"Arena Zagreb" PDF-a

Arena Zagreb
The Zagreb Arena
Ingra d.d., Zagreb, 2008.
M A ROJ E M R D U L JA Š
M A ROJ E M R D U L JA Š
Arena Zagreb,
od stvaranja
prema budućnosti…
The Zagreb Arena,
from Creation
to Future…
Svaka zgrada ima tri životna ciklusa koja su povezana u jedan vremenski kontinuiran tijek, ali su također i međusobno jasno odijeljena
i imaju sasvim različite karaktere. Prvi životni ciklus građevine odnosi
se na inicijativu njenog zasnivanja. On se u potpunosti odvija u sferi
ideje i apstrakcije, u razmišljanjima kreatora projekta: investitora i
projektanata. Jednom, kada je projekt u cijelosti završen, predaje se ​u
ruke graditelja čime započinje njezin drugi životni ciklus u kojem koncept poprima fizički oblik, a ideja se transformira u gradbeno tijelo.
I u ciklusu projektiranja i u ciklusu gradnje počinje se od tabule
rase – praznoga bijelog papira i tla parcele na kojoj zgrada treba
niknuti. I investitori, i projektanti i izvođači dobro poznaju taj osjećaj
uzbuđenja jer se u svakom projektu upuštaju u nepoznato, ma koliko
im postupci i procesi nastanka zgrade bili već od ranije poznati.
Tako je svaki projekt priča za sebe jer svaka građevina ima svoj vlastiti, jedinstveni život, svoju posebnost i naposljetku identitet.
Jednom kada je zgrada završena, ona ulazi u svoj treći životni
ciklus u kojem dobiva svoj puni smisao. Time završavaju dva formativna perioda zgrade i započinje dugotrajni period zrelosti, sudjelovanja u životu grada i društvene zajednice. No, njena pred-povijest
često ostaje skrivena, a njena egzistencija samorazumljiva, kao da je
postojanje neke zgrade činjenica dana sama po sebi. Ponekad ostaje
zapamćeno ime arhitekta, ponekad naručitelja, no za korisnike proces
njenog nastanka uglavnom ima malo ili nikakvo značenje, a brojni
napori uključeni u njenu izvedbu ostaju zaboravljeni.
Arena Zagreb poduhvat je velikih razmjera i velikog mjerila, javna
građevina kakva u Zagrebu i Hrvatskoj nije sagrađena desetljećima.
Njen formativni period, koji još traje dok se pišu ovi redci, u određenoj se mjeri odvija pred očima javnosti i medija, no malo tko, osim
neposrednih sudionika uključenih u njenu gradnju, ima jasan i cjelovit uvid u uzbudljivost, složenost, ozbiljnost i dramatičnost njenog
uobličavanja i materijalizacije, kao što se premalo zna o entuzijazmu
i posvećenosti zadatku svih onih koji skrbe za njenu budućnost prije
nego što se preda na korištenje građanima Zagreba i Hrvatske.
Monografija o Areni Zagreb jest svojevrsni memento, pripovijest ​
o suživotu zgrade u nastanku i svih onih koji su za taj nastanak
zaslužni. Ona je također i pokušaj da se dokumentira i javnosti približi
rad i suradnja mnogih struka uključenih u proces građenja, i to putem
govora u prvom licu jednine te svjedočanstva samih protagonista iz
projektnih ureda, s gradilišta i iz radionica, dakle ljudi čija lica i imena
inače uglavnom nisu eksponirana. Na neki način, ova monografija nije
samo priča o Areni Zagreb, nego i o građenju, arhitekturi i srodnim
disciplinama općenito, ispričana iz unutarnje perspektive.
Arena Zagreb i njeni stvaratelji zaslužuju takav memento iz mnogih
razloga. Gotovo da i nije potrebno isticati važnost takve građevine
za grad Zagreb, Hrvatsku, pa i regiju s obzirom na njen veliki kapacitet, višenamjensku funkciju i tehničku opremljenost. Mnoga događanja koja su do sada zaobilazila Zagreb, poput koncerata vrhunskih
4
glazbenika ili velikih sportskih događanja napokon su dobila
pri­kladni prostorni okvir. Za njen je nastanak posebno važna koncepcija javno­-privatnog partnerstva, modela koji je u svijetu jedan od
glavnih pokretača razvoja gradova i izvedbe kapitalnih projekta, no
u Hrvatskoj je novina koja tek daje prve rezultate. Svakako, suradnja
Republike Hrvatske, Grada Zagreba i Ingre na projektu Arene Zagreb
pokazala je da je javno-privatno partner­stvo naročito uspješan model
financiranja ključnih urbanih intervencija. Nadalje, graditeljsko rješenje Arene Zagreb je jedinstveni hrvatski proizvod, rezultat ovdašnjeg
znanja i kreativnosti te operativnosti i profesionalnosti građevinske
industrije. Također, sinergijski odnos svih sudionika u osmišljavanju
i gradnji Arene omogućio je da se u izuzetno kratkom roku osmisli
i izvede građevina na temelju dostizanja maksimalnog rezultata iz
postojećih resursa, da se kombinatoričkim razmišljanjem o dostupnim
graditeljskim sredstvima i rješenjima postigne gotovo nemoguće.
U tom smislu, Arena Zagreb je proizvod koji je po uspješnom i
realis­tičnom povezivanju kreativnosti i „operative” uzoran na općem
planu hrvatskog društva te može biti konceptualan model i za druga
područja industrije i drugih djelatnosti.
Svakako, u knjizi je teško sasvim vjerodostojno predočiti kompleksnost i opseg projekta, dinamičnost gradilišta i sva zbivanja koja obilježavaju nastanak ove građevine. Izostaje osjećaj fascinacije mjerilom zahvata na samom gradilištu, nije moguće reproducirati vibracije i
zaglušujuću buku strojeva, vrevu stotina radnika, prenijeti vrtoglavicu
koju izaziva visina na kojoj se odvijaju pojedini radovi. No, moguće
je ta iskustva posredovati u knjišku formu brižljivim pristupom temi:
mjesecima snimati tisuće fotografija, voditi razgovore s brojnim
zanim­ljivim sugovornicima različitih struka, stvoriti dramaturgiju unutar samog medija knjige i sklopiti mozaik kojim se nastoji opisati što
to znači projektirati i graditi. Zahvaljujući takvom mozaiku, formativni
period života Arene Zagreb ostaje trajno zabilježen i opisan, a protagonisti njenog nastanka govore o vlastitim iskustvima i doživljajima iz
perspektive konačnog cilja – prepuštanja Arene Zagreb njenom zrelom,
samostalnom životu.
Kao i sama građevina, i ova monografija je zajednički rad jer je
nastala u kontaktu ljudi koji su neposredno sudjelovali u izradi knjige i
samih graditelja. U tom smislu, autorstvo knjige je kolektivno, a prikazani fotografski motivi i tekstovi tek su vrh ledenog brijega cjelokup­
noga dokumentiranog materijala.
Želja je svih koji su sudjelovali u ovom projektu da Arena Zagreb
zaživi kao jedan od ključnih javnih gradskih projekta, a nadamo se da
je knjiga barem donekle uspjela zabilježiti brojne napore koji su poduzeti da se ta želja i ostvari.
excellence of its technical equipment. Many of the events that have to date
Every building has three life cycles, linked into a single continuous temporal
passed Zagreb by, like concerts by top musicians or great sporting events
flow, but also clearly demarcated from each other, with their own entirely
different characteristics. The first life cycle of a building refers to the initiative have at last obtained a suitable venue. Of particular importance for its origin
is the concept of the public-private partnership, a model that in the world
behind its foundation. It unfolds entirely in the sphere of idea and abstracat large is one of the main generators of city development and the perfor­
tion, in the considerations of the creators of the project, the client and the
mance of capital projects but that in Croatia is a novelty only just bearing
architects. Once the plan is fully completed, it is given over to the hands of
fruit. Certainly, the collaboration between the Republic of Croatia, the City
the builder, the start of the second life cycle, in which the concept takes
of Zagreb and Ingra on the Zagreb Arena project has shown that the publicon physical form, the idea is transformed into a building body. Both the
-private partnership can be a very successful model for the funding of key
design cycle and the construction cycle start off from a tabula rasa of bare
urban interventions. The architectural approach of the Zagreb Arena is a
white paper or the bare soil of the plot on which the building is to spring up.
unique Croatian product, the result of the knowledge and creativity of the
Clients, architects and contractors are very familiar with that thrill when in
place, the operational capacity and professionalism of the civil engineering
every project they embark into the unknown, however much the procedures
industry. The synergetic relationship of all the participants in devising and
and processes in the creation of a building are known to them beforehand.
building the Arena has enabled the extremely rapid design and construction
And so every project is a story all by itself, for every building has its own
of a building aimed at achieving maximum results from existing resources
unique life, its peculiarity, and ultimately its identity.
and, with a canny permutation of the existing building resources and
When the building is completed, it enters into its third life cycle, in which
approaches, pulling off the practically impossible. In this sense, the Zagreb
it acquires its full meaning. Thus the two formative periods are over, and
Arena is a product that in terms of a successful and realistic combination
the long-lasting period of maturity begins, of participation in the life of the
of creativity and operational capacity is exemplary at the general level of
town and the community. But its prehistory will often remain concealed, its
Croatian society and can be a conceptual model for other areas of industry
existence seemingly self-evident, as if the existence of some building were
and other activities.
a given fact in and of itself. Sometimes the name of the architect will be
It is certainly difficult in a book to give a veracious account of the comremembered, sometimes that of the client, but for the users, the process
plexity and scope of the project, the on-site dynamism and all the events that
that brought it into being has little or no meaning, and the numerous efforts
have marked the origin of this structure. What is missing is a sense of the fasinvolved in its production are forgotten.
cination with the scale of the operations at the very site, it is not possible to
The Zagreb Arena is an enterprise of major dimensions and on a grand
reproduce the vibrations and the deafening noise of the machinery, the bustle
scale, a public building the like of which has not been built in Zagreb or
of hundreds of workers, to convey the vertigo induced by the height at which
Croatia for decades. The formative period, which is still going on while these
some of the works are performed. But it is possible to mediate this experience
pages are being written, is to an extent unfolding before the eyes of the pubin book form with a heedful approach to the topic: taking photographs from
lic and the media, but few, except the immediate participants involved i​n the
the same angles for months, holding conversations with numerous interestconstruction, have a clear and complete insight into the excitement, t​ he coming dialogue partners of different trades and professions, creating a dramaplexity, gravity and drama of its shaping and materialisation, just as too little is
turgy within the book medium and putting together a mosaic to attempt to
known of the enthusiasm and dedication of those who pay heed to its future
describe what it has meant to design and build. Thanks to this kind of mosaic,
before it is handed over for the use of the citizens of Croatia and Zagreb.
the formative periods of the life of the Zagreb Arena will be permanently
A monograph about the Zagreb Arena is a kind of memento, a tale of
recorded and described, and the leading figures behind its creation talk of
the life shared by the building coming into being and all those who are to
their own experiences and perceptions within the perspective of the ultimate
be credited with this act of creation. It is also an attempt to document and
objective, dispatching the Zagreb Arena to a mature and independent life.
to familiarise the public with the work and collaboration of the many trades
Like the building itself, this monograph is also a team effort because it
and disciplines involved in the building process, through first person singucame into being as a result of the contacts between the people who directly
lar speech, the testimony of the actual protagonists, from the architectural
participated in the preparation of the book and the builders themselves. In
practices, the building site, the workshops; people, that is, whose faces and
this sense, the authorship of the book is collective, and the photographic
names are not usually in the public eye. In some way, this monograph is not
motifs and texts that are displayed are just the tip of the iceberg that is the
just a tale about the Zagreb Arena, but also about building as such, about
complete documentary material.
architecture and its kindred disciplines, told from the inner perspective.
It is the wish of all who took part in this project that the Zagreb Arena
The Zagreb Arena and the creative team behind it deserve this kind of
develops into one of the city’s key public projects, and we hope that this
memento for many reasons. It is hardly necessary to insist on the imporbook succeeds at least to a degree in recording the numerous efforts which
tance of such a building for the city of Zagreb, for Croatia, and the region
were made to bring that wish about.
in general, considering its capacity, the many uses it can be put to and the
5
Stvaranje
novih vrijednosti
Constructing
New Values
Osvrt predsjednika Vlade Republike
A Remark from the Prime Minister of the Republic of Croatia
Od dubrovačkih zidina do osječke Tvrđe, od šibenske katedrale do
znamenitog krova crkve svetoga Marka, arhitektura je uvijek svjedo­
čila o vremenu, prostoru i narodu koji je na tom prostoru stvarao
svoju povijest. Tako i u suvremenoj i suverenoj Hrvatskoj, nova zagrebačka Arena svjedoči o hrvatskoj zbilji u XXI. stoljeću.
Gledajući prema Zapadu, Arena je ujedno i simbol otvorenosti
naše zemlje prema cijelom svijetu. I doista će oči cijeloga svijeta biti
uperene u nju, u Zagreb i Hrvatsku, kada se na njezinim tribinama,
tijekom Svjetskog rukometnog prvenstva, susretnu navijači sa svih
kontinenata.
Neka te tribine ostanu zauvijek mjesto susreta i prijateljstva, te
snažnog i zdravog bodrenja. Neka Arena Zagreb bude trajni simbol
takvog uspjeha!
Arena Zagreb već sad nas na to upućuje. Pogled na Arenu sa
zagrebačkog Jaruna, koji je postao novi vizualni znak sportskog
života našega glavnog grada, kao da nas podsjeća na postignuća iz
prošlosti, iz koje izvire snaga i motivacija za buduće uspjehe.
O tom uspjehu svjedoči zagrebačka Arena, i to ne samo o
onom sportskom. Arena svjedoči o znanju i poduzetnosti naših ljudi.
Svjedoči o naprednoj zemlji s modernom infrastrukturom. S obzirom
na to da je izgrađena u isto vrijeme kad i dvorane u Splitu, Osijeku,
Zadru, Varaždinu i Poreču, ona također svjedoči o ravnomjernom
razvoju svih hrvatskih krajeva.
Arena svjedoči i o našoj sposobnosti za stvaranje novih vrijednosti. Svojom arhitektonskom ljepotom Arena je promijenila izgled
jednom od glavnih ulaza u grad i time pokazala put razvoja kroz inovaciju i izvrsnost.
Na tim je pretpostavkama Vlada Republike Hrvatske podržala
izgradnju Arene Zagreb i ostalih suvremenih sportskih dvorana
diljem zemlje, s ciljem daljnjeg razvoja ne samo hrvatskog sporta,
nego i gospodarstva i cjelokupnog društva. Na tim pretpostavkama
Vlada će i dalje pridonositi stvaranju potrebnih uvjeta za razvoj svih
potencijala Hrvatske i njenih građana.
From the city walls of Dubrovnik to the fortress in Osijek, from the cathedral
in Šibenik to the famous tiled roof of St Mark’s, architecture has always been
a witness to the time, space and the people who created their history in the
area. Similarly, the new Zagreb Arena is a witness to Croatian reality in the
21st century, in contemporary and sovereign Croatia.
Facing the West, the Arena is also a symbol of our country’s openness
to the whole world. And indeed, the eyes of the whole world will be directed
to it, to Zagreb and Croatia, when its stands become a meeting point for
supporters from all continents during the World Handball Championship.
Let these stands forever remain a place for meetings and friendships,
and vigorous and healthy support. Let the Zagreb Arena be a lasting symbol
of such success!
The Zagreb Arena is already telling us this. A gaze upon the Arena
from Zagreb’s Jarun lake, which became a new visual symbol of the sports
lifestyle of our capital, seems to remind us of our past achievements, from
which strength and motivation for future successes stem.
The Zagreb Arena is a witness to such successes, and this not merely
regarding sporting successes. The Arena is also a witness to the knowledge
and entrepreneurship of our people. It is a witness to an advanced country
with modern infrastructure. Since it was constructed at the same time as
sports halls in Split, Osijek, Zadar, Varaždin and Poreč, it is a witness to the
even development of all Croatian regions as well.
The Arena is also a witness to our capability of constructing new values.
With its architectural beauty, the Arena has managed to change the appearance of one of the principal entrances to the city, thereby showing the path
for development through innovation and excellence.
Based on these assumptions, the Government of the Republic of
Croatia gave support to the construction of the Zagreb Arena and other
modern sports halls throughout the country, with the aim of further developing not only Croatian sport, but also the economy and society generally.
The Government will continue to contribute, on this basis, to the creation of
the necessary conditions for developing the whole potential of Croatia and
its citizens.
Dr. Ivo Sanader, predsjednik Vlade Republike Hrvatske
Dr Ivo Sanader, Prime Minister of the Republic of Croatia
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Iza Ingre stoji više od pola stoljeća uspješnog
poslovanja u preko trideset zemalja svijeta. Mnogi
od osam stotina dosad izvedenih projekata bili
su veći i složeniji od Arene Zagreb, no niti jedan
nije bio toliko ograničen rokovima. Hidrocentrale,
bolnice, industrijski pogoni i slični objekti traže
veći angažman u smislu stručnih znanja, primjene
tehnologija ili samog načina građenja, ali imaju
i duži vremenski rok za realizaciju. Naš cilj nije
bio u 503 dana sagraditi običnu sportsku dvoranu
s kapacitetom od 15 000 mjesta. Željeli smo u
Zagrebu sagraditi jedinstvenu multifunkcionalnu
građevinu koja će s jedne strane doprinijeti kvaliteti
života građana kulturnim, sportskim i raznim ​
drugim događajima, a s druge strane postati
jedan od prepoznatljivih gradskih simbola svojom
jedinstvenom arhitekturom i dizajnom.
Ingra has successfully conducted business for more
than half a century in over thirty countries throughout
the world. Many of the projects executed so far were
larger and more complex than the Zagreb Arena, but
none was as limited by deadlines. Hydro power plants,
hospitals, industrial plants and similar facilities require
more engagement in terms of knowledge, application
of technology or construction itself, but also entail
longer deadlines for realisation. Our goal was not to
construct just a sports hall that seats 15,000 in 503
days. We wanted to make a unique multi-functional
building in Zagreb that would, on the one hand,
contribute to citizens’ quality of life through cultural,
sporting and other events, and, on the other, become
one of the city’s recognisable symbols with its unique
architecture and design.
I G O R O P P E N H E I M , predsjednik Uprave / Chairman of the Board;
I N G RA D . D . , glavni izvođač / principal contractor
Iluzija je da razvoj Zagreba može biti financiran iz
proračuna. Zadaća je Grada da proračunom gradi
javnu gradsku infrastrukturu i brojne građevine
javne namjene, ali i da financira i pomaže kulturnu
i svaku drugu izvrsnost. Grad u konačnici brine za
svakodnevno funkcioniranje grada. Privatni kapital
u Zagrebu uživa dobrodošlicu, uz uvjet da poštuje
zakone i gradske odluke, povijesne prostore i naše
kriterije izvrsnosti. Posredstvom Arene, Zagreb izlazi
na svjetsku scenu konkurencije za velika svjetska
sportska, kulturna, zabavna i gospodarska događanja, za organizaciju kongresa, priredbi, ukratko
događaja koji daju novi identitet našemu gradu.
It’s an illusion that the development of Zagreb can be
funded from the city budget. It’s the task of the city
authorities to use the budget to build up the city’s
public infrastructure and the many public-use buildings, as well as to fund and assist cultural and all other
kinds of excellence. Ultimately the authorities have
to take care of the everyday functioning of the city.
Private capital is very welcome in Zagreb, on condition
that it respects the law and the city’s decisions, the
historical areas, and our criteria of excellence. Because
of the Arena, Zagreb is entering the world scene of
competition for great sporting, cultural, entertainment
and business events, for the organisation of conferences and functions, in short for happenings that will
give our city a new identity.
M I L A N BA N D I Ć , gradonačelnik Grada Zagreba / Mayor of Zagreb
Vanjski je izgled u svakom slučaju specifičan.
Iznad ulaznog platoa dominiraju prednapregnuti
armirano-betonski nosači, kolokvijalno nazvani
„lamele“, i svjetleća fasada koja se može regulirati
odabiranjem određenoga kompjutorskog programa.
U dvorani se može smjestiti više od 15 000 posjetilaca; od toga oko 4 500 na pomične teleskopske
tribine, a preostali broj na fiksne tribine. Predviđen
je prostor za invalidne osobe kao i VIP lože. ​
Za posjetioce je uređen restoran s kuhinjom i niz
ugostiteljskih sadržaja. U sklopu građevine nalazi
se dvorana za zagrijavanje i trening sa svojim
sanitarnim prostorima i garderobama. Ispod cijele
zgrade nalazi se podzemna garaža s otprilike 900
mjesta, u koju se ulazi kroz dvije ulazno-izlazne
rampe, a s južne strane smješteno je parkiralište
za autobuse i reportažna kola.
The outer appearance is certainly specific. Reinforced
concrete supports, colloquially termed ribs, as well as
the lighted facade which can be regulated by selec­
ting certain computer programs dominate above the
entrance concourse. The hall can seat more than
15,000 spectators, of which 4,500 in moveable telesco­
pic stands, while the remaining number is seated in
permanent stands. Space for the disabled has been
provided, as have VIP boxes. Visitors have a restaurant
with a kitchen and a whole range of catering facilities
at their disposal. Within the building, there is a hall for
warming up and training, equipped with its own toilet
facilities and lockers. Below the entire construction is
an underground garage with approximately 900 spaces,
with two entrance/exit ramps, while the southern section contains a parking lot for buses and TV crews.
DA R KO I VA N DA , direktor projekta / project director; I N G RA D . D .
Jasno je da građevine velikih raspona automatski
uključuju konstrukciju kao važan element koncipiranja projekta. Doslovno, riječ je o opni s jasnom
formom koja se ne temelji u simbolici, nego slijedi
konstruktivnu logiku. Konstrukcija se zatvara prema
unutra u obliku školjke, čime se smanjuje raspon
i djelomično natkriva prostor. Htjeli smo postići
snažan, čist element u prostoru.
Naturally buildings with great spans automatically
include the construction as a vital element in the
conception of the design. Literally, here we have an
envelope with a clear form that is not founded in
any symbolism, but rather follows structural logic.
The structure is closed inwards, in the form of a shell,
which reduces the span and to a degree covers the
area. We wanted to create a strong and clear element
in space.
B E R I S L AV M E D I Ć
A L A N L EO P L E ŠT I N A , N E N A D B O RG U DA N , TA M A RA STA N T I Ć­
– B RČ I Ć , B E R I S L AV M E D I Ć , U P I – 2 M D . O . O . , arhitektonski projekt
i projekt konstrukcije / architectural project and project of construction
SA N D RA K R I Ž I Ć RO B A N
Arena Zagreb
– novo gradsko obilježje
Slika koja se pruža kad Zagrebu pristupamo s juga jedinstvena je;
to je vizura u kojoj su očuvani stoljetni tragovi urbaniteta, od prvih
definiranih izgradnji na obroncima Sljemena, preko crkvenog i svjetovnog brežuljka – Gradeca i Kaptola, sve do podgrađa i njegove
uređene blokovske izgradnje čiji umirujući, pravilan ritam skladno
zaokružuje povijesni gradski okvir. Premošćivanjem Save započelo
je širenje grada, koji posljednjih godina doživljava nevjerojatnu
ekspanziju, pa gotovo svakodnevno svjedočimo rezultatima nove
urbane strategije Zagreba, od kojih poneki zavrjeđuju pozornost.
Vremenom smo se osvjedočili kako je kulturalno-urbani model
zasnovan u poslijeratnu razdoblju, unatoč tadašnjim političkim
i ekonomskim ograničenjima pokazao svoju funkcionalnost i
uspješnost. Urbana morfologija koju baštinimo iz toga doba počiva
na omjeru stanogradnje i nužnih sadržaja potrebnih da bi naselja
mogla funkcionirati (dječji vrtići, škole, uslužni centri). Za razliku
od toga, današnje tranzicijsko razdoblje postavilo je nove kriterije;
„trajna privremenost” sintagma je koja ilustrira prevladavajuće
standarde koje još uvijek nije moguće klasificirati, a demokratizacija
­i liberalizacija uvjeta izgradnje ne vode nužno prema arhitektonskoj kulturi kakvu smo iščekivali.
Odabrani detalji povijesti izgradnje sportskih objekata.
Izgradnja sportskih objekata u Zagrebu od druge polovice 19. stoljeća pa sve do danas pokazuje određene sličnosti. Prva građe­vina
namijenjena sportu u Zagrebu – streljana na Tuškancu – dovodila
se u vezu s kulturnim, prosvjetnim i sličnim sadržajima, kakvima je
djelomično namijenjena i novosagrađena zgrada Arene. Osnutak
organiziranih sportskih društava nije bio praćen adekvatnom
izgradnjom, a rubni smještaj tih sadržaja – onda kao i danas –
može se do neke mjere dovesti u vezu s perifernim položajima
zemljišta, ali i općeg stava prema sportu. Tradicionalni nedostatak
sportskih terena anuliran je izgradnjom pojedinih objekata, koji
danas uglavnom više ne zadovoljavaju standarde niti su u mogućnosti služiti raznovrsnim sadržajima.
Ako zavirimo u povijest izgradnje kako bismo pronašli primjere
koji humanim principom pripomažu određivanju specifičnosti
zagrebačke arhitekture, spomenimo stadion u Maksimiru. Pišući
o Areni, neizbježno se prisjećamo zapadne tribine – „betonskog
skeleta velikog, moćnog ritma, po čistoći konstrukcije i plastičkoj izražajnosti bez presedana u našoj poslijeratnoj arhitekturi”
16
– izvedene na Dinamovu stadionu (Turina, Neidhardt, Erlich,
1946. – 1955.). Logičnost toga konstruktorskog zadatka omogu­
ćila je prožimanje okoline i stadiona na jedinstven način, čime su
javni prostor i ljepota Maksimira postali dijelom sportskoga kompleksa. Širi urbani kontekst maksimirskog primjera te Arene i
Laništa nezahvalno je uspoređivati, no spomenimo kako obližnji
Jarun pripada među najbolja hortikulturna rješenja usklađena sa
sportskim sadržajima koji se odvijaju na jezeru; povezanost dvaju
lokaliteta spletom pješačkih staza pridonijet ​će istraživanju i korištenju grada iz drukčije, aktivnije perspektive.
Ikoničnost i konstruktivnost. Arena se isprva činila poput skulp­
ture na livadi, u urbanistički još uvijek neartikuliranom okruženju
zapadnog pristupa gradu koji će, sudeći prema master-planovima,
biti zaključen s nekoliko visokogradnji te nizom stambenih objekata
uza savsku obalu. Zahvaljujući ritmu izgradnje, ubrzo smo bili u
prilici uvjeriti se kako je riječ o osobitu spoju građevinskih strategija i oblikovanja, primjeru konstrukcijsko-inženjerske arhitekture
gdje se forma izravno veže uza strukturu. Gledana kao znak, Arena
je lišena simbolike i asocijacija koje bismo možda mogli očekivati.
Zakrivljena rebra zadržavaju prizmatičan volumen unutar cjeline, ​
a zahvaljujući rastvorenosti ulazne zone i osvijetljenosti središnjeg
dijela omogućena je komunikacija zgrade s okolinom. 86 nosača
raznih visina (od 28 do 37 m) tvore dinamično ritmiziranu ovojnicu
čija se organičnost na koncepcijskoj razini može dovesti u vezu
sa sportskim događanjima, no koja istodobno ovisi o načelno ​jednostavnim fizikalnim zakonima. Lijevani tik uz mjesto izgradnje,
nosači su element u kojem se sjedinjuju ekspresivnost oblika i
funkcionalnost konstrukcije.
Zagrebačka Arena građevina je od posebnoga značaja, gradsko obilježje – ikonički oblik koji na zapadnom ulazu u grad najavljuje izvjestan odmak od urbane sheme unutar koje je izgrađen.
Njezina kratkotrajna povijest je burna, definirana uvjetima koji vladaju u današnjem tranzicijskom društvu. Sposobnost prilagodbe,
brzog rješenja problema, kultiviranja ambijenta namijenjenog
sportu, zabavi, sajamskim i konferencijskim sadržajima – sve to i
još mnogo toga bilo je potrebno zadovoljiti da bi ta osobita, bijela
konstrukcija izdržala teret koji joj je namijenjen. A on nije lak.
Funkcionalna zadatost unutarnjeg prostora, ovisna o odluci
o vrstama i broju sportova kojima je borilište namijenjeno, kao
sadržajima – još nisu postale dio kolektivnoga urbanog identii o predviđanju težine opreme koju svaki bolji rock&roll sastav
teta, nego su najčešće tek ideje na papiru, odnosno u računalu.
mora moći objesiti iznad pozornice, tek su dio zadanih parametara
Sportsko-poslovni kompleks Cibona (Hržić, Piteša, Šerbetić, 1985.
koji uvjetuju interijer Arene. Fleksibilnost gledališta, osim vrstom
sporta, uvjetovana je i činjenicom da će Arena tek 30 posto svoga – 1986.) izgrađen je na mjestu gdje je bilo moguće ostvariti idealnu
„gradotvornu arhitekturu”, no unatoč tom pozitivnom iskustvu
vremena služiti sportskim događanjima.
mnoge nove gradske četvrti zapravo potvrđuju davno iznesenu
Autori arhitektonskoga projekta Berislav Medić, Alan Leo
Pleština, Nenad Borgudan i Tamara Stantić-Brčić iz UPI– 2M prven- tezu Milana Preloga o rastu grada na principu gomilanja „zona” u
stveno su morali zadovoljiti brojne uvjete koji pretpostavljaju funk- kojima se samo stanuje ili samo radi. Povijesno zagrebačko središte odavno nije u stanju zadovoljiti promijenjene interese i navike
cionalno i rentabilno korištenje Arene, a vanjsko oblikovanje je
građana, koji unatoč nedostatcima urbaniziranih područja traže
ono u čemu su mogli pokazati svoje umijeće. Pročelje su kontinuinove mogućnosti osjećanja zajedništva u prostoru i vremenu.
rano obuhvatili prednapregnutim betonskim rebrima, središnji dio
Situacija na Laništu mogla bi postati primjerom mjesta osmišljekojih povezuju mliječnobijeli paneli, osvijetljeni sa stražnje strane.
nog za „spontane društvenosti”, druženja na otvorenom prostoru,
Na taj način složen i primarno funkcionalan unutrašnji organizam
„odterećen” je konstrukcijom koja djeluje lagano i prozračno. Rebra na sjecištu raznovrsnih interesa.
Iskoristivost Arene za sportska, kulturna, koncertna, konferen­
se u gornjoj zoni pretvaraju u slobodne volumene, koji su na užim
cijska i sajamska događanja, kao i činjenica da će svako od tih
stranama zgrade niži i pridržavaju krovnu konstrukciju tvoreći
događanja zgradu učiniti „živim”, osvijetljenim organizmom, govori
osobitu, „napetu” petu fasadu čija čelična užad ispisuje projektio artikulaciji jednoga dijela grada koji će zasigurno postaviti nove
ranu, gledateljima doduše nevidljivu, geometriju odnosa koji
kriterije vrednovanja. Tri pješačka mosta koja građevinu povezuju
vladaju u unutrašnjosti.
s trgovačkim centrom prekoračujući novu prometnicu unutar
Dok unutrašnjost Arene primarno mora zadovoljiti specifične
Laništa, postaju prostran javni prostor, zona kontakta gdje će ritam
zahtjeve fleksibilnosti borilišta – smještaj izvlačnih tribina prilagođenih trenutačnom sportskom/koncertnom događaju, pozicionira- druženja i korištenja pulsirati u skladu s Arenom. Posljednjih mjenje i opremanje komentatorskih i VIP-loža na određenim mjestima, seci autori arhitektonskoga projekta iz UPI– 2M često su isticali
mogućnosti arhitekture koja izvire iz konstruktivne koncepcije, a
korištenje krajnje jednostavne i svima razumljive signalizacije te
ljepota stvorenoga nesvakidašnjeg oblika, koji je već proglašen
oblaganje površina materijalima zadovoljavajućih akustičnih svojnovim zagrebačkim gradskim obilježjem, daje nam za pravo naslustava, što su sve uvjeti unutar kojih je kreativno umijeće artikulatiti kako će ovaj sportski objekt postati jedan od važnih nositelja
cije prostora svedeno na minimum – vanjština se doživljava poput
identiteta grada.
svojevrsna ekscesa kojim projektanti pokazuju svoju vještinu i
slobodu stvaranja nečega što nije tipično. Pritom se već mnogo
puta spomenuta konstrukcija pokazala kao dobra strategija, koja
konceptualno ističe značaj pojedinog elementa i njegove važnosti
u funkcioniranju cjeline, što također ima veze sa sadržajima kojima
je građevina namijenjena.
Doprinos urbanosti. Stanogradnja je proteklih desetljeća odredila
razvoj i urbanost Zagreba, posebice njegovih novih dijelova, no
ni tada ni danas ta grana arhitekture nije rezultirala građevinama
koje bismo mogli prozvati gradskim obilježjima. Građevine od simboličkog značenja za gradsku strukturu – muzeji, kazališta, sportske dvorane, ambasade, zgrade namijenjene političkim i upravnim
17
SA N D RA K R I Ž I Ć RO B A N
The Zagreb Arena
– a New City Landmark
without precedent in our post-war architecture according to its purity ​
The image before one when approaching Zagreb from the south is
of construc­tion and plastic expression” – which was executed at
unique; it is a vista in which traces of urbanism hundreds of years old
Dinamo’s stadium (Turina, Neidhardt, Erlich, 1946-55). The logic of this
have been preserved, starting from the initial defined construction on
construction task enabled the environment and the stadium to interact
the slopes of Sljeme, through the ecclesiastical and secular hilltops –
in a unique manner, whereby the public space and beauty of Maksimir
Kaptol and Gradec – all the way to the suburbs and their planned block
became part of the sports complex. The wider urban context of the
design, the soothing, regular rhythm of which harmoniously encircles
the historical city core. By bridging the Sava, the city’s expansion began, Maksimir example, and that of the Arena and Lanište will not be compared, but let us add that nearby Jarun is among the best horticultural
and there has been unbelievable growth in recent years, so that we can
solutions adjusted to the sports taking place at this lake; the connecwitness on an almost daily basis the results of Zagreb’s new urban
tion between these two locations, via a network of walkways, will constrategy, some of which deserve attention.
tribute to the exploration and utilization of the city from a different,
Over time we have seen how the cultural and urban mode engenmore active perspective.
dered in the post-war years displayed its functionality and success,
despite the then political and economic obstacles. The urban morphology we inherited from that era relies on the ratio between housing con- Icon Qualities and Constructivity. The Arena first seemed like a
sculpture on a meadow, within an environment still not articulated in
struction and the necessary contents required for neighbourhoods to
urban terms, situated in the western city limits that will, if we are to
function (kindergartens, schools, service centres). In contrast, the transitional period of today established new criteria; “permanent transience” judge by the master plans, be completed by several high rises and a
line of housing blocks by the banks of the Sava. Thanks to the rhythm
is a syntagm which illustrates dominant standards still defying classiof construction, we were soon able to convince ourselves that this is a
fication, while the democratization and liberalization of conditions for
peculiar amalgam of construction strategies and form, an example of
construction still do not necessarily lead to the architectural culture ​
construction-engineering architecture where form is directly connected
we yearned for.
to structure. Viewed as a symbol, the Arena is stripped of the symbol
ism and associations we might possibly expect. The curved ribs contain
Selected Details of the History of Sports Facilities Construction.
a prism-like volume within the whole, and thanks to the openness of
The construction of sports facilities in Zagreb has exhibited certain
the access zone and the light in the central part, the building commusimilarities from the latter half of the 19th century until today. The first
nicates with the environment. Eighty-six supports of different heights
construction in Zagreb dedicated to sport – the marksmanship ranges
(28 to 37 m) form a shell with a dynamic rhythm, the organic qualities
at Tuškanac – was linked to cultural, educational and similar facilities,
of which can be linked with sports events on the conceptual plane, but
which the newly built Arena is partly intended for as well. The estabsimultaneously depend on simple laws of physics in principle. Cast just
lishment of organized sports associations was not supported by adeby the construction site, the supports are elements unifying the expresquate construction, while the peripheral placement ​
sion of forms and the functionality of construction.
of these objects – both then and now – can be explained by the
The Zagreb Arena is a building of special importance, a landmark
peripheral positions of land plots, but also the general attitude to
– an iconic form which announces a certain deviation from the urban
sports. The traditional lack of sports fields has been improved by the
scheme within which it was constructed, at the western entrance to the
construction of individual objects, which today mostly fail to comply
city. Its short history has been volatile, defined by the conditions ruling
with standards, nor are they able to serve different purposes.
the transitional society of today. The ability to adapt, fast solutions to
If we peek into the history of construction in order to find examproblems, the cultivation of an environment dedicated to sport, enterples that help us in determining peculiarities of Zagreb architecture
tainment, fair and conference facilities – all this and plenty of other ​
through a humane principle of a sort, let us here mention the football​
criteria had to be met in order for this peculiar, white construction to
stadium in Maksimir. Writing on the Arena, we cannot but rememwithstand the weight intended. Which was not light.
ber t​ he West Stand – “a concrete skeleton of large, powerful rhythm,
18
The functional limits of the interior depend on decisions on the
types and number of sports the pitch serves, as well as on the anticipation of the weight of the equipment each larger rock ’n’ roll band
must be able to hang above the stage – these are but a few of the set
parameters conditioning the interior of Arena. The flexibility of the
spectator stands, apart from the type of sport, is also conditioned by the
fact that Arena will host sporting events only 30 per cent of the time.
The authors of the architectural design, Berislav Medić, Alan Leo
Pleština, Nenad Borgudan and Tamara Stantić-Brčić, from UPI–2M, primarily had to comply with numerous conditions which presuppose
functional and cost-effective use of Arena, while the outer form is where
they were able to display their skill. The facade was continuously framed
in reinforced concrete ribs, the central parts of which are connected
by milky white panels illuminated from behind. The primarily functional
inner organism conceived was thus “lightened” by its construction that
appears light and airy. The ribs turn into free volumes in the upper zone,
being shorter on the narrower sides of the building, supporting the roof
construction by forming a peculiar, “tense” fifth facade, the steel cables
of which delineate the designed geometry of relationships dominating
the interior, even though it is invisible to the spectators.
While the interior of the Arena must primarily comply with the specific requirements of the sports pitch – the location of movable stands
adjusted to the current sporting or concert event, the position and
equipment of commentator booths and VIP boxes, the use of utterly
simple signalization understood by all, and the framing of spaces with
materials which have satisfactory acoustic qualities – all conditions
within which the creative art of articulating the space has been brought
down to minimum – the exterior is experienced as an excess of a sort,
used by the designers to exhibit their skill and the liberty to create
something atypical. The already often mentioned construction proved
a sound strategy here, which conceptually highlights the significance
of individual elements and their importance in the functioning of the
whole, connected to the purposes the building is intended for as well.
administrative purposes – have still not become part of the collective
urban identity, but remain paper or computer ideas in most cases. The
Cibona sports and business centre (Hržić, Piteša, Šerbetić, 1985-86) was
constructed in a location where it was easy to realize ideal “city‑building
architecture”, but despite this positive experience, many new city neighbourhoods actually prove the thesis launched long ago by Milan Prelog,
regarding the growth of the city using the principles of piling up “zones”
where one is only to dwell or only to work. The historic Zagreb downtown area has long been unable to meet the changing interests and
habits of its citizens, who despite the deficiencies of urban areas seek
new possibilities for expressing togetherness in space and time. The
situation in Lanište could become an example of a venue conceived for
“spontaneous socialization”, getting together in the open, at the intersection of different interests.
The possibilities of utilizing the Arena for sporting, cultural, concert,
conference and fair events, just like the fact that each of these events
will bring this building to life, will make it a lighted organism, speak of
the articulation of one city part which will surely set new criteria for
valuation. Three footbridges connecting the building to a mall, by striding
over a new street within Lanište, become a spacious public area, a zone
for contacts where the rhythm of company and use will pulse in unison
with the Arena. The authors of the architectural design from UPI–2M
have often emphasized in recent months the possibilities of architecture which stems from constructive concepts, while the beauty of created unusual form, already proclaimed a new Zagreb landmark, gives
us the right to guess this sports facility will become one of the pivotal
points of the city’s identity.
A Contribution to Urban Planning. Housing has set the pace for
the development and urban planning of Zagreb in recent decades,
especially of its new parts, but this branch of architecture has not, neither back then nor today, resulted in buildings we could dub landmarks.
Objects of symbolic significance for the city structure – museums,
theatres, sports halls, embassies, buildings dedicated to political and
19
503
TRAJANJE IZGRADNJE ARENE ZAGREB U DANIMA
DURATION OF THE CONSTRUCTION OF THE ZAGREB ARENA IN DAYS
210.000
VOLUMEN ŠIROKOG ISKOPA U KUBIČNIM METRIMA
VOLUME OF EARTHWORK IN CUBIC METRES
9.500
KOLIČINA ARMATURE U TONAMA
QUANTITY OF REINFORCEMENT IN TONS
Moj svakodnevni posao jest koordinacija svih
izvođača koji rade na objektu, nadzor obavljanja
radova i njegove dinamike, nadzor broja ljudi,
kvalitete radova i planiranje. U planiranju građenja
uvijek je važno vrijeme i rok, od toga se kreće.
Druga premisa na kojoj se sve temelji jest da se više
tehnoloških procesa može odvijati istovremeno, a
da jedan drugome ne smetaju. Tehnološki se slijed
mora poštivati i on diktira tempo i pojedine radnje.
Jasno je da je ovdje sam opseg puno veći, pa onda
može raditi puno više ljudi, potrebno je puno više
strojeva i kranova. To je nešto teže iskoordinirati
jer treba puno više pratiti zbivanja na gradilištu
kako netko ne bi narušio taj sklad.
My everyday job consists of the coordination of all
the contractors working on the structure, supervision
of the performance of the work, the dynamics, as well
as control of the number of people, quality of the
work, and planning. Time and deadlines are always
important in the planning of construction, and that’s
the starting point. The second premise on which it is
all based is that several technological processes can
go on at the same time without getting in each other’s
way. The technological sequence has to be respected,
and it dictates the tempo and the individual actions.
Clearly the range and scope here are much greater,
and then a lot more people can work simultaneously,
many more machines and cranes are required. That’s
a bit more difficult to coordinate, because one has to
keep up with events on site so that no one disturbs
the harmony.
DA R KO KO R E T I Ć , glavni inženjer gradilišta / chief site engineer;
I N G RA D . D .
65.539
POVRŠINA PODOVA U KVADRATNIM METRIMA
FLOOR SURFACE IN SQUARE METRES
160-220
MASA FASADNIH LAMELA U TONAMA
WEIGHT OF FACADE RIBS IN TONS
Razmatrajući koncepciju lamela, u razgovorima
s ostalim partnerima u procesu gradnje, naročito
s kolegama iz tvrtke Tome Lučić, došli smo do
ideje da lamelu prefabriciramo u jednom komadu.
Odlučili smo proizvoditi lamele u pogonu na
gradilištu i zatim ih dizati i postavljati na mjesto
dizalicom. To je bilo podudarno s projektantovom
idejom jer je njemu zbog što brže izvedbe trebala
učinkovita prefabrikacija lamela.
Thinking over the conception of the concrete ribs,
in talks with the other partners in the construction
process, particularly with colleagues from Tome Lučić,
we came upon the idea to prefabricate the ribs in a
single piece. We decided to produce the ribs in an
on-site plant and then raise them and put them into
place with a crane. This coincided with the architect’s
idea, because for the sake of rapidity of production he
needed effective rib prefabrication.
A N TO N I O TO M I Ć , D I N A R I K D . O . O . , tehnologija proizvodnje i
montaže fasadnih lamela / technology of the production and assembly of
the facade ribs
Samo se timski i sinergijom znanja i iskustva
mogao izvesti jedan tako zahtjevan projekt kao
što je izvedba lamela koje su teške i do 220 tona.
Tijekom izvedbe bilo je određenih promjena i
projekta i izvedbe. Primjerice, u malim lamelama
imate 4, a u velikim 12 kablova za prednaprezanje.
To je velika razlika i svaka lamela je zahtijevala
zaseban pristup. Rok je bio taj koji je određivao
ritam i morali smo vrlo brzo reagirati na svaku
novu situaciju.
Only by teamwork and the synergy of knowledge and
experience was it possible to pull off as a demanding
project as the making of concrete ribs that were up
to 220 tons in weight. During the work there were
certain changes in both the project and the execution.
For example, in the small concrete ribs you have 4,
and in the large ones 12, cables to be prestressed.
This is a big difference, and each concrete rib needed a separate approach. The deadline was what
determined the rhythm and we had to react very fast
to each new situation.
H RVOJ E RAG UŽ - VO D E N AC , PA L M I R D . O . O . ,
prefabrikacija fasadnih lamela / the facade rib prefabrication
U pogonu je bilo postavljeno 8 oplata. Tjedno smo proizvodili 4 do 6 lamela. Koristili smo samo jedan tip oplate, koja je
samo po potrebi visinski mijenjala svoj oblik. Lamela u sebi
ima izuzetno mnogo armature, kablova i ostalih insertacija,
tako da je zbog raznih spojeva bilo problem izvibrirati beton.
Kolege iz Cemexa potrudile su se napraviti prikladnu recepturu betona, a onda smo ga vibrirali oplatnim vibratorima.
Eight formworks were installed in the plant. We produced 4 to
6 elements a week. We used just one type of formwork, which
changed its shape in height only when needed. Each concrete rib
has a great deal of cables and reinforcing and other insertions
inside it, so because of the various connections it was a problem
to vibrate the concrete. Our colleagues from Cemex did their
best to make a suitable composition for the cement, and then we
vibrated it with formwork vibrators.
A N TO N I O TO M I Ć , D I N A R I K D . O . O .
Operaciju prenošenja obavljali smo tako da smo
jednom dizalicom dopremali lamelu iz šoške, a
drugom je preuzimali, vertikalizirali je i donosili do
mjesta montaže. To praktički znači da smo u zraku
preuzimali tih 220 tona tešku lamelu. Kada smo
vertikalizirali lamele visoke od 27 do 37 metara,
morali smo ih dovesti u poziciju s preciznošću od
praktički 5 mm. To smo radili uz blisku suradnju
s geodetima.
We carried out the transport operation by bringing
the rib from the formwork base with one crane, then
transferring it to the second crane which raised it
to the vertical and brought it to the assembly point.
This in practice meant that we transferred the 220ton element in the air. When we had verticalised the
elements 27 to 37 metres high, we then had to get
them into position with a tolerance of about 5 mm.
We did this in close collaboration with the surveyors.
TO M E LU Č I Ć , T L – TO M E LU Č I Ć D . O . O . , montaža betonskih
elemenata i radovi dizanja / assembly of facade ribs, crane work
37
VISINA FASADNE LAMELE U METRIMA
HEIGHT OF FACADE RIB IN METRES
Izvedba prve lamele bio je svojevrsni test tehnologije. Dok
ne provjerite proces, nisu do kraja sigurni svi detalji. Kada se
montirala prva lamela, bili smo sigurni da koncept funkcio­
nira i potom smo išli raditi na detaljima brzine, dinamike,
kvalitete itd.
Producing the first facade rib was in its way a test of the
technology. Until you test the process out, you are never going
to be sure of every detail. When the first element was assembled,
we were sure that the concept worked, and then we went to work
on the details of speed, dynamics, quality and the rest.
A N TO N I O TO M I Ć , D I N A R I K D . O . O .
Dizalica se kreće po gusjenicama. Prilikom prenošenja
lamele do pozicije ugradnje dizalica je iza sebe nosila 180
tona utega, a ispred sebe 220 tona tešku lamelu. Dizalica
mora imati slobodan put pa dan prije moramo sve osmisliti
i koordinirati da ne dođe do neke prepreke. Ne zaboravimo
da su se transportirale lamele težine od 170 do 228 tona.
Iza dizalice su svaki dan išli valjak i bager, jer put dizalice ne
smije imati nagib veći od 1%. Čim je nagib veći, ravnoteža
lamele više ne funkcionira. Bilo nam je važno da lamele
donosimo na mjesto montaže potpuno horizontalno, kako
zbog ravnoteže tako i zbog oslanjanja lamele na ležište s
9 vijaka, što je znatno lakše nego postaviti lamelu koja visi
izvan težišta. Njena donja ploča za montažu je uvijek morala
stajati ravno.
The crane moves on its caterpillar tracks. While the concrete ribs
were being moved to their assembly position the crane carried
behind it 180 tons of ballast, and in front of it the 220-ton rib.
The crane had to have a clear path, and the day before we had
to think everything out and coordinate it all so there were no
obstacles. Let’s not forget that there were elements of 170 to
228 tons being transported. After the crane, every day there was
a roller and a bulldozer, because there couldn’t be an inclination
of more than 1% in the crane’s path. It was important for us to
get the elements to the assembly place completely horizontally,
because of the balance and because of fitting the elements to a
bearing with 9 screws, which is a lot easier than putting in place
an element that is hanging off the centre of gravity. The rib’s lower
assembly always had to stand straight.
TO M E LU Č I Ć , T L – TO M E LU Č I Ć D . O . O .
Radi preciznosti izvedbe ustrojili smo geodetsku službu koja
je pratila izvođenje svih radova. Oni su sve nadzirali, postoje
protokoli i zapisi o obavljenim kontrolama i radovima tako
da su odstupanja minimalna, unutar tolerancija koje projekt
dopušta. Posebno su osjetljivi detalji lamela zbog svoje
višestruke funkcije. Tu je preciznost bila posebno zahtjevna.
Geodetskih kontrola bilo je na nekoliko razina, od geodetske
kontrole samog izvođača, Ingrine geodetske kontrole putem
naše geodetske službe i kontrole geodetske službe nadzornih
inženjera. To su tri različite geodetske službe i tri različite
osobe koje jedna drugu nadziru.
For the sake of precision execution we set up a surveying unit
that monitored the execution of all the operations. They supervised everything, there are protocols for and minutes of the
controls and operations carried out so that there are minimum
deviations, well within the tolerances that the plan allows for.
The details of the ribs are particularly sensitive, because of their
multifunctionality. Here, precision was particularly demanding.
Surveying controls took place at several levels, from the control
of the contractor itself, Ingra’s own surveying control, via our
surveying unit and the control of the surveying unit of the
supervising engineer. There are three surveying units, and three
different persons, all checking on each other.
DA R KO KO R E T I Ć , I N G RA D . D .
1.000
MAKSIMALNI BROJ DJELATNIKA NA GRADILIŠTU U JEDNOM DANU
MAXIMUM NUMBER OF WORKERS AT THE CONSTRUCTION SITE IN ONE DAY
27.337
TLOCRTNA POVRŠINA GRAĐEVINE U KVADRATNIM METRIMA
BUILT SURFACE IN SQUARE METRES
10
TORANJSKIH DIZALICA
TOWER CRANES
Izuzetno osjetljivi trenutak bilo je postavljanje lamele na do
tada gotov dio betonske konstrukcije. Lamela je duže vrijeme
trebala stajati nepridržana, pričvršćena samo u peti. To je
zahtijevalo izuzetno preciznu izvedbu pete lamele jer su u
njoj bile ostavljene rupe za vijke kojima će biti pričvršćena.
Pri dnu se nalaze i bočne rupe koje služe za zatezanje matica
na vijcima. Iz predostrožnosti smo lamelu dodatno zategnuli
sajlama i ona je tako čekala trenutak kada će se priključiti na
monolitnu konstrukciju koja se paralelno izvodila. U trenutku
kada se lamela spojila s prstenovima koji idu radijalno oko
cijele Arene, ona je preuzela nošenje dijela konstrukcije i tada
je sve počelo djelovati kao cjelina.
An exceptionally tricky moment was putting the ribs onto the part
of the concrete construction finished to that date. The rib had
to stand there unsupported for a long time, attached only at its
foot. This meant that the foot of the rib had to be made extremely
precisely, for there were holes left in it for it to be fastened on. At
the bottom there are perforations on the sides for tightening the
nuts onto the bolts. As a precautionary measure we additionally
tensioned the ribs with cables, and so they waited there until the
moment when they would be fixed onto the monolithic construction that was being built in parallel. The moment when the rib
was joined with the rings going radially around the whole of the
Arena, it took over supporting part of the structure, and then it all
started working as an integrated unit.
TA M A RA STA N T I Ć – B RČ I Ć , U P I – 2 M D . O . O .
Lamela u sebi sadržava puno tehnološki suvremenih rješenja.
Lamele su prednapete, što je riješilo problem nosivosti, ali i
problem brze montaže jer se njom može brže manipulirati.
3 do 4 dana nakon betoniranja mogli smo lamelu dizati iz
oplate i proizvoditi sljedeću, a morali smo proizvesti 86
lamela u 80 dana.
There are a lot of modern technological approaches in the actual
ribs. They are prestressed, solving the problem of load-bearing
strength, as well as the problem of rapid assembly, because you
can manipulate them faster. Three or four days after pouring we
were able to lift a rib out of the formwork and produce the next
one, but then, we had to produce 86 ribs in 80 days.
B E R I S L AV M E D I Ć , U P I – 2 M D . O . O .
Lamela je montažni prefabricirani element što nam je omogućilo da gradimo kuću neovisno od lamele. Tek u trenutku
kada imamo gotovu lamelu, spajamo je na konstrukciju kuće.
Trebalo je naći način da se naprave elementi koji će omogućiti
relativno brzo i učinkovito spajanje. U beton i lamele ugrađivani su nastavci putem kojih se formiraju čvorovi armature
za spajanje dvaju elemenata. Tako se ostvario kontinuitet u
armaturi, a da to nije imalo posljedice na proizvodnju lamela
i tribine, jer su se one naknadno sastavljale.
The rib is a prefabricated element for assembly, and this enabled
us to build the sports hall independently of the ribs. Only when
we had a ready-made rib did we then attach it to the construction of the sports hall. So we had to find a way of making elements
to facilitate relatively rapid and effective joining. The concrete
and the ribs both incorporate reinforcement strands from which
the nexuses of the reinforcing for the joining of the two elements
are created. So we had a continuity in the reinforcing without this
having any effect on the production of the ribs or of the stands,
because they were put together subsequently.
B E R I S L AV M E D I Ć , U P I – 2 M D . O . O .
U izvedbu krova uključeno je ukupno šest koope­
ranata, a po pitanju struka to su dodatni projektantski kadar, ljudi strojarske i građevinske struke,
krovopokrivači, ljudi stručni za toplinsku- i hidroizolaciju i pneumatiku. Specifičnost ovog projekta je
zahtjevan rad na visini pa je potrebna izrazita preciznost pri izvođenju. Također, rokovi su vrlo kratki.
Primjerice, svi smo bili svjesni da treba započeti s
nabavom materijala zbog dugih rokova isporuke
dok još ugovorne obaveze nisu bile riješene. Na
temelju pisma namjere i velikog povjerenja u investitora naručili smo 2 000 tona sirovog čelika iz inozemstva, sajle su naručene i uplaćene unaprijed…
Six subcontractors were involved in the making of
the roof. In terms of trades and expertises there were
additional design staff, people in engineering and
building, roofers, people with expertise in thermal and
hydro insulation, and pneumatics. A particular feature
of this project is demanding work at height and great
precision is required in the execution. And then the
deadlines were very tight. For example, we were all
aware that, because of the long delivery times, we had
to start off with the procurement of materials while
the contractual obligations had still not been defined.
On the basis of a letter of intent and great trust in the
client, we ordered 2,000 tons of raw steel from abroad,
the cables were ordered and paid for in advance...
LU K A A N D R I JA N I Ć , E N I KO N D . D . ,
izvedba krovne konstrukcije / contractor for the roof structure
Elemente krovne konstrukcije Arene radili smo
praktički 24 sata u tri smjene sa 130 djelatnika.
U ta su dva mjeseca u prosjeku od nas dnevno
izlazila po dva šlepera robe. Nakon ulaza materijala
u naš pogon slijedi priprema pa rezanje ogromne
količine limova raznih dimenzija na automatskoj
(CNC) rezačici. Zatim ide obrada profila sa CNC
linijom, predmontaža u našem pogonu, slaganje
pojedinih elemenata, nakon toga zavarivanje te se
izvodi antikorozivna zaštita airless tehnologijom.
Materijal se kontinuirano proizvodio i slao na gradilište. Bitno je da se gradilište koordinira s proizvodnjom da bi se točno utvrdilo koji elementi gradilištu trebaju.
We worked on the roof structure elements for the
Arena practically 24 hours a day in three shifts with
130 workers. In those two months, on average practically two container loads of goods went out from our
firm every day. After delivery of the material to our
plant came the preparation for cutting that enormous
quantity of plating of various dimensions on an automatic cutter (CNC). Then came the working of sections
with a CNC line, preassembly in our plant, putting the
individual elements together, after that welding, and
then airless spraying of anticorrosive protection was
done. There was a continuous production of material
and sending it to the site. It was essential for the site to
be coordinated with production in order to determine
which elements were needed there.
A N Đ E L KO F E R E K JA M B R E K , M – P RO F I L D . O . O . ,
izrada i predmontaža elemenata krovne konstrukcije /
making and preassembly of roof structure elements
253
BROJ GLAVNIH ELEMENATA NOSAČA KROVNE KONSTRUKCIJE
NUMBER OF MAIN ELEMENTS OF THE ROOF CONSTRUCTION
103,6
RASPON OVJEŠENE KROVNE KONSTRUKCIJE U METRIMA
SPAN OF SUSPENDED ROOF CONSTRUCTION IN METRES
Arena Zagreb je kombinacija low i high-tech principa.
Sofisticirane lamele monolitizirane su standardnom betonskom konstrukcijom i onda je s njih ovješena high-tech
krovna konstrukcija. Krovna konstrukcija Arene Zagreb bliska
je konstrukciji visećeg mosta, lančanice što je i u svijetu
rijetko rješenje. Nosiva konstrukcija krova visoka je svega
45 cm na rasponu od preko 100 m samo zato što je ovješena
izvana, s gornje strane krova, pa se u interijeru ne vidi. Takvo
je rješenje omogućila suvremena tehnologija proizvodnje
kablova. Fascinantno je da 110-metarski raspon visi na
kablovima koji imaju promjer od samo 66 mm i da svaki od
tih kablova može nositi 400 tona. Riječ je o golemim silama.
Kablovi se na lamele montiraju po principu sličnom vijku i
matici. Na kraju kabela nalazi se glava s navojem. Uz pomoć
specijalnih hidrauličkih preša preuzima se sila iz kabela i
doteže matica.
The Zagreb Arena is a combination of low and high tech. The
sophisticated ribs are made monolithically in ordinary concrete
structure, and then a high-tech roof structure is hung from them.
The roof structure of the Zagreb Arena is close to the structure
of a suspension bridge, a chain bridge, which is an uncommon
approach anywhere in the world. The roof’s bearing structure is
only 45 cm high, over a span of over 100 m, just because it is
suspended from outside, from the upper side of the roof, and it
can’t be seen from the interior. This kind of solution was made
feasible by contemporary cable production technology. It’s fascinating that the 110-metre span is suspended on cables that have
a diameter of just 66 mm and that each such cable can carry
400 tons. These are vast forces. The cables are assembled onto
the ribs according to the nut and bolt system. At the end of each
cable is a nut. With the use of a special hydraulic press, the force
was taken up from the cable and the nuts were tightened.
B E R I S L AV M E D I Ć , U P I – 2 M D . O . O .
Na gradilištu je 800 ljudi, no njima treba pribrojiti i one koji
su u radionicama, dakle one koji pripremaju elemente koji se
dopremaju, a potom ih montažeri ugrađuju. Konkretno, riječ
je o krovu i krovnoj konstrukciji. Tu su i svi ostali pogoni, primjerice, bravarski i stolarski, gdje se stvari prvo pripreme u
radionici, a onda se montiraju. Uvijek je potrebno te dijelove
pregledati i u radionici, prije nego dođu na gradilište. Dakle,
osim 800 ljudi koji su tu stalno prisutni, sigurno ih je uključeno još toliko izvan gradilišta da bi sve moglo funkcionirati.
There are 800 people on-site, but to these you have to add those
in the workshops, that is, those who are preparing the elements
that are delivered, that the assemblers construct. Specifically, this
is about the roof and the roof structure. Then there are all the
other departments like, for example, metalworking and carpentry,
where things are first prepared in workshops and then assembled. It is always necessary to inspect these parts in the workshop
before they arrive on-site. So, apart from the 800 people who are
present all the time, there are as many off-site involved for it all
to be able to work.
DA R KO KO R E T I Ć , I N G RA D . D .
2.000
MASA ČELIČNE KROVNE KONSTRUKCIJE U TONAMA
WEIGHT OF STEEL ROOF CONSTRUCTION IN TONS
Vrlo bitan element krovne konstrukcije je stabilizacijska
rešetka. To su dva uzdužna elementa koja vise s glavnih
nosača i spajaju ih. Rešetke služe da anuliraju asimetričnost
opterećenja poput nagomilanog snijega i slično. Dodatno
se opterećenje jednog nosača putem stabilizacijskih rešetki
rasporedi na ostale nosače, što nam omogućava i zamjenu
kabela. Ako se nešto dogodi, možemo otpustiti željeni kabel,
a ostali će preuzeti dodatno opterećenje. Pokazalo se da to
sjajno funkcionira već i u fazi montaže. Također, forma krova
je osjetljiva na djelovanje vjetra, odnosno odizanje, pa stabilizacijska rešetka služi i kao potrebni dodatni teret.
The stabilisation girder is an essential element of the roof structure.
This consists of two longitudinal elements that are suspended
from the main girders and join them. They are used to cancel out
asymmetrical loading like snow piling up and so on. If one girder
is overloaded, then the excess load is transferred to the other
girders via the stabilising girder, which also enables us to replace
cables. If something happens, we can relax the desired cable, and
the other cables will take up the extra load. It turned out as early
as the assembly stage that this works brilliantly. And the roof
shape makes it sensitive to the effects of the wind, i.e. to lifting,
and the stabilisation girder works as an additional necessary load.
B E R I S L AV M E D I Ć , U P I – 2 M D . O . O .
Osnovni element krovne konstrukcije sastoji se od 23 osi po
11 nosača. Svaka od 23 osi je različita zbog geometrije zaobljenosti. Izrada zahtijeva da se svaki nosač radi posebno jer
ne postoje dva identična. Svi spojevi konstrukcije ostvaruju
se zavarima kvalitete I i visokovrijednim pocinčanim vijcima.
Sveukupno postoji približno 6 500 spojeva.
Konstrukcija krovišta dvorane su čelični valjani H profili HEB
450 ovješeni preko raspona od 100 m sustavom ovjesnih
pletenih užadi promjera Ø60 mm i vješaljki iz punih kružnih
čeličnih profila Ø35 mm.
The basic element of the roof construction consists of 23 axes,
with eleven girders each. Each one of the axes is different because
of the geometry of the curvature. Each girder has to be made
separately because there are no two identical ones. All the structural joins are done with top quality welds and expensive galvanised screws. Altogether there are about 6500 joins.
The roof structure of the hall consists of rolled steel HER 450 H
sections suspended over a span of 100 m with a system of suspended plaited cables of 66 mm diameter and solid circular-section
suspension rods 35 mm in diameter.
A N Đ E L KO F E R E K JA M B R E K , M – P RO F I L D . O . O .
Na gradilištu se montiraju sekcije krovne konstrukcije.
Pojedina se os sastoji od 11 nosača. Na gradilištu se predmontiraju segmenti od po 3 osi. Dakle, imamo 3 osi puta 3
elementa, a to je 9 što čini jedno polje, zbog dizanja. To polje
je trodimenzionalno složeno. Sve smo nosače geodetski snimali u pogonu da bismo ostvarili lagano zakrivljenu geometriju i poziciju pojedinih elemenata u prostoru. Bit je u tome da
mi moramo po nacrtima poštivati sve kote i mjerilo unutar
milimetar ili dva i onda se dobiju mjere koje odgovaraju.
The sections of the roof structure are assembled on-site. An indi­
vidual axis consists of 11 girders. At the site, segments of three
axes each are pre-assembled. So we have three axes of three
ele­ments each, and that makes 9, which is one field, because of
the design. This field is arranged three-dimensionally. We surveyed
all the girders in the plant to get a slight curved geometry and
the position of individual elements in the space. The point here
is that we had to stick to all the heights and the scale according
to the drawings to a millimetre or two, and then the measures
that suited were obtained.
A N Đ E L KO F E R E K JA M B R E K , M – P RO F I L D . O . O .
Ingra je, kao glavni izvođač radova, sa svojim inženjerima,
ekonomistima i ostalim osobljem vodila cijeli projekt.
U gradnji je sudjelovalo, u većoj ili manjoj mjeri, oko stotinjak različitih tvrtki koje su svaka u svojoj djelatnosti pridonijele uspješnom završetku projekta. U pojedinim fazama
izgradnje na gradilištu je radilo više od 1 000 ljudi dnevno,
a ponekad prema potrebi i kad je tehnologija posla zahtijevala, radilo se i noću. Zbog velikog broja različitih aktivnosti
koje su se paralelno odvijale, da bi se mogla pratiti dinamika
i osigurati rad svima, svakodnevno su se održavali koordinacijski sastanci. Mimo tih sastanaka, jednom tjedno održavali
su se sastanci predstavnika svih izvođača, projektanata i
nadzorne službe.
Ingra, as the principal contractor, has led the entire project via
its engineers, economics experts and other staff. About one
hundred different companies participated, in varying degrees,
in the construction, each of which contributed to successful
project completion in their own line of expertise. During certain
construction phases over 1,000 people were working at the
site every day; even at night, when necessity and technology
required. Coordination meetings were held daily because of the
large number of different activities taking place at the same
time, and in order to be able to keep track of the dynamics so
that everybody could have favourable working conditions. Apart
from these meetings, meetings of representatives from all the
involved companies, designers and supervisory services were
held once a week.
DA R KO I VA N DA , I N G RA D . D .
840
BROJ KROVNIH VJEŠALJKI
NUMBER OF ROOF SUSPENSION CABLES
Projekt je razmjerno velik i teško je očekivati od projektanta
da može predvidjeti svaku sitnicu te je prikazati na način da
je jasna krajnjem izvršitelju. Ponekad postoje neke nedoumice, a moja je uloga da vidim o čemu je riječ i pokušam ih
objasniti u suradnji sa svojim suradnicima i kolegama. Ako
je u pitanju nešto što bi zahtijevalo projektantsku odluku ili
intervenciju, konzultiramo se s projektantima i problem se
riješi. U Ingri smo radili projekt organizacije i tehnologije
građenja gdje su osnovne aktivnosti razrađene i predviđene,
ali postoji i niz drugih manjih poslova koje bi bilo vrlo teško
detaljno isplanirati unaprijed. Poslije je projekt dopunjavan
i dorađivan po segmentima, prema potrebi.
The project is relatively big and the architects can hardly be
expec­ted to foresee every little detail and present it in such a
way that it’s clear to the contractor. Sometimes there are some
doubts, and it’s my job to see what they’re about and attempt to
explain them, working together with associates and colleagues.
If it involves something that requires a decision or intervention
from the archi­tect, then we consult with the architects and the
problem gets solved. In Ingra we worked out the project organisation and building technology, in which the basic activities were
determined and anticipated, but still there is a string of lesser
activities that would have been very difficult to plan in detail in
advance. Later on the plan was filled in and worked up in segments, when needed.
DA R KO KO R E T I Ć , I N G RA D . D .
Dizanje sajli također radimo posebnim tehnologijama.
Glava na koju ide matica za zatezanje mora biti posebno
zaštićena. Sajle se na krov dižu u kolutima gdje se rastežu.
Kad se na krovu nategne sajla, vješaju se štapovi. Prilikom
rastezanja sajli potrebno je odrediti kut pod kojim će pojedina sajla ući u rupu u lameli i dizati ih u potpunosti prema
gore da se ne oštete štapovi koji vise na njima… Naše je da
dovedemo sajlu do mjesta gdje se mogu zavinuti matice
koje se utežu prešama.
We also did the lifting of the cables with special technologies.
The head on which the tensioning screw goes has to be specially
protected. The cables go to the roof on drums and they are then
stretched out. When the cable is tensioned on the roof, the rods
are suspended. While the cables are being stretched you have to
determine the angle at which each cable will go into the hole in
the concrete rib and lift them all the way up so as not to damage
the rods that are suspended from them. It was our job to get the
cable to the place where the nuts that are weighted with presses
could be turned.
TO M E LU Č I Ć , T L – TO M E LU Č I Ć D . O . O .
Krovna konstrukcija na neki način lebdi nad dvoranom.
Kablovi se ovisno o temperaturi produljuju i skraćuju, položaj
se krova mijenja kako se što na njega objesi, a u betonskoj
se lameli deformacije događaju godinama. Dakle, sklop
krova je jako fleksibilan i dovesti ga u željenu geometriju
svakako nije bio jednostavan posao.
The roof structure is in a way floating over the hall. The cables
expand and contract with temperature, and the position of the
roof changes, as does whatever is suspended from it, and over
the years deformation will occur in the ribs, and so the roof set is
very flexible, and so getting into the right geometry was not
a very simple job.
B E R I S L AV M E D I Ć , U P I – 2 M D . O . O .
Pokrov dvorane sastoji se od trapeznoga perforira­
nog lima. Na njega dolazi PE folija, tj. parna brana,
zatim 200 mm termoizolacije, te na kraju PVC
folija koja je završni sloj hidro i termoizolacije. Te
folije se vare. Specifičnost ovog rješenja je u brzini
gradnje koja je ovdje presudna. Kvaliteta radova
varenom folijom je, naravno, dodatna sigurnost
hidroizolacije. Jednostavniji su raznorazni elementi
detalja spojeva hidroizolacije.
The covering of the hall consists of perforated trapezoidal corrugated steel sheets. After that comes PE foil,
i.e. a vapour barrier, then 200 mm of thermal insulation, and at the end PVC foil, which is the final hydro
and thermal insulation layer. These foils are heat
sealed. The particular feature of this approach is in
the speed of construction, which was the vital element
here. The quality of works with heat sealed foil is
of course the extra security of hydro insulation. The
varied elements of the details of the joins of the hydro
insulation are simpler.
V L A D I M I R PAV U Š I N , PAV U Š I N D . O . O . , limarski i izolaterski
radovi krova / metal plating and insulation roofing works
14.420
POVRŠINA ČELIČNIH VISOKOVALNIH PROFILIRANIH LIMOVA NA
KROVU U KVADRATNIM METRIMA
SURFACE OF STEEL ROOF SHEETS IN SQUARE METRES
48
BROJ KROVNIH KUPOLA ZA ODIMLJAVANJE
NUMBER OF ROOF VENTS FOR SMOKE EVACUATION
8.760
POVRŠINA POLIKARBONATNIH FASADNIH PLOČA U KVADRATNIM METRIMA
SURFACE OF THE POLYCARBONATE FACADE ELEMENTS IN SQUARE METRES
113.000
POVRŠINA OBOJANIH PLOHA U KVADRATNIM METRIMA
PAINTED SURFACE IN SQUARE METRES
367.054
UKUPAN VOLUMEN INTERIJERA ZGRADE U KUBIČNIM METRIMA
TOTAL VOLUME OF THE BUILDING’S INTERIOR IN CUBIC METRES
95.000
VOLUMEN BETONA U KUBIČNIM METRIMA
VOLUME OF CONCRETE IN CUBIC METRES
Cilj je dizajna sustava usmjeravanja i označavanja
Arene Zagreb postići da korisnici u svakom trenutku znaju gdje se nalaze, u kojem se smjeru nalazi
njihovo odredište (sjedalo, garderoba, WC itd.)
i koji je optimalan put do njega. Korisnike treba
voditi tako da lako prepoznaju svoj cilj i da budu
sigurni da se uvijek znaju vratiti na početnu točku
ulaska, koji je u našem slučaju istovremeno i izlaz.
Svi elementi sustava zato moraju pružati konkretnu
trenutačnu uputu za kretanje i istovremeno uvažavati prostorne elemente koje korisnik percipira kao
uporišta u stvaranju mentalne mape, a to su, primjerice, bojom kodirani sektori, cirkulacija, točke
odluke, zone, specifični prostorni orijentiri itd.
The objective of the wayfinding and signage design
in the Zagreb Arena was to make sure that the users
at any given moment should know where they are,
and what the direction of the place they want to go
is (seats, coatrooms, toilets and so on), and what the
best way to get to it is. Users have to be directed so
they can easily recognise their objective and be sure
that they will always know how to get back to the
place where they came in at, which in this case is also
the exit. All the elements of the system must then
provide concrete and instantaneous instructions for
movement and at the same time respect the spatial
elements that the user perceives as key-points in the
creation of a mental map, for example, the colourcoded sectors, the circulation, decision points, zones,
specific spatial signposts and so on.
I RA PAY E R , C AVA R PAY E R D . O . O . , dizajn vizualnog identiteta
i sustava usmjeravanja / visual identity and wayfinding system
Zajednička odluka s investitorom bila je visoka inkluzivnost
i visoka usmjerenost korisnicima – čitljivost i vidljivost provjereno je besprijekorna iz svih kutova, piktogrami su nedvo­
smisleni, a odabrana tipografija je posebno prilagođena
slabovidnima i u tom smislu ima i službeni certifikat. Iako je
kodiranje bojom u Areni Zagreb dosljedno provedeno i služi
kao važan alat u usmjeravanju, projekt signalizacije funkcionira i u slučaju kada korisnik ne raspoznaje boje, jer boja
samo pomaže u orijentaciji, a nigdje ne zamjenjuje egzaktnu
verbalnu informaciju.
A decision made together with the client was that design should
be inclusive and user-orientated – the legibility and visibility have
been shown to be impeccable from all angles, the pictograms
are unambiguous, and the typography employed is particularly
adapted to the visually challenged, and has an official certificate
to that effect. Although the colour coding in the Zagreb Arena
has been carried out consistently and serves as an important tool
in the directions, the signage project also functions if a user cannot distinguish colours, because colour only assists in orientation,
and never replaces exact verbal information.
I RA PAY E R , C AVA R PAY E R D . O . O .
919
UKUPAN BROJ PARKIRNIH MJESTA
TOTAL NUMBER OF PARKING SPACE
300
PRIBLIŽNA MASA POMOĆNIH KONSTRUKCIJA U TONAMA
APPROXIMATE MASS OF AUXILIARY CONSTRUCTIONS IN TONS
26
MAKSIMALNI BROJ REDOVA TELESKOPSKIH TRIBINA
MAXIMUM NUMBER OF ROWS OF TELESCOPIC SEATING
50.000
DUŽINA CJEVOVODA GRIJANJA I HLAĐENJA U METRIMA
LENGTH OF CLIMATE CONTROL DUCTS IN METRES
Projekt čini niz zavisnih, međusobno integriranih
projekata. To su projekti videonadzora, nadzora
pristupa, projekt evidencije ulaska posjetitelja,
protuprovalne i protuprepadne zaštite, projekt
sustava za dojavu požara i projekt detekcije CO.
Preko jedinstvenog sučelja upravlja se svim zavisnim projektima. Svi su sustavi integrirani tako
da je u bilo kojem slučaju sve povezano i s evaku­
acijom i sa svim ostalim događajima nužnim za
sigurnost posjetitelja i objekta. Baš je zbog te
integracije ovaj sustav jedinstven u Hrvatskoj, pa
čak i u svijetu.
Tvrtka Soboli preuzela je konzalting poslove
kompletnog osiguranja, od građevine u izgradnji,
tj. gradilišta i same izgradnje objekta, preko planiranja, projektiranja i nadzora izvedbe i funkcioniranja sigurnosnih sustava buduće dvorane. Sam
projekt osiguranja je multidisciplinaran. Buduće
osiguranje dvorane temeljit će se na ugrađenim
tehničkim sustavima zaštite, no daljnju organizaciju
osiguranja preuzet će upravljački menadžment
dvorane. Za samu građevinu kao finalni proizvod
definirali smo tehnološke i sigurnosne procedure,
odnosno protokole pristupa i kretanja u dvorani.
Ideja vodilja projekta je sigurnost posjetitelja kao
temeljna pretpostavka funkcioniranja sustava
zaštite na ovako složenom objektu.
The project consists of a number of dependent, integrated designs. These are video surveillance designs,
access control, a design for registering visitor entry,
anti-burglar and anti-intrusion protection, a fire alarm
system plan and a CO detection plan. All the dependent
projects are controlled via a single interface. All the
systems are integrated in such a way that at any moment in time they are all connected with evacuation
procedures and all the other events necessary for visitor
and facility security. It is this integration that makes the
system unique in Croatia and in fact in the world.
Soboli has taken on the consulting of jobs of total
security, from the building in the construction phase,
i.e. the site and the actual building of the facility, via
planning, designing and controlling the execution and
functioning of the security systems of the future sports
hall. The actual security project is multidisciplinary. The
future security of the hall will be based on the security
systems built in, but the further organisation of the
security will be taken over by the management of the
hall. For the building itself, as a final product we defined the engineering and security procedure, the protocols for accessing the hall and movement in it. The
principal idea of the project is visitor safety, the basic
precondition for the working of the security system in
a building as complex as this.
ST I P E BA L J K A S , P ROS P EC T U S D . O . O . ,
VLADIMIR CELINŠĆAK, SOBOLI D.O.O.,
projekt tehničke zaštite / surveillance and security system design
sustav sigurnosti / security system
15.024
BROJ NUMERIRANIH SJEDEĆIH MJESTA NA TRIBINAMA
NUMBER OF NUMBERED SEATS IN THE STANDS
Dvorana je višenamjenska, multifunkcionalna i
samim time akustika ne može biti idealna za sva
događanja. Trebalo je odrediti mjeru gdje će biti
zadovoljeno najviše korisnika i to tako da se najkritičniji događaji riješe, a one nešto manje kritične
će se optimizirati na prihvatljivu razinu. Sigurno
da su, akustički gledano, najvažniji vid događanja
glazbene priredbe, i to one koje se rade putem
ozvučenja s obzirom na veličinu dvorane. Toj vrsti
koncerata pogoduje prigušen, tj. akustički suh prostor, tako da prostor što manje utječe na glazbu.
Sportske priredbe, s druge strane, posebna su
problematika s obzirom da ih se ne može napraviti
u potpuno prigušenoj dvorani jer se onda gubi huk
navijanja, a time i potpora domaćem timu. To su
krajnje vrijednosti unutar kojih se projekt kreće.
U ovakvim velikim dvoranama akustika se mora
riješiti tako da se uklopi u rješenje interijera, a ako
je akustika dobra, ona se praktički ne primjećuje.
This is a multi-purpose hall and this very fact makes it
impossible for the acoustics to be ideal for all events.
One had to set the measure where as many users as
possible would be satisfied, and for the most critical
things to be handled, and the less critical could still be
optimised. The most important type of event are music
performances, those that use speakers, because of the
size of the hall. This kind of concert is suited by a nonresonant, acoustically dry space, for the space to have
the least effect on the music. Sporting events on the
other hand are a special issue because they can’t go
on in a completely dry hall. Then the roar of the fans is
lost, and so the home team doesn’t get its support.
These are the parameter extremes within which the plan
moves. In halls of this size the acoustics has to be settled in such a way as to fit into the interior design, and
if the acoustics is good, then it is hardly even noticed.
P RO F. D R . H RVOJ E D O M I T ROV I Ć , Z AVO D Z A E L E K T ROA KU ST I KU ,
FA KU LT E T E L E K T ROT E H N I K E I RAČ U N A R ST VA , Z AG R E B , projekt
akustičkog uređenja / D E PA RT M E N T O F E L EC T ROACO U ST I C S , FAC U LT Y
O F E L EC T R I C A L E N G I N E E R I N G A N D CO M P U T I N G , Z AG R E B , acoustics
design
Vrste intervencija su vrlo različite: od primjene akustičke
apsorpcije, preko zakošenja površina do smanjenja broja
ostakljenih ploha i difuzije. Područja intervencija su fronte
VIP loža, krov arene, stražnji zid gledališta, fronte galerija,
stražnji zidovi VIP loža i čelične grede krova. Kvaliteta zvuka
i akustika objekta prilikom koncertnih izvedbi postaju ključne
teme za muzičku industriju. Tijekom godina svjedočimo povećanim očekivanjima u pogledu kvalitete zvuka. Nadalje, izvođači teže digitalnoj CD kvaliteti zvuka i prilikom koncertnih
izvedbi pa je potreba za kvalitetnom arhitektonskom akustikom imperativ. Arena Zagreb projektirana je prema visokim
akustičkim standardima i ima sav potreban potencijal da je
se okarakterizira kao prvoklasnu građevinu u krugu međunarodnih koncertnih prostora.
The types of treatment are varied from the application of
acoustic absorption, angling of surfaces, reduction of glazed
areas and diffusion. Areas to be treated include: the fronts and
the rear walls of the VIP boxes, arena roof, balcony fronts, rear
walls of the spectator area and steel roof beams. The sound
quality and acoustics within a venue are becoming key issues
for the live music industry. Over the years we have seen an
increase in audience expectation in respect of sound quality.
Furthermore, artists are striving for digital CD quality sound for
live performances so the need for good architectural acoustics
is paramount. The Zagreb Arena is being designed to a high
acoustic standard and has all the potential to be regarded as a
first-class venue on the international concert tour circuit.
J I M G R I F F I T H S , VA N G UA R D I A CO N S U LT I N G ,
projekt akustičkog uređenja / acoustics design
Veronica je projektant, ali ujedno i izvođači specifičnih dijelova interijera Arene: svlačionica i garderoba,
ugostiteljskih objekata, garderoba za posjetioce i
recepcija, ulaza i info-pultova, VIP prostora i ureda.
Dvorana je specifičnoga i suvremenog izgleda, a
prema ideji glavnih projektanata dosta je minima­
listička. Mi smo pokušali tu nit vodilju provesti do
posljednjeg komada namještaja. Nismo išli na
standardna rješenja ili kupovne produkte poput
sportskog namještaja, nego smo sami dizajnirali i
proizveli ormariće, klupe i slične elemente opreme.
Bilo nam je važno da postignemo visoku kvalitetu
u nama važnim prostorima, a to je javni prostor
unutar zgrade. Mislim da ćemo se približiti najvišemu međunarodnom standardu.
Veronica is the designer as well as the contractor for
specific parts of the Arena interior: the changing rooms
and lockers, catering facilities, visitor cloakrooms, reception, entries and info desks, VIP spaces and offices.
The hall has a particular and contemporary appearance,
and according to the ideas of the main architects it is
fairly minimalist. We tried to carry this guiding principle
out down to the last item of furnishing. We did not
go for standard solutions or buy products like sports
furniture, rather we designed and produced our own
lockers, benches and similar items of equipment. It
was important for us to achieve a highly quality in the
areas that are important for us, and that is the public
space inside the building. We think that we shall meet
the highest international standards.
RO N A L D PATA F TA , V E RO N I C A D . O . O . , projekt interijera i izvođač
interijerskih elemenata / interior design, contractor for interior elements
Javno-privatno partnerstvo generiralo je dinamičan razvoj
većine europskih gradova koji su se opredijelili za ambicije
slične ili još veće od Zagreba. Ono je potaknuto ne samo
manjkom sredstava u javnom sektoru, nego i privatizacijom
dobara neophodnih za razvoj, posebno prostora. Vrijednost
prostora stalno raste, a Grad raspolaže s premalo vlastitih
prostora, uz to, ne uvijek na lokacijama potrebnima za javne
investicije. Priprema izgradnje Doma hrvatskog rukometa,
gradnja Arene Zagreb kao jednoga od desetak hitno potrebnih sadržaja za novi razvojni skok Zagreba, uz partnerstvo
Grada i Vlade Republike Hrvatske, za to je slikovit primjer.
Public-private partnership has generated the dynamic growth
of most European cities that have opted for ambitions the
same as or much bigger than Zagreb’s. It is prompted not only
by a shortage of funds in the public sector, but also by the
privatisation of goods essential for development, particularly
land. The value of land is constantly on the rise, and the city
authorities have too little of its own land at its command, and, in
addition, not always in the areas necessary for public investment.
The construction of the Zagreb Arena, one of the dozen urgent
requirements for a new developmental leap of Zagreb, with the
partnership of the city and the Government of the Republic of
Croatia, is a telling example of this.
M I L A N BA N D I Ć
Model javno-privatnog partnerstva primijenjen na Areni
Zagreb podrazumijeva dugoročan zakup objekta od strane
javnog partnera, koji nakon određenog broja godina postaje
vlasnikom dvorane i svih popratnih sadržaja. Znači, javni
partner objekt isplaćuje višegodišnjim zakupom, pri čemu
je objekt izgrađen isključivo sredstvima investitora u čijem
je i vlasništvu sve do isteka ugovorom dogovorenog roka
zakupa. Osiguranje financiranja bio je jedan od zahtjevnijih
zadataka kako bi se projekt uspješno i na vrijeme realizirao.
U izgradnji Arene Zagreb Ingra je angažirala znatan dio
vlastitih sredstava. Gotovo polovicu od ukupne vrijednosti
projekta, koji iznosi otprilike 90 milijuna eura, činila su vlastita
sredstva dok je drugi dio osiguran bankarskim kreditom BKS
banke. Za Ingru, tvrtku s više od 50 godina iskustva u vođenju
velikih investicijskih projekata, Arena Zagreb predstavlja
jedan od najvažnijih izvedenih projekata.
The model of public-private partnership applied to the Zagreb
Arena implies a long-term lease by the public partner, which
becomes the owner of the hall and all auxiliary objects after a
certain period. This means the public partner pays for the facility
through the long-term lease, while the facility is constructed
exclusively using the funds of the investor , who owns it until
the end of the contracted lease period. Ensuring financing was
one of the more demanding tasks in order for the project to be
realised successfully and on time. Ingra engaged a significant
portion of its own funds in the construction of the Zagreb Arena.
About half of the total value of the project, which amounts to
EUR 90 million, came from Ingra’s own funds, while the other
part was secured through a bank loan from BKS. For Ingra, a
company with over 50 years’ experience in executing large
investment projects, the Zagreb Arena represents one of the
most important projects it has executed.
I G O R O P P E N H E I M , I N G RA D . D .
Izuzetna mi je čast da sam baš ja kao Zagrepčanin
zabio prvi gol u novoj Areni Zagreb u prijateljskoj
utakmici s Rusijom. Nadam se ta je taj prvi gol
tek početak uspjeha hrvatskih sportaša u Areni
Zagreb. Iako sam u inozemstvu igrao u dvoranama
slične veličine, ipak je jedinstven osjećaj igrati
na domaćem terenu i uz vatrenu podršku 15 000
svojih navijača u jednom izuzetnom ambijentu. I
meni osobno, i svim igračima hrvatske rukometne
reprezentacije, a vjerujem i svim građanima, Arena
Zagreb znači izuzetno mnogo i kao mjesto za
velika sportska događanja, i kao novi graditeljski
simbol grada Zagreba.
It is a great honour to have scored the very first goal
in the Zagreb Arena, especially me being from Zagreb,
during the friendly match with Russia. I hope this
first goal is but the start of Croatian athletes’ list of
succes­ses in the Zagreb Arena. Even though I have
played in sports halls of this size abroad, it is nevertheless a unique feeling to play on a home field,
enthusiastically supported by 15,000 fans in an exceptional environment. To me personally, and to all
players of the Croatian national handball team, and I
believe to all citizens, the Zagreb Arena means a lot,
both as a venue for large sports events, and as a new
architectural symbol of the City of Zagreb.
I G O R VO R I , hrvatski rukometni reprezentativac /
Croatian national handball team player
Igor Oppenheim, Marijan Kostrenčić, Darko Ivanda,
Vesna Ledić Oppenheim, Sandra Obuljen, Damir Crnković,
Hrvoje Cesar, Darko Koretić, Bruno Brunović, Đeno
Jurišić, Tomislav Šindler, Jasminka Vusak, Željko Šilić,
Slobodan Suša, Igor Muža, Dejan Dragić, Dalibor Mesarić,
Marija Dodig, Tomislav Delivuk, Ivan Risek, Tomislav
Skočibušić, Jelena Bučan, Tomislav Antunović, Željko
Špoljarić, Dinko Pejković, Danko Deban, Tomislav Kušenić,
Miran Kožar, Ivan Getaldić, Tanja Turudija, Petar Radošević,
Davor Banovac
T I M A R E N A Z AG R E B – I N G RA , D . D . /
T H E Z AG R E B A R E N A T E A M – I N G RA , D . D .
Za projekt je važna logika ulaza s visinske kote od pet metara,
koja je logična zbog brze distribucije gledatelja na tribine.
Zbog toga je formiran povišeni trg koji je ujedno i postament
dvorane. Ideja je bila da se teren uzdigne na ulazni plato i to
smo izveli pristupnim tribinama s istoka, pa zatim rampama
prema zapadu i trgovačkom centru. Željeli bismo da plato
zaživi kao jedan urbani prostor pa je, primjerice, dio ugostiteljskih lokala orijentiran i prema njemu.
For the design, the logic of the entry from an elevation of five
metres is very important, which is logical for the rapid distribution
of spectators to the stands. For this reason a raised plaza was
formed, which is at the same time the base of the sports hall.
The idea was for the ground to be elevated up to the entrance
concourse, and we did this with access stands from the east, and
then with ramps to the west and the mall. We wanted the concourse to be viable as an urban space and so, for example, some
of the commercial units face onto it.
B E R I S L AV M E D I Ć , U P I – 2 M D . O . O .
T LO C RT 1 . K ATA / 1 ST F LO O R P L A N
Arena je, pored ostalih namjena, trebala omogućiti održavanje Svjetskog prvenstva u rukometu 2009., ali i drugih
sportskih natjecanja. Naš je prvi zadatak bio pronaći koncept
školjke gledališta koji zadovoljava tražene uvjete. U trenutku
kad smo dogovorili taj posao, Ingra je imala kontakte s
grčkom tvrtkom Decathlon koja se bavi projektiranjem
sport­skih objekata te nam je omogućila suradnju s njima.
Taj nam je početni impuls značajno skratio proces projektiranja jer smo u najkraćem mogućem roku odabrani model
školjke prilagodili zagrebačkim uvjetima. Trebali smo se koncentrirati na bitno i koristiti ono što je poznato, a rješavati
ono što je nepoznato.
The Arena has to cater for, among other things, the World
Handball Championship 2009, as well as other sporting events.
Our first task was to find a concept for the auditorium bowl that
would satisfy the requirements. Just when we had agreed on the
job, Ingra was having contacts with the Greek firm Decathlon,
which designs sporting structures, and so we could work with
them. This initial impulse considerably shortened the design
process, because in a very short time we were able to adjust the
chosen model of auditorium to Zagreb conditions. We had to
concentrate on the essentials and use what was known, solve
the unknowns.
A L A N L EO P L E ŠT I N A , U P I – 2 M D . O . O .
P O P R EČ N I P R E SJ E K I UZ D UŽ N I P R E SJ E K /
C RO S S S EC T I O N A N D LO N G I T U D I N A L S EC T I O N
Popis podizvoditelja
List of subcontractors
Adde Podne Obloge d.o.o.
Karašička 22A, 10000 Zagreb
dzagorac@armstrong.com
Eccos d.o.o.
I Pile 21, 10000 Zagreb
dejan.cakija@eccos.com.hr
ALU KON d.o.o.
Goričica, Paukovečka cesta 23, 10382 D. Zelina
komercijala@alu-kon.hr
Eheim Moebel Gmbh
Friedrichsruher Str. 21, Ohringen, Deutschland
klaus.frey@eheim-moebel.de
Aluferit građenje d.o.o.
Petra Preradovića 111, Pitomača
aluferit@aluferit-gradjenje.hr
Elan
Begunje 1, 4275 Begunje na Gorenjskem, Slovenija
miha.ster@elan.si
AS interijeri d.o.o.
Kladuška 3, 10000 Zagreb
Electrolux d.o.o.
Slavonska Avenija 3, 10000 Zagreb
tamara.rakovac@electrolux.hr
Basal d.o.o.
Prisavlje 12, 10000 Zagreb
basal@zg.t-com.hr
Bilić i Erić d.o.o.
Lj. Posavskog bb, 10360 Sesvete
bilic-eric@bilic-eric.hr
Brodarski institut
Av. V. Holjevca 20, 10000 Zagreb
vladimir.koroman@hrbi.hr
Carin d.o.o
Oreškovićeva 1A, 10000 Zagreb
info@carin.hr
Cavarpayer d.o.o.
Brešćenskoga 9, 10000 Zagreb
ira@cavarpayer.com
Contura d.o.o.
Kralja Zvonimira 35, 34310 Pleternica
contura@contura.hr
Cro-basket d.o.o.
Ilica 28, 10000 Zagreb
crobasket@crobasket.hr
Dajak-mont d.o.o.
1. gajnički vidikovac 10, 10000 Zagreb
Damgrad d.o.o.
Bužanova 10A, 10000 Zagreb
damgrad-sd@zg.t-com.hr
Dechatlon
3 Timarchou Str, 11634 Atena, Grčka
dechatlon@dechatlon.gr
Diringer&Schiedel d.o.o.
Ivana Zajca 8, 47000 Karlovac
Dulex d.o.o.
Frankopanska 81, 42230 Ludbreg
info@dulex.hr
Đani Keramika d.o.o.
III Ravnice 10, 10000 Zagreb
150
Elektrometal d.d.
Ferde Rusana 21, 43000 Bjelovar
prodaja@elektrometal.hr
Elektro-Vrata d.o.o.
J.J. Srossmayera 153, 31000 Osijek
Elkom d.o.o.
Ivanečko naselje 1D, 42240 Ivanec
habek@elkom.hr
Ellabo d.o.o.
Kamenarka 24, 10010 Zagreb
ivica.zigulic@ellabo.hr
ENEL d.o.o.
Petrova 15, 10000 Zagreb
v.kovacevic@enel.com.hr
Enikon d.d.
Veslačka 2, 10000 Zagreb
luka.andrijanic@enikon.t-com.hr
Eurokran d.o.o.
Ventilatorska 9, 10250 Zagreb
eurokran@zg.htnet.hr
Euromax d.o.o.
Radnička cesta 27, 10000 Zagreb
FARBO INTERIJERI d.o.o.
Merlinov put 4, 10090 Zagreb
farbo.interijeri@zg.t-com.hr
Fero-Term d.o.o.
Bani 73B, Buzin
zeljko@fero-term.hr
Geodetika d.o.o.
Z. Furtingera 1, 10000 Zagreb
Geo-Ing d.o.o.
Puškarićeva 77A, 10250 Zagreb
petar.plahutar@geoing.hr
Geokon Zagreb d.o.o.
Starotrnjanska 16A, 10000 Zagreb
geokon-zagreb@geokonzg.com
Grasa d.o.o.
Kalinovica 3, 10000 Zagreb
grasa@grasa.hr
Grgamont d.o.o.
Sunekova 186, 10000 Zagreb
grgamont@zg.t-com.hr
GT Građenje Polet d.o.o.
Livadarska 18A, 10340 Vrbovec
HEP d.d.
Ulica grada Vukovara 37, 1000 Zagreb
Hunter Douglas
Pierkstraat, 3071 Rotterdam, Netherlands
s.kapetanovic@hunterdouglas.hr
Intel Trade d.o.o.
Dr. A Mandića 9, 51410 Opatija
zg@intel-trade.hr
Lumenart d.o.o.
Veruda 60B, 52100 Pula
skira@lumenart.hr
Pavušin d.o.o.
Cvetković 95A, 10450 Jastrebarsko
vladimir.pavusin@pavusin.hr
Tehnozavod Marušić d.o.o.
XIII Podbrežje 26, 10000 Zagreb
kresimir.marusic@tehnozavod.hr
Maestral GP d.o.o.
Pod brezom odvojak 14, Vrhovčak, 10430 Samobor
info@maestral-gp.hr
Podosjaj d.o.o.
Ventilatorska 9, 10250 Zagreb
podo.sjaj@kc.t-com.hr
TL-Tome Lučić d.o.o.
Dr. Stanka Pinjuha bb, 49214 Veliko Trgovišće
info@tl-tome-lucic.hr
MD & V d.o.o.
Okrugli vrh 50A, 40311 Lopatinec
mdv@ck.t-com.hr
Podovi d.o.o.
Trondheimska 4D, 21000 Split
M– Profil Zabok
Prilaz dr. Franje Tuđmana 11, 49210 Zabok
m-profil@m-profil.hr
Mdprofil INTRA d.o.o.
Industrijska zona bb, 31400 Đakovo
mknapic@mdprofil.hr
METAL PROJEKT d.o.o.
Grada Mainza 24, 10000 Zagreb
Metalind d.o.o.
Slavonska cesta bb, 43000 Bjelovar
metalind@bj.htnet.hr
Metalmania d.o.o.
Nazorova 23, 10434 Orešje
info@metalmania.hr
Interijer d.o.o.
Rakovac 39, 47000 Karlovac
interijeri.franusic@ka.t-com.hr
MILJAK GRAĐENJE d.o.o.
Vukovarska 178, 21000 Split
miljak-gradjenje@st.hinet.hr
Invento Pro d.o.o.
Av. Marina Držića 81B, 10000 Zagreb
rina@invento-pro.hr
MM-Plan d.o.o.
Dunjevac 1, 10000 Zagreb
IPRO Inženjering d.o.o.
Trg Vladka Mačeka 6, 10000 Zagreb
ipro@ipro.hr
Johnson Controls d.o.o.
Andrije Žaje 10, 10000 Zagreb
dominik.jakus@jci.com
Jurcon projekt d.o.o.
Gotalovečka 4A, 10000 Zagreb
jurcon.projekt@inet.hr
MST d.o.o.
Braće Radića 11, 10452 Donja Zdenčina
petar@mst-intersped.hr
NOVA FORMA d.o.o.
Selska cesta 72, 10000 Zagreb
nova-forma@zg.t-com.hr
OPIK d.o.o.
Antuna Mihanovića 3, 10340 Vrbovec
zeljko.pracaic@opik.hr
Fugaplast d.o.o.
A. Šenoe bb, Gola 48331
Klanjčić d.o.o.
Obrtnička 1, 10431 Sveta Nedelja
kresimir1@klanjcic.hr
Palmir d.o.o.
S. Košutića 6, 10000 Zagreb
palmir@palmir.hr
Funda d.o.o.
Bana Josipa Jelačića 45, 10290 Zaprešić
info@funda.hr
Klimaoprema d.o.o.
Gradna 78A, 10430 Samobor
gvuksan@klimaoprema.hr
Pastor Inženjering d.d.
Novačka 2, 10437 Rakitje
hrvoje.lovko@pastor-group.com
Gamont d.o.o.
Primorska 8, 10000 Zagreb
gamont@zg.t-com.hr
Lift Modus d.o.o.
Joze Martinovića 7, 10000 Zagreb
info@liftmodus.hr
Pavičić interijeri d.o.o.
Ružmarinka 21, 10000 Zagreb
pavicic@pavicic-interijeri.hr
Polyester univerzal
Predovečka 11, 10000 Zagreb
info@brajdic-polyester.com
Primakon d.o.o.
Tratinska 1, 10000 Zagreb
db@primakon.com
Proklima d.o.o
Talani 14, 10000 Zagreb
proklima@proklima.hr
Radio Moto d.o.o.
Zvonimirova 122, 10000 Zagreb
radio.moto@radio-moto.hr
Robbins
4777 Eastern Avenue, Cincinnati, Ohio 45226 USA
jvargas@robbinsfloor.com
Rožman d.o.o.
Smodekova 12A, 10000 Zgreb
rozman@zg.htnet.hr
Senoh Corp.
2-2-13 Minami Shigahawa, Tokyo, Japan
Signalinea d.o.o.
Pul Vele Crikve 1, 51000 Rijeka signalinea@ri.t-com.hr
Sim-gradnja d.o.o.
Velimira Škorpika 3B, 10000 Zagreb
ravagao@resinex.t-com.hr
Soboli d.o.o.
Budmanijeva 5/3, 10000 Zagreb
soboli@soboli.hr
Siteco Sistemi d.o.o.
Trg Dražena Petrovića 3/17, 10000 Zagreb
r.sadaic@siteco.hr
Top-glazure d.o.o.
II Plemičko 22, 10000 Zagreb
TTI d.o.o.
Kralja Krešimira 4B, 10430 Samobor
d.safarik@tti-zagreb.hr
UPI– 2M d.o.o.
Krajiška 10, 10000 Zagreb
tamara@upi-2m.hr
V.D. GRAĐENJE d.o.o.
Gradiška ulica 20, 10000 Zagreb
marina.vujic@vd-gradjenje.hr
Vanguardia Consulting
21 Station Road West, Oxted, Surrey, Rh8, England
office@vanguardiaconsulting.co.uk
Veronica d.o.o.
Martićeva 23, 10000 Zagreb
veronica@veronica.hr
Viessmann d.o.o.
Luje Naletilića 29, 10000 Zagreb
tuv@viessmann.com
Wagner Biro Austria
Stadlauerstrasse 54, Wiena, Ostereich
harald.poeschel@waagner-biro.com
Zakladani staveb d.o.o.
II Cvjetno naselje 19, 10000 Zagreb
Zaštitni sustavi Zagreb d.o.o.
Heinzlova 53A, 10000 Zagreb
zlatko.videc@email.t-com.hr
Zavod za elektroakustiku, Fakultet elektrotehnike
i računarstva Sveučilišta u Zagrebu
Unska 3, 10000 Zagreb
zea@fer.hr
STS Metal d.o.o.
Samoborska cesta 203, 10090 Zagreb
strojoservis@strojoservis.hr
Supervizija d.o.o.
Rapska 37, 10000 Zagreb
Tehnoguma d.o.o.
CMP Savica Šanci, Obrtnička 1, 10000 Zagreb
tgstil@tehnoguma-zg.hr
151
Arena Zagreb
The Zagreb Arena
Nakladnik / Publisher
I N G RA D . D . Alexandera von Humboldta 4b, Zagreb, Hrvatska / Croatia
Copyright
I N G RA D . D .
Za izdavača / For the publisher
IGOR OPPENHEIM
Glavni urednik / Editor
M A ROJ E M R D U L JA Š
Uredništvo / Editorial board
VESNA LEDIĆ-OPPENHEIM
M A ROJ E M R D U L JA Š
I RA PAY E R
DA N KO D E BA N
Fotografije / Photography
JA S E N KO RA S O L (osim str. / except page numbers 6, 20-25)
I N G RA D . D . (str. / page numbers 22-25)
ST U D I O H RG (str. / page numbers 6, 20, 21)
Dizajn / Design
I RA PAY E R , T I N A I V E Z I Ć
Suradnica urednika / Assistant editor
M A RTA K I Š
Lektura i korektura hrvatskih tekstova /
Lecture and proofreading of Croatian texts
M A JA T R I N A J ST I Ć
Prijevod na engleski / English translation
G RA H A M M C M A ST E R
DAVO R J U R I Č I Ć
Lektura i korektura engleskih tekstova /
Language editing and proofreading of English texts
N I C K SAY W E L L
Obrada fotografija / Colour editing
P U N K T ST U D I O D . O . O .
Tisak / Printed by
P R I N T E RA G R U PA D . O . O .
Naklada / Print run
2000
Zagreb, 2008.
CIP zapis dostupan u računalnom katalogu Nacionalne
i sveučilišne knjižnice u Zagrebu pod brojem 688299 /
A catalogue record for this book is available from the National and
University Library in Zagreb
ISBN 978-953-55532-0-5