absolute necessity of transition
and change, ruined and destroyed all
that which took us so long to create. It
was a time of active and unstoppable
aggression against everything. The
arguments were strongly compelling,
and in many cases, many places and for
many people, decidedly deadly. Like an
easy-listening turbo-folk tune, the rhythm
of the claims about a different brand of
tourism got under our skin. The perverse
allure of “certified” tourist standards,
global experiences and a better life
which is guaranteed to go hand in hand
with star-based categorisation muddled
everyone’s vision. With its consultant’s
persuasion, this alluring offer was
supposed to lead us into a state of secure
tourist prosperity, to a place where we
“belonged all along”. Everyone’s words
were full of someone else’s wisdom,
assessments and experience, none of
which was verified or understood and,
most of all, nobody truly had any idea
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for future times and generations. One
of such strong foundations of tourist
architecture was the Sljeme motel chain
by architect Ivan Vitić, well-planned,
designed and arranged along the roads
from Trieste through Umag, Opatija and
Biograd to Trogir.
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U jednom trenu, još dan-danas ne znam
tko nas je točno na to nagovorio, ali
znam da smo lakovjerno povjerovali da
bi sve trebalo dovesti u pitanje. Važno
je napomenuti da pamtim kako o toj
ideji nismo dobro i trezveno razmislili.
Dapače, ne da nismo razmislili, bezglavo
smo ušli u čudno stanje euforije i vrijeme
kada smo sa zadovoljstvom, neviđenim
žarom i lakonskom argumentacijom o
sve potrebnoj tranziciji, promjeni, porušili
i uništili sve što smo dugo stvarali. Bilo
je to vrijeme aktivne i nezaustavljive
agresije nad svime. Argumentacija je bila
snažno zavodljiva, za mnoge slučajeve,
mjesta, i ljude uvjerljivo ubojita. Poput
kakve lake turbo-folk pjesme, ritam teza o
drugačijem turizmu uvukao se svima pod
kožu. Perverzna zavodljivost “provjerenih”
turističkih standarda, svjetskih iskustava,
te boljeg života koji sigurno dolazi u
paketu sa zvjezdanom kategorizacijom
svima su zamutili bistar pogled. Ta
lakovjerna ponuda, savjetnički uvjerljivo
trebala nas je uvesti u stanje sigurnog
turističkog blagostanja, mjesto gdje smo,
eto svi “oduvijek pripadali”. Svima su usta
bila puna nekih tuđih znanja, procjena i
iskustava koja iskreno nitko nije provjerio,
razumio, a još manje točno znao što
su i kamo nas vode. Niti jednog jedinog
trenutka nismo staloženo sagledali svoja
vlastita iskustva, osvrnuli se na svoje
dosege i ažurirali nakupljeno znanje koje
se godinama taložilo.
stručnosti bila toliko jasna da bi trebalo
nastaviti na vlastitim, već izgrađenim
temeljima, stvari bi samo jednostavno
zapele i stale. Nemoguće bi bilo išta
pokrenuti. Argument uvijek i predvidivo
isti. Standardi, norme, pravila ili trendovi
u današnjem svjetskom turizmu
ne mogu se uklapati u postojeće
okvire. Razbacivalo se građevinskom
argumentacijom o optimalnoj veličini
i cijeni hotela po sobi. Znanstveno se
elaboriralo o potrebnom, očekivanom,
idealnom broju noćenja, broju ljudi, broju
soba, broju brojeva. Konzultantski se
uvjerljivo dokazivalo veličinu ulaganja,
vrijeme vraćanja, te pripadajuće pluseve
i minuse. Sve bi se to na kraju serviralo
i ukrasilo marketinškom demagogijom,
preciznom instant manipulacijom
koja obavezno ide u ovom paklenozavodljivom paketu. Uspjeli smo sami
sebe uvjeriti da se ova nametnuta, tuđa
istina dešava upravo nama na našem
“Mediteranu kakav je nekad bio”.
U tim trenucima sad već zabrinjavajuće
i bespomoćne nevjerice, svjedočili smo
prepoznatljivom nizu argumentiranih
i demagoški neoborivih teza o sreći
turizma koja nam se jasno i otvoreno
nudi, a mi je eto jednostavno nećemo i ne
želimo prihvatiti.
I na kraju, posljednja faza. U slučajevima
daljnjeg argumentiranog definiranja
vlastitog, i logičnog puta razvoja, te
neprihvaćanja ovakvih teze nastao bi
tajac, muk, nedešavanje, pasivno agresivni
interval. Pasivno agresivno stanje koje
bi trošilo sve oko sebe, energiju, ljude,
mogući posao, rad, a na kraju vrijeme
i konkretnu kuću. Dobro i unaprijed
planirano stanje, određeno isprojektirano
vrijeme za učinkovitu i djelotvornu
pasivnu agresiju, devastaciju konkretne
what it was about or where it would lead
us. We didn’t take a single moment to
calmly reflect on our own experiences,
take a look at our own achievements and
systematize the layers of accumulated
knowledge which we had been piling
up for years.
Sometimes, in some rare, exceptional
cases, when expert opinion was
very clear on the fact that we should
keep building up on our own existing
foundations, things would just grind to
a halt. It was impossible to get anything
going. The argument was always,
predictably, the same. Standards, norms,
rules or trends in today’s world of tourism
can’t be made to fit within the existing
framework. Architectural arguments on
the optimal size and the per-room price of
hotels were also employed in abundance.
Scientific elaborations were made on the
required, expected and ideal number of
bookings, ideal number of customers,
number of rooms, number of numbers.
The scope of investment, return periods
and the accompanying pros and cons
were demonstrated with a consultant’s
persuasiveness. In the end, it would all be
presented adorned with heavy marketing
demagogy, targeted instant manipulation
which goes with any such devilishlyenticing deal. We managed to convince
ourselves that this forced, foreign truth
is happening to us in our “Mediterranean
as it once was”. In those moments of
an ever more worrying and helpless
disbelief, we witnessed the characteristic
series of well presented and “irrefutable”
demagogic claims of happiness through
tourism offering itself to us openly, while
we stubbornly refuse to accept it for no
good reason.
The text was originally published on
Idis Turato’s blog at:
http://www.idisturato.com/2013/12/01/arhitekturapasivne-agresije
105
Tekst je izvorno objavljen na blogu Idisa Turata:
http://www.idisturato.com/2013/12/01/arhitekturapasivne-agresije
In the end, there was the final phase.
Further attempts of defining a solid and
logical progress path for ourselves and
not accepting the theses we were being
provided with would result in silence,
a quiet, a passive-aggressive interval,
not an action but inaction. The passiveaggressive state which would take its
toll on everything around us – energy,
people, potential work done, labour, and
ultimately, time and any particular house.
A solid and accounted for state, a well
defined time frame for effective passive
aggression, the devastation of a particular
house, falling apart and dissipating in
its own neglect. All of this could be the
subsumed under the final argument of
the consultants for an inevitable, new
project. It was easy prey and a final
argument for tearing down, legalization
and investment, the demagogue’s
terms we hear so often lately. Like an
abandoned ship, an unworked field, an
untended orchard, an abandoned child,
things and houses quickly waste away.
They die in the end. So too has the
Sljeme motel near Opatija, the work of
the architect Ivan Vitić, wasted away
forever.
104
kuće, koja se urušava, i nestaje u vlastitoj
nebrizi. Konačni argument konzultanata
za neizbježan, novi projekt. Lak plijen i
konačni argument za rušenje, legalizaciju,
i investiciju, demagoške termine koje
često slušamo u posljednje vrijeme.
Poput napuštenog broda, nepokošenog
polja, neobrađenog voćnjaka, napuštenog
djeteta, stvari i kuće brzo propadaju. Na
kraju umiru. Tako je umro i zauvijek propao
motel Sljeme pored Opatije arhitekta
Ivana Vitića.
Levan Asabashvili
arhitekt / architect, UrbanReactor, Tbilisi, Gruzija / Georgia
107
106
U postsovjetskim i postsocijalističkim
zemljama, izgrađeni prostori iz razdoblja
Moderne, svojom unutarnjom logikom
raspolaganja zemljištem, funkcionalnošću,
prostornom organizacijom, odnosom
prema materijalu i estetskim kvalitetama
– u svojoj cjelovitosti, artefakti su kulture
planiranja koju je pokretao društveni ideal.
Svjedoci su to političke ekonomije koja
je imala drugačije temelje i aspiracije
od ove današnje. Utoliko su ovi prostori
materijalizirani napori nekadašnjih ideala.
To je činjenica, bez obzira na to koliko
se ti ideali činili naivnima, nezrelima
ili netočnima iz današnje kritičke
perspektive.
Upravo zahvaljujući spomenutim
osobinama, ti se prostori danas ne
uklapaju u trenutačnu logiku proizvodnje
prostora. U svojoj cjelovitosti, oni su
abnormalne greške u urbanističkoj
imaginaciji novih upravitelja, developera
i poduzetnika. Upravo zato, svjesno ili
nesvjesno, oni su meta napada, na svaki
mogući način.
U svojoj knjizi “Doktrina šoka” Naomi Klein
opisuje važnost očuvanja kolektivnog
sjećanja iz razloga učinkovitog otpora
šok terapiji slobodnog tržišta i njegovim
posljedicama. Izgrađeni prostori iz
razdoblja moderne strukturni su
okviri koji čine neizostavni dio našeg
kolektivnog sjećanja, a njihovo uništenje
znači nestajanje ovih struktura i gubitak
epistemološki različitog prostornog
znanja. Zbog svega navedenog, pitanje
njihove adekvatne evaluacije i zaštite,
prvenstveno je političko pitanje.
In post-Soviet and post-Socialist
countries, Modernist-built spaces,
with their intrinsic land-use patterns,
functionality, spatial organization, modes
of material assemblage and aesthetic
qualities – are, in their entirety, the
artefacts of a planning culture with
a social ideal as its generative core.
They are the witnesses of a political
economy with different foundations and
aspirations than that of today. These
spaces are materialized efforts of past
ideals. It is a fact, regardless of how
plain, immature or inaccurate these
ideals and efforts could seem to the
critical observer retrospectively. Due
to these properties, such spaces turn
out to be inadmissible in the current
logic of the production of space. In
their entirety, they are abnormal errors
in the urban imagination of the new
administrators, real estate developers and
entrepreneurs. That is why, consciously
or unconsciously, they are the objects
of attack in every possible way.
In her book “The Shock Doctrine”,
Naomi Klein described the importance
of retaining collective memory in order
to achieve effective resistance to the
free-market shock therapy and its
consequences. Since Modernist-built
spaces are the framing structures
of a substantial part of our collective
memory, their destruction implies the
disappearance of these structures and
the loss of spatial knowledge with a
different epistemological background.
Therefore, the question of their adequate
evaluation and protection is primarily
a political affair.
Ruben Arevshatyan
The problem of preservation of the
late modernist architecture in the post
socialist societies year after year is
becoming more and more urgent issue.
Brilliant examples of the modernist
architecture from 1960s up to 80s that
are being destroyed or corrupted beyond
recognition in the neoliberal reality
within this past decade gave a ground
for the active public discourses around
various subjects like public space, history
rereading and in fine reconsideration of
the aesthetics of those buildings. One of
the key subjects of those discourses is
the focus on the philosophical aspect of
that architecture that was deriving from
particular ideological principles as well as
the specific sociopolitical, economical and
cultural setups specific for each context.
And one thing is clear that the philosophy
of that architecture is diametrically
opposing to the philosophy of neoliberal
architecture. So it makes clear that the
problems related to that architecture
are going beyond just the question of
preservation of cultural heritage but
through that architecture it’s possible
to address once again to the pure
concepts of other forms of social
organization and to understand the
logic of transformative processes of
the collective consciousness in the
neoliberal context.
109
Iz godine u godinu, problem očuvanja
kasne moderne arhitekture bivših
socijalističkih zemalja postaje sve
hitnijim. Blistavi primjerci moderne
umjetnosti iz razdoblja od 1960ih do
1980ih, koji bivaju uništeni ili korumpirani
do neprepoznatljivosti u neoliberalnom
društvu zadnjeg desetljeća, pružili su
temelj za razvoj aktivnih javnih diskurza
vezanih uz razne teme poput javnog
prostora, ponovnog iščitavanja povijesti
te temeljitog preispitivanja estetike tih
građevina. Jedna od ključnih tema tog
diskurza jest fokus na filozofski aspekt
spomenute arhitekture koja je potekla
kako iz određenih ideoloških principa
tako i iz specifičnih socio-političkih,
ekonomskih i kulturnih uređenja
karakterističnih za svaki pojedini
kontekst. Jedna stvar je jasna – filozofija
te arhitekture dijametralno je suprotna
filozofiji neoliberalne arhitekture. Stoga
je evidentno kako problemi vezani uz tu
arhitekturu sežu dalje od samog pitanja
očuvanja kulturnog naslijeđa. Kroz
navedenu arhitekturu moguće je iznova
pristupiti čistim konceptima drugih oblika
društvene organizacije te razumjeti logiku
transformativnih procesa kolektivne
svijesti unutar neoliberalnog konteksta.
108
umjetnik, likovni kritičar i neovisni kustos / artist, art critic and independent curator
Erevan, Armenija / Yerevan, Armenia
Ekaterina Shapiro-Obermair
111
110
urednica knjige “The Great Moscow, that never was”, umjetnica, ko-kustosica izložbe
“Sovjetski modernizam 1955-1991. Nepoznate priče”, Beč, Austrija /
editor of the book “The Great Moscow, that never was”, artist, co-curator of the exhibition
“Soviet Modernism 1955-1991. Unknown Stories”, Vienna, Austria:
Vjerojatno zbog svoje usmjerenosti ka
funkcionalizmu i svoje asketske estetike,
moderna umjetnost se generalno još
uvijek bori da bude prihvaćena kao
“punopravna” umjetnost, kako od strane
šire javnosti tako i povremeno od strane
stručnjaka. Često se zaboravlja kako
su najbolji primjerci ove arhitekture bili
proizvod istaknutih kreativnih – kako
kolektivnih tako i individualnih – te
povremeno golemih financijskih resursa.
Konstruirane za očekivani životni vijek
od oko pedeset godina, ove građevine
hitno trebaju stručan pristup i zaštitu.
Nemoguće je, a također i nepotrebno,
očuvati cjelokupno moderno naslijeđe.
Međutim, gubitak njegovih istaknutih
primjeraka bilo bi nemoguće nadomjestiti.
Probably because of its orientation to
functionalism and its ascetic aesthetics
the modernist architecture in general is
still struggling for its acceptance as “fullfledged” art by the wider public as well
as now and then by the authorities. One
forgets that quite often, that in its best
examples this architecture was a product
of distinguished creative – collective and
individual – and sometimes immense
financial resources. Constructed for
the expected useful life of around 50
years these buildings urgently need a
competent handling and protection.
It´s not possible and also not necessary
to save the whole modernist heritage.
A loss of the prominent examples would
be irreplaceable.
Maroje Mrduljaš
arhitekt, teoretičar arhitekture / architect, architectural theoretician,
Zagreb, Hrvatska / Croatia
a motel u Biogradu je preoblikovan do
neprepoznatljivosti.
113
The series of motels by Ivan Vitić
along the Adriatic Highway: in the
close proximity of Rijeka, Biograd and
Trogir there are unique examples of a
specific tourism typography, products
of urbanization processes pertaining
to the Adriatic coast spurred by the
development of mass tourism which
started in the first half of the 1960s. A
concise and consistent architectural
language of these motels is consistent
with some of the other great works by
Vitić: the residential block in Laginjina
Street in Zagreb or the former military
barracks of the Yugoslav People’s Army
in Šibenik and Komiža, with which it
shares a Mondrian-inspired approach to
facade composition. The rapport with the
context, evident in Vitić’s use of stone,
links the motels to his earlier works such
as the Pioneer Town in Zagreb. In the
context of the author’s opus, the motels
in the series stand out as harmoniously
composed micro-zone ensembles which
include accommodation facilities in units
separate from the main building. Each
ensemble is constructed in accordance
with the local features of the plots and
the surrounding topography. In the Trogir
case, the flat terrain steered Vitić towards
a particularly precise composition of
cubic and elongated forms, by which
he achieved an outstanding balance
between the forms and the space
between them. The disposition of the
accommodation facilities, whereby they
alternate between “full” and “empty”
in an identical rhythm, is particularly
Serija Vitićevih motela vrhunski je
primjer visokomodernističke arhitekture
u Hrvatskoj (za motel u Rijeci Vitić je i
nagrađen prvom nagradom novina Borba
što je u socijalističkoj Jugoslaviji bilo
najprestižnije arhitektonsko priznanje) koji
zaslužuje i internacionalnu valorizaciju, a
svakako i prikladnu obnovu koja će biti što
bliža izvornom projektu.
112
Serija motela Ivana Vitića uz jadransku
magistralu: pored Rijeke, Biograda i
Trogira jedinstveni su primjeri specifične
turističke tipologije i rezultat su procesa
urbanizacije jadranske obale pokrenutih
razvojem masovnog turizma započevši
od prve polovice 1960-ih. Sažet i
konzistentan arhitektonski jezik motela
sukladan je nekima od drugih najboljih
Vitićevih projekata: stambenom bloku
u Laginjinoj ulici u Zagrebu ili pak bivšim
Domovima JNA u Šibeniku i u Komiži
s kojima dijeli “mondrianovski“ pristup
kompozicijama pročelja. Također, razgovor
s kontekstom, čitljiv u korištenju kamena
povezuje motele i sa ranijim radovima
poput Pionirskog grada u Zagrebu. U
opusu Ivana Vitića serija motela se
ističu kao skladno komponirani mikrourbanistički ansambli koji uz centralnu
zgradu uključuju i smještajne kapacitete u
zasebnim volumenima-jedinicama. Svaki
ansambl složen je lokalnim datostima
parcela i topografiji. U slučaju Trogira,
ravan teren usmjerio je Vitića prema
vrlo preciznoj kompoziciji kubičnih i
izduženih volumena gdje je postignut
izvrstan balans između volumena i
prostora između. Naročito dojmljiva
dispozicija smještajnih jedinica u kojima
se u identičnom ritmu izmjenjuju “puno“
i “prazno“. Organizacija svih prostora
uzoran je primjer ekonomičnosti ali i
zanimljivih prostornih međuodnosa
u interijeru, kao i prijelaznih prostora
između unutarnjeg i javnog poput galerija
i natkrivenih prolaza. Nažalost, moteli u
Rijeci i Trogiru prepušteni su propadanju,
striking. The organization of all of the
spaces is exemplary of economic design,
but also of interesting interior spatial
interrelationships, as well as of transitional
spaces between the interior and exterior,
such as galleries and covered passages.
Unfortunately, motels in Rijeka and
Trogir are left to decay, while the one in
Biograd has been transformed beyond
recognition.
The series of Ivan Vitić’s motels is
a prime example of High Modernist
architecture in Croatia that deserves
international evaluation, and certainly
adequate reconstruction that will be as
close as possible to the original design
(for the motel in Rijeka, Vitić was awarded
first prize by the newspaper Borba – in
socialist Yugoslavia this was the most
prestigious architectural award).
Silva Kalčić
115
114
povjesničarka umjetnosti / art historian, Zagreb, Hrvatska / Croatia
Ivan Vitić je autor ikoničkih arhitektonskih
djela hrvatske moderne koji su način
brandiranja i vizualne prepoznatljivosti
hrvatske kulture. Posljednjih godina
prepoznaje se značaj suvremene
konceptualne i umjetnosti performansa,
kao i kompjuterski generirane i umjetnosti
u javnom prostoru koji Hrvatsku stavljaju
u poziciju progresivne i inovativne sredine
te umjetničkog centra, a ne provincije, od
polovice 20. stoljeća. Sličnu bi potenciranu
valorizaciju, koja bi bila dijelom kulturne
i znanstvene politike te ekonomske
(turističke) strategije zemlje, trebala
imati moderna hrvatska arhitektura.
Razvremenjenjem, zatvaranjem te
gubitkom izvorne namjene tih objekata
načinjenih od modernih materijala i
tehnologijom, Vitićevi su objekti najčešće
u stanju devastacije – zapuštanjem ili
radikalnom adaptacijom, za što je primjer
proširenje maksimirskog stadiona.
Projekt motela u Trogiru je izvanredan
primjer vernakularne interpretacije
(u skladu s autohtonim okolišem i uz
korištenje lokanog materijala a to je na
kraju svakako kamen), Internacionalnog
stila, istodobne s doktrinom racionalizma
Ernesta Nathana Rogersa. Kulturni
centar u Komiži Ivana Vitića je ove
godine obnovljen nakon uspješno
provedene akcije pod nazivom “Tisuću
pixela za Vitića” pokrenute od strane
Udruženje hrvatskih arhitekata, nakladnika
monografskog izdanja znanstvenostručnog časopisa “Arhitektura“
posvećenog ovom autoru (monografija,
Ivan Vitić is the author of some of the
iconic architectural works of Croatian
Modernist architecture which are a
Croatian cultural brand, as well as a part
of its visual recognizability. In the second
half of the 20th century, the importance
of contemporary conceptual and
performance art, as well as computergenerated and public space art, has
turned Croatia from a backwater in
these matters into a progressive and
innovative artistic environment. A similar
drive for recognition as a part of cultural
and scientific policies, as well the national
economic (tourism) strategy, should
also be enabled in Croatian architecture.
Being aesthetically denounced as a
symbol of their time, closed down and
having lost their intended function, Vitić’s
buildings are most often in a state of
devastation – caused either by neglect or
radical adaptation, an example of which
would be the expansion of the Maksimir
stadium.
The Trogir motel project is an outstanding
example of vernacular interpretation (in
accordance with the natural surroundings
and with the use of local materials, which
means stone in a karst environment), the
International Style and the application
of Ernest Nathan Rogers’ rationalist
doctrine. The Komiža Cultural Center
by Ivan Vitić has been restored this
year after a successful action called “A
Thousand Pixels for Vitić” run by the
Croatian Architects Association, the
Vitićev motel u Trogiru za lokalnu je
sredinu jednako važan dio identiteta kao i
srednjevjekovni i renesansni spomenici.
publisher of the monograph issue of the
interdisciplinary magazine “Architecture”
dedicated to the author (the monograph,
of which I was Executive Editor, was
published in December 2006). However,
private donations cannot be the only
source of funding for the restoration of
Modernist monuments, most of which
are in a state of intense decay due to
dilapidation and vandalism.
Vitić’s motel in Trogir is important to the
local society and a part of its identity as
much as the medieval or renaissance
monuments are.
116
čiji sam bila izvršni urednik, objavljena
je u prosincu 2006. godine). No privatne
donacije ne mogu biti jedini način obnove
spomenika moderne, u stanju intenzivnog
propadanja uslijed delapidacije i
vandalizma.
Motel Trogir, detalj, foto: Marko Salapura (2013)
Motel Trogir, detail, photo by Marko Salapura (2013)
119
118
Motel trogir:
it is not future that
always comes after
Citizens’ campaign for the protection of
the architecture of Socialist Modernism
The case of
MOTEL TROGIR, Croatia
121
120
As one of the partners in the international
collaborative project SPACES (20122014), funded by the EU through the
Eastern Partnership Culture Programme,
slobodne veze / loose associations took
part in a three-year endeavour of joining
artists and activist communities from
Tbilisi, Yerevan, Kyiv and Chisinau, in order
to support their efforts at defending
public goods, especially focusing on the
public space problematics.
In 2012, during the first SPACES public
space programme in Tbilisi, the local
architects’ collective Urban Reactor
presented the DOCOMOMO initiative
(a non-profit organization devoted to
the documentation and conservation
of buildings, sites and neighbourhoods
of the Modernist movement) in relation
to their own activities in the local
context. Since then, there has been
intense collaboration and exchange
between loose associations and several
organizations and individuals dealing
with the research of Soviet Modernism
in architecture; this was also, to a great
extent, the topic of the second SPACES
programme “Public Talks” in Yerevan.
Soon after, loose associations / slobodne
veze, with a group of local experts and
activists, started the campaign for the
protection of MOTEL TROGIR in southern
Croatia, very much developed in relation
to the SPACES project protagonists’
actions, whose texts in support of the
campaign are featured in this publication.
At the beginning of 2013, a group of
citizens gathered around the slobodne
veze / loose associations platform
started the campaign for formal
protection of the Motel as part of the
architectural heritage. At the end of
2013, wide international support and
significant media coverage, along with
numerous activities in the course of the
campaign, led to the entry of the Motel
in the Registry of Protected Cultural
Goods kept by the Croatian Ministry of
Culture. However, this was just a first step
towards actual protection of this building.
As a part of the protection campaign,
extensive research was done in
collaboration with several experts from
the University of Rijeka and the Zagreb
Faculty of Architecture, along with the
launch of international exchange.
This bilingual booklet contains several
texts sharing the experience of the
citizens’ campaign for the protection
of mid-20th century Modernism in
Croatia, emphasizing the role of active
citizenship in dealing with the questions
of spatial politics.
As part of the campaign, in December
2014, public space interventions will be
initiated in the city of Trogir, under the
title MOTEL TROGIR: IT IS NOT FUTURE
THAT ALWAYS COMES AFTER. This
publication will be widely disseminated in
Croatia and internationally.
Izvori / Sources:
Tekst Melite Čavlović /
Melita Čavlović’s text:
***(1965.), Jadranska magistrala, Rijeka-Split-Dubrovnik,
Zajednica poduzeća za ceste SRH-Zagreb
***(1965.), Turističke novine, Organ turističkog saveza
Jugoslavije, XIII (369), Zagreb
*** (1967.), Katalog AB Vitić, Zagreb
*** (1967.), “Sljeme“ List radnog kolektiva
poljoprivredno-industrijskog kombinata Sljeme-Zagreb,
V(3;8), Zagreb
Duda, I. (2005.), U potrazi za blagostanjem, O povijesti
dokolice i potrošačkog društva u Hrvatskoj 1950-tih i
1960-tih, Srednja Europa, Zagreb
Geić, S. (1982.), Društveno ekonomske komponente
razvoja turizma na području Trogira, Muzej grada,
Trogir
123
122
Juras I., Uchytil, A., Štulhofer, A. (2007.), Arhitekt Ivan
Vitić, Acta Architectonica, Atlas arhitekture – Arhiv
arhitekta 6, Arhitektonski fakultet Sveučilišta u
Zagrebu, Zagreb
Ilustracije uz tekst Melite Čavlović /
Images credits, in the text by Melita Čavlović:
*** (1967.), “Sljeme“ List radnog kolektiva
poljoprivredno-industrijskog kombinata Sljeme-Zagreb,
8: 7
*** (1967.), Katalog AB Vitić, Zagreb: 7
(***1968.), The Blue Adriatic, [ur. Zdunić, D.], “Spektar“,
Agencija za fotodokumentaciju, Zagreb
***(1965.), Jadranska magistrala, Rijeka-Split-Dubrovnik,
Zajednica poduzeća za ceste SRH-Zagreb: 112
*** (1967.), Katalog AB Vitić, Zagreb: 8
Delalle, I. (1983.), Trogir i okolica, Turistkomerc, Zagreb
Osobni arhiv autorice
KOLOR FOTOGRAFIJE /
COLOUR PHOTOGRAPHS FEATURED
IN THE PUBLICATION, CREDITS:
Duška Boban (1, 2, 3, 4, 6, 7, 8, 9, 10, 11)
Iris Meder (5)
Marko Salapura (12)
IMPRESSUM
MOTEL TROGIR:
Nije uvijek budućnost to što dolazi
MOTEL TROGIR:
it is not future that always comes after
125
124
2014
Izdavač / PUBLISHER:
Fotografije / Photographs:
Slobodne veze/Loose Associations,
contemporary art practices
Zagreb
Duška Boban
Iris Meder
Igor Duda
Petra Vidović
Marina Slunjski
Saša Šimpraga
Ludwig Kittinger
Lidija Butković Mićin
arhivske fotografije
Internet stranica / Web page:
http://slobodneveze.wordpress.com
Kontakt / Contact maii:
slobodne.veze@gmail.com
Motel TROGIR
tim / TEAM:
naslovna fotografija / cover photo:
Nataša Bodrožić
Lidija Butković Mićin
Diana Magdić
Saša Šimpraga
Duška Boban
Urednici / Editors:
Prijevod / Translation:
DIZAJN / Design:
Rafaela Dražić
Nataša Bodrožić & Saša Šimpraga
Ena Prokić
Prilozi / Contributors:
Korektura / Proofreading:
Melita Čavlović
Lidija Butković Mićin
Sandra Uskoković
Saša Šimpraga
Nataša Bodrožić
Levan Asabashvili
Ruben Arevshatyan
Maroje Mrduljaš
Silva Kalčić
Idis Turato
Ekaterina Shapiro-Obermair
Lidija Butković Mićin
This publication has been made
with the support of:
Zahvale / Acknowledgements:
The Ministry of Culture of the Republic of Croatia
The European Union through the Eastern Partnership
Culture Programme/SPACES project
www.spacesproject.net
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126
This publication reflects the views of the authors only.
The European Union cannot be held responsible for any
use which may be made of the information contained therein.
Ruben Arevshatyan
Levan Asabashvili
Tamara Bjažić Klarin
Duška Boban
Jelena Botteri
Lana Bunjevac
Melita Čavlović
Rafaela Dražić
Igor Duda
Tadej Glažar
Ana Marija Ganza Habjan
Krunoslav Ivanišin
Tvrtko Jakovina
Silva Kalčić
Ira Karlović
Ana Kršinić Lozica
David Kabalin
Miroslav Katić (KO Trogir)
Ludwig Kittinger
Luka Korlaet
Jelena Kulušić
Tihana Ladović
Dubravko Lončarić
Marina Majić
Ivana Meštrov
Iris Meder
Niko Mihaljević
Maroje Mrduljaš
Luka Ostojić
Paola Stegić
Marko Salapura
Ekatarina Shapiro-Obermair
Marina Slunjski
Danijela Stanojević
Dolores Špika
Ana Šverko
Idis Turato
Sandra Uskoković
Petra Vidović
Ivan Zaninović
Michael Zinganel
Grad Zagreb
Grad Trogir
HRT
Grad mladih
Društvo Radovan / Muzej grada Trogira
(Dunja Babić, Danka Radić)
Ministarstvo kulture RH