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On the occasion of the 150th anniversary of the declaration of the independence of the United States of America in 1926, the Sesquicentennial International Exposition was organised in Philadelphia, Pennsylvania. In 1925, the Kingdom of Serbs, Croats and Slovenes had been invited to take part in the exhibition. The invitation was followed by a series of difficulties in organising the presentation, dispute over the involvement of Tomislav Krizman in the preparation of the Yugoslav pavilion and a conflict with the Belgrade artists. In the end, the government abandoned the idea of a national presentation due to financial reasons. Nevertheless, several Yugoslav artists participated in this major international exhibition, thanks to the initiative of the sculptor Ivan Meštrović and with the organisational support of the Yugoslav Circle from New York. Using archival and periodical sources, the paper examines the organisational aspects and circumstances of the participation of Yugoslav artists in the Sesquicentennial International Exposition and the reception of this first joint presentation of Yugoslav art in the USA, in which works of numerous artists from Zagreb, Belgrade and Ljubljana were exhibited. The participation of Yugoslav artists will be considered in two ways: as a rare example of artistic self-organisation in the context of Yugoslav exhibition practices abroad and as an initiative that reveals the complex and dissonant infrastructure of Yugoslav exhibition and cultural policy in the interwar period. Sesquicentennial International Exposition organizirana je u spomen 150-godišnjice proglašenja nezavisnosti Sjedinjenih Američkih Država i 50-godišnjice Centennial Exposition, a održala se 1926. u Philadelphiji, Pennsylvania. Kraljevina SHS dobila je 1925. poziv za sudjelovanje na izložbi, nakon čega su uslijedili dogovori, ali i niz turbulencija oko organiziranja predstavljanja, angažmana Tomislava Krizmana na uređenju jugoslavenskog paviljona te spora s beogradskim

In his poem »Memento«, Hinko Gottlieb (1886–1948) – a lawyer and a poet – portrayed a trait of his contemporary and companion Lavoslav Schick (1881–1941) – a historian and a lawyer too – with wit and humor. His approach is biographically, at the same time he uses irony to make fun of Schick’s own biographical approaches to other Croatian Jews. As a result of the analysis of this commemorative poem, published in 1934, questions are raised about the source value of a satirical poem. Likewise, about the meaning, form and about (political) intentions of biographical depictions in general. For the contemporaries, but also for today’s researches., Peer Reviewed

My ambition here is not to give a firm answer to the eternal question why man laughs. Just like love, humor remains an unsolvable mystery. We do not know why we love someone, just as we do not know what the source of humor is. Man does not know why he loves someone. Man does not know why he laughs at something or someone. And that is a good thing. Life without secrets would be infinitely boring. Still, if not humor itself, we can identify what humor carries. Humor, just like art (and art and humor are often united), presents a vision of the world, one view of life. This paper is an attempt to analyze humor in Middle European animation illustrated by the example of two characteristic films created within the Zagreb school of animation. Already over the first decades of the twentieth century, film animation appeared in almost all middle European countries. Still, the golden age of this medium in this region lasted from the 1950s to the end of 1970s. After World War II, a significant number of animated film studios were founded in the region producing innovative and fresh art of animation often recognized at international film festivals. There was no middle European equivalent of Popeye or Superman. Much like in regional literature and visual humor, in animation too there were heroes who were not heroes. Leading characters in middle European animation were often characterized by the “Schweikian” anomaly: little man, who felt like a looser, bearing no illusions towards the presence or the future.

Višegodišnja saradnja sa klijentom, zlatarskom kompanijom „ZAKS“, započela je istraživanjem aktuelnog tržišta kroz pilot projekte, koji teoretski stav autora o predmetnom programu integriše u zahteve savremenog vida izlaganja nakita. Zahvaljujući tome, tradicionalni pristup prezentaciji proizvoda koji je praktikovan više decenija, biva napušten, a novonastali koncept i prostorna organizacija, koja je podređena specifičnim zahtevima, omogućavaju korisniku da izloženi nakit sagleda u potpunosti, a da pristup, nenametljivo, bude u potpunosti kontrolisan. Takav arhitektonski izraz rezultuje prepoznatljivim enterijerom, koji pruža afirmativni doživljaj izloženog. Novonastalim koncepttom je, zahvaljujući dobro promišljenom i visokokvalitetnom projektantskom rešenju, postignuto da izgled i funkcija mogu biti prilagođeni svakoj situaciji koje tržište diktira. Novoformirano rešenje omogućava fleksibilnost u ispunjavanju mnoštva potencijalnih prostornih zahteva u skladu sa specifičnostima koje nameđe prezentovanje nakita u savremenom kontekstu. Takođe, uspostavljena koncepcija pruža mogućnost transformabilnosti, tako da pojedini elementi (segmenti enterijera) mogu biti izmenjeni i remodelovani bez ugrožavanja prepoznatljivog izgleda celine uz očuvanje novog identiteta prodajnog prostora., The years-long collaboration with the client, the jewelry company "ZAKS," began with market research and pilot projects that aimed to integrate the author's theoretical stance on the subject program into the requirements of modern jewelry presentation. As a result, the traditional approach to product presentation, practiced for several decades, was abandoned, and the newly developed concept and spatial organization, tailored to specific needs, allowed the user to fully appreciate the displayed jewelry while maintaining complete control over access in a non-intrusive manner. This architectural expression resulted in a distinctive interior that offers an affirmative experience of the exhibits. Thanks to a well-thought-out and high-quality design solution, the newly created concept ensures that the appearance and function can be adapted to any situation dictated by the market. The newly devised solution provides flexibility in meeting a multitude of potential spatial requirements in accordance with the specific demands of presenting jewelry in a contemporary context. Furthermore, the established concept allows for transformability, so that individual elements (interior segments) can be modified and remodeled without compromising the recognizable appearance of the whole while preserving the new identity of the retail space.

Projekat srebrnarnice ARGENTUM, u zaleđu objekta orijentisanog ka centralnom trgu bana Josipa Jelačića u Zagrebu, predstavlja rezultat dugogodišnje saradnje i zajedničkih napora investitora i projektanta u pronalaženju optimalnog rešenja za plasiranje specifične vrste nakita na tržište. Za razliku od zlatara, srebrnarnice izlažu nakit koji je dostupan široj paleti kupaca. Projektantski pristup je sličan u pogledu funkcije, prezentacije nakita, bezbednosti i privatnosti korisnika prostora. Problem prilikom projektovanja se javlja u odabiru materijala, koji bi na izgled trebalo da odišu određenom dozom luksuza sa primesom ekskluzive, ali u cenovnom rangu pripadaju paleti prozvoda srednjeg ranga. Međutim, lokacija u mnogome utiče na odluke u pogledu potencijalnih klijenata, odabira nakita i načina njegovog prezentovanja, pa samim tim i omogućava određene kompromise., The ARGENTUM silver shop project, situated at the rear of the building facing Ban Josip Jelačić's central square in Zagreb, is the result of many years of collaboration and joint efforts between investors and designers in finding the optimal solution for introducing a specific type of jewelry to the market. Unlike goldsmiths, silver shops display jewelry that is accessible to a broader range of customers. The design approach is similar in terms of function, jewelry presentation, safety, and user privacy. The challenge during the design process arises in the selection of materials that should appear to exude a certain level of luxury with a touch of exclusivity, while still falling within the mid-range price category. However, the location significantly influences decisions regarding potential customers, jewelry selection, and its presentation, thereby allowing for certain compromises.

In the centre of the article’s interest, there are the expressionist ideas present in the work by Croatian writer from the inter-war period (1893–1941). The mini-novel/novella in question entitled Tonkina jedina ljubav (1931) is considered the work belonging to the epoch of the new/social realism which dominated in the 1930s, however, the author, as is shown on the basis of the article’s research, did not managed to free himself from influence of expressionism that shaped the most Croatian consciousness as for the avant-garde historical time (1910–1930). Focusing attention on a disabled woman along with her small-town environment of Zagreb before the World War I, the author draws her exaggerated, cartoonish portrait which has little to do with the realistic and mimetic reflection of reality. The work is a kind of aesthetic and ethical provocation, and serves as unmasking the idyllic image of Zagreb which turns out to be a city inhabited by intolerant and narrow-minded society convinced, however, of its civilisation superiority. The titular character is a victim of this society, and at the same time she remains its part. The aesthetic and ethical provocation concerns the disabled woman together with „inefficient” society living in the terrifying city.

The paper focuses on the history of Zagreb’s prominent Jewish family, the Alexanders (or Aleksanders), who were influential in the cultural, economic and social life of the city and Croatia for almost a century. At the time of their arrival in Zagreb and after the end of the First World War, they all belonged to the Jewish religious denomination; later most of them converted to Catholicism and one was an Evangelical Christian (Protestant). The Alexander family moved to Zagreb from Burgenland (Güssing) in the 1850s. Upon their arrival, they worked in commerce and were known as diligent businessmen. Soon they became respected and wealthy patrons well-known in Zagreb, Croatia and abroad. The second-generation family members were distinguished physicians, lawyers, engineers, artists, professors and businessmen. They formed marriage alliances with Zagreb’s prominent Jewish and Catholic families and socialised with the nobility, thus making acquaintances and forming social networks that upgraded their social status. Also, they were cosmopolitans with one foot in Zagreb and the other in Vienna. Thereby, Budapest was not far-fetched for them. Among the most prominent and distinguished family members, one finds the brothers Aleksander/Šandor (1866–1929) and Samuel David (1862–1943). They were well-respected industrialists, founders of Zagreb’s brewery, malt factory and cement factory. They were also board members of several banks and founders of industrialists’ associations. Thus, their work and diligence were much appreciated during the First World War, for which Aleksander was awarded an Austro-Hungarian noble title. The post-war unification of the Kingdom of Serbs, Croats and Slovenes had no negative impact on their social standing. Thereby, the brothers managed to continue their business successfully, and were greatly appreciated by the newly formed political elite. Later, at the beginning of the Second World War, the majority of the family members managed to escape Nazi, W tekście zaprezentowana jest historia rodziny Alexander (Aleksander), żydowskiej rodziny z Zagrzebia, która prawie przez sto lat odgrywała ważną rolę w gospodarczym, kulturalnym i społecznym życiu miasta oraz całej Chorwacji. W czasie osiedlenia się w Zagrzebiu wszyscy członkowie rodziny byli wyznawcami judaizmu, jednak do 1941 roku większość z nich przeszła na katolicyzm, a jeden z nich dołączył do wyznawców kościoła ewangelickiego. Rodzina do Zagrzebia przybyła w połowie XIX wieku z terenu Gradišće (Burgenland). Po osiedleniu się zaczęła działać w handlu, a ponieważ członkowie rodziny byli niezwykle pracowici, już przed końcem XIX wieku rodzina stała się jedną z najbardziej szanowanych i majętnych, zarówno w Zagrzebiu, jak i w Chorwacji, a nawet poza nią. Już w drugim pokoleniu członkowie rodziny wyróżniali się jako znakomici lekarze, prawnicy, inżynierowie, artyści, profesorowie i przedsiębiorcy. W Zagrzebiu zawierali małżeństwa z członkami wpływowych rodzin, zarówno żydowskich, jak i katolickich, pozostawali w stosunkach towarzyskich z lokalną elitą i w ten sposób zyskali wysoki status w otoczeniu. Byli kosmopolitami: życie dzielili między Zagrzeb i Wiedeń, a i Budapeszt nie był im obcy. Wśród nich swoimi talentami wyróżniali się bracia Aleksander/Šandor (1866–1929) i Samuel David (1862-1943). Byli szanowanymi przemysłowcami: założyli zagrzebski browar, fabrykę słodu, olejarnię, cementownię i inne obiekty przemysłowe w Zagrzebiu. Zasiadali w zarządach kilku zagrzebskich banków, założyli także kilka towarzystw przemysłowych. Wyróżnili się w czasie I wojny światowej, a Aleksander otrzymał węgierski tytuł szlachecki za swoją działalność humanitarną. Okres Królestwa SHS/Jugosławii również nie zagroził ich pozycji, co więcej – nadal z powodzeniem pracowali i działali. Po wybuchu II wojny światowej większość członków rodziny opuściła Niezależne Państwo Chorwackie, kilkoro z nich zginęło w czasie Holokaustu. Obecnie potomkowie tej wielkiej rodziny mieszkają w Izraelu

In the centre of the article’s interest, there are the expressionist ideas present in the work by Croatian writer from the inter-war period (1893–1941). The mini-novel/novella in question entitled Tonkina jedina ljubav (1931) is considered the work belonging to the epoch of the new/social realism which dominated in the 1930s, however, the author, as is shown on the basis of the article’s research, did not managed to free himself from influence of expressionism that shaped the most Croatian consciousness as for the avant-garde historical time (1910–1930). Focusing attention on a disabled woman along with her small-town environment of Zagreb before the World War I, the author draws her exaggerated, cartoonish portrait which has little to do with the realistic and mimetic reflection of reality. The work is a kind of aesthetic and ethical provocation, and serves as unmasking the idyllic image of Zagreb which turns out to be a city inhabited by intolerant and narrow-minded society convinced, however, of its civilisation superiority. The titular character is a victim of this society, and at the same time she remains its part. The aesthetic and ethical provocation concerns the disabled woman together with „inefficient” society living in the terrifying city., In the centre of the article’s interest, there are the expressionist ideas present in the work by Croatian writer from the inter-war period (1893–1941). The mini-novel/novella in question entitled Tonkina jedina ljubav (1931) is considered the work belonging to the epoch of the new/social realism which dominated in the 1930s, however, the author, as is shown on the basis of the article’s research, did not managed to free himself from influence of expressionism that shaped the most Croatian consciousness as for the avant-garde historical time (1910–1930). Focusing attention on a disabled woman along with her small-town environment of Zagreb before the World War I, the author draws her exaggerated, cartoonish portrait which has little to do with the realistic and mimetic reflection of reality. The work is a kind of aesthetic and ethical provocation, and serves as unmasking the idyllic image of Zagreb which turns out to be a city inhabited by intolerant and narrow-minded society convinced, however, of its civilisation superiority. The titular character is a victim of this society, and at the same time she remains its part. The aesthetic and ethical provocation concerns the disabled woman together with „inefficient” society living in the terrifying city.

The text summarizes and reviews the round table organized on the 19th September 2019 at the Faculty of Humanities and Social Sciences in Zagreb with the main goal to investigate the methodological and thematic approaches to the avant-garde related to the concept of revolution. The scientists from Zagreb and Belgrade, Tatjana Jukić, Predrag Brebanović, Danijela Lugarić and Branislav Oblučar, presented their contributions to debate around the above-mentioned themes. Literature as well as revolution were examined in the theoretical and historical context of the avant-garde. Public debate showed that these issues have been still sparking vivid interest in the academic, artistic and intellectual world. The round table was organized as part of the project Literary Revolutions established by the Croatian science foundation 2018-017020., The text summarizes and reviews the round table organized on the 19th September 2019 at the Faculty of Humanities and Social Sciences in Zagreb with the main goal to investigate the methodological and thematic approaches to the avant-garde related to the concept of revolution. The scientists from Zagreb and Belgrade, Tatjana Jukić, Predrag Brebanović, Danijela Lugarić and Branislav Oblučar, presented their contributions to debate around the above-mentioned themes. Literature as well as revolution were examined in the theoretical and historical context of the avant-garde. Public debate showed that these issues have been still sparking vivid interest in the academic, artistic and intellectual world. The round table was organized as part of the project Literary Revolutions established by the Croatian science foundation 2018-017020.

In 1927 painters Nasta Rojc and Lina Crnčić Virant, inspired by their British colleagues founded the Women's Art Club in Zagreb. From 1928 until 1940 the Club organized group exhibitions of its members. The main idea of the Club was to improve arts and crafts, to organize female exhibitions and to collaborate with other international women associations. The Club took part in the organisation of the exhibition of Bulgarian women artists and the exhibition of the Little Entente of Women held in 1938 in Zagreb. Women`s Art Club was an important factor of the female artists' emancipation – organizing the first female group exhibitions in Zagreb.

This paper deals with the comparative analysis of the Pioneer Cities in Belgrade and Zagreb from the architectural, sociological, phenomenological, and museological-heritological aspect. Their origin, duration, and transformations arc interpreted through the urban and socio-political framework, whereas the values in the form of unused testimonial potentials are recognized in their present condition. Both children's towns were created within the Yugoslav post-war reconstruction of the building fund and the creation of new semantic nuclei. Therefore, the Pioneer cities are interpreted as separate spaces of utopia with the aim to provoke the change of (political) landscape and function in accordance with social needs, as well as to enable an undisturbed process of growing up of the youngest in line with the Yugoslav socialist ideology. After the breakup of Yugoslavia, they have been going through different transformations reaching the place of anti-utopia: however. their paths do not fundamentally differ. The Pioneer city of Belgrade today has the status of a "forgotten city", while the Pioneer city in Zagreb has been declared a cultural asset. Nevertheless, despite a different evaluation of their importance, neither of the two cities have a quality strategy for development and usage. These two examples somehow impose a reflection on the complexity behind the model of the "life with heritage", which we aspire to in modern heritological theories.

Punktem wyjścia niniejszego tekstu jest przekonanie, że chorwacka autorka Daša Drndić w kolejnych swoich książkach konsekwentnie eksploatuje tematykę pamięci i zapomnienia o Holokauście oraz o ofiarach z czasów drugiej wojny światowej. W artykule zestawione zostają fragmenty z dwóch książek April u Berlinu z 2009 r. i EEG z 2016 r. W obu autorka umieszcza rodzaj foto-tekstów, w których dochodzi do połączenia warstwy wizualnej z językową. W pierwszej z nich ten związek jest oczywisty (mamy tam bowiem zestawienie fotografii i tekstu), w drugiej zaś nie jest jednoznaczny, choć staram się wykazać, że Drndić udało się przy pomocą języka stworzyć niezwykle plastyczne „obrazy w ruchu”, w których nałożone zostają na siebie sceny z dzisiejszego Zagrzebia i z lat 40 XX w. Interpretacja tego rodzaju fragmentów zostaje ponadto uzupełniona o rozważania na temat przestrzeni chorwackiej stolicy, w której brakuje znaków świadczących o „trudnym dziedzictwie” (termin Sharon Macdonald)., The starting point for the article is the conviction that in her books, the Croatian author Daša Drndić consistently explores the themes of memory and oblivion about Holocaust and the World War II victims. The paper juxtaposes the excerpts from her two novels: April in Berlin (2009) and EEG (2016). In both of them, the author inserts peculiar photo-texts in which the visual layer mingles with the linguistic one. In the first one, this relation is obvious (photographs and text are set together here), whereas in the second one it is more ambiguous. However, I endeavor to demonstrate that using language, Drndić manages to create the unusual graphic “pictures in motion” that simultaneously envision the contemporary Zagreb as well as the same city from the 1940s. The interpretation of such fragments is additionally enhanced with the considerations on the Croatian capital city’s space which is filled with multiple signs of “difficult heritage” (Sharon Macdonald’s term).

La organización de un mega evento, aunque sea efímero puede dejar muchas huellas materiales e inmateriales en la ciudad y la región anfitriona, y puede servir como un medio para realizar las visiones de desarrollo y la estrategia de política urbana. En la etapa de planeación y preoperativos del evento se llevan a cabo numerosas intervenciones, directa o indirectamente relacionadas con el mismo. Dependiendo del tipo y concepto del evento, las intervenciones en la ciudad y su región pueden convertirse en un patrimonio permanente, mejorando así la calidad de vida de sus habitantes a largo plazo. El objetivo de este artículo es mostrar cómo un gran evento deportivo como el de la Universiada de Verano de Zagreb en 1987 contribuyó al desarrollo de la ciudad y la región anfitriona, y a la realización de la estrategia de política urbana de esa época. Aunque Zagreb tiene una larga historia de planificación urbana, el énfasis se coloca en la documentación de planeación de la segunda mitad del siglo XX que precedió a la organización de un gran evento deportivo. Este artículo investiga las intervenciones realizadas en el período preoperativos del evento directa o indirectamente relacionado con un evento temporal, así como los programas culturales y sociales. Se puede concluir que la Catorceava Universiada de Verano fue un evento deportivo y cultural importante que sirvió como instrumento para la ejecución de numerosos proyectos; mejorando los espacios deportivos existentes, la capacidad de alojamiento y la traza urbana del centro de la ciudad a través de remodelaciones y construcciones nuevas. Dado que la mayoría de las intervenciones no se hubieran realizado en tan poco tiempo se puede decir que la Universidad fue un medio para la ejecución de la política de desarrollo urbano y la renovación de Zagreb. Ese evento dejó en el patrimonio permanentemente diversas obras de infraestructuras, supraestructuras y ecoestructuras que los habitantes de la ciudad y la región todavía utiliz

La organización de un mega evento, aunque sea efímero puede dejar muchas huellas materiales e inmateriales en la ciudad y la región anfitriona, y puede servir como un medio para realizar las visiones de desarrollo y la estrategia de política urbana. En la etapa de planeación y preoperativos del evento se llevan a cabo numerosas intervenciones, directa o indirectamente relacionadas con el mismo. Dependiendo del tipo y concepto del evento, las intervenciones en la ciudad y su región pueden convertirse en un patrimonio permanente, mejorando así la calidad de vida de sus habitantes a largo plazo. El objetivo de este artículo es mostrar cómo un gran evento deportivo como el de la Universiada de Verano de Zagreb en 1987 contribuyó al desarrollo de la ciudad y la región anfitriona, y a la realización de la estrategia de política urbana de esa época. Aunque Zagreb tiene una larga historia de planificación urbana, el énfasis se coloca en la documentación de planeación de la segunda mitad del siglo XX que precedió a la organización de un gran evento deportivo. Este artículo investiga las intervenciones realizadas en el período preoperativos del evento directa o indirectamente relacionado con un evento temporal, así como los programas culturales y sociales. Se puede concluir que la Catorceava Universiada de Verano fue un evento deportivo y cultural importante que sirvió como instrumento para la ejecución de numerosos proyectos; mejorando los espacios deportivos existentes, la capacidad de alojamiento y la traza urbana del centro de la ciudad a través de remodelaciones y construcciones nuevas. Dado que la mayoría de las intervenciones no se hubieran realizado en tan poco tiempo se puede decir que la Universidad fue un medio para la ejecución de la política de desarrollo urbano y la renovación de Zagreb. Ese evento dejó en el patrimonio permanentemente diversas obras de infraestructuras, supraestructuras y ecoestructuras que los habitantes de la ciudad y la región todavía utiliz

The starting point for the article is the conviction that in her books, the Croatian author Daša Drndić consistently explores the themes of memory and oblivion about Holocaust and the World War II victims. The paper juxtaposes the excerpts from her two novels: April in Berlin (2009) and EEG (2016). In both of them, the author inserts peculiar photo-texts in which the visual layer mingles with the linguistic one. In the first one, this relation is obvious (photographs and text are set together here), whereas in the second one it is more ambiguous. However, I endeavor to demonstrate that using language, Drndić manages to create the unusual graphic “pictures in motion” that simultaneously envision the contemporary Zagreb as well as the same city from the 1940s. The interpretation of such fragments is additionally enhanced with the considerations on the Croatian capital city’s space which is filled with multiple signs of “difficult heritage” (Sharon Macdonald’s term)., Punktem wyjścia niniejszego tekstu jest przekonanie, że chorwacka autorka Daša Drndić w kolejnych swoich książkach konsekwentnie eksploatuje tematykę pamięci i zapomnienia o Holokauście oraz o ofiarach z czasów drugiej wojny światowej. W artykule zestawione zostają fragmenty z dwóch książek April u Berlinu z 2009 r. i EEG z 2016 r. W obu autorka umieszcza rodzaj foto-tekstów, w których dochodzi do połączenia warstwy wizualnej z językową. W pierwszej z nich ten związek jest oczywisty (mamy tam bowiem zestawienie fotografii i tekstu), w drugiej zaś nie jest jednoznaczny, choć staram się wykazać, że Drndić udało się przy pomocą języka stworzyć niezwykle plastyczne „obrazy w ruchu”, w których nałożone zostają na siebie sceny z dzisiejszego Zagrzebia i z lat 40 XX w. Interpretacja tego rodzaju fragmentów zostaje ponadto uzupełniona o rozważania na temat przestrzeni chorwackiej stolicy, w której brakuje znaków świadczących o „trudnym dziedzictwie” (termin Sharon Macdonald).

This paper deals with the comparative analysis of the Pioneer Cities in Belgrade and Zagreb from the architectural, sociological, phenomenological, and museological-heritological aspect. Their origin, duration, and transformations arc interpreted through the urban and socio-political framework, whereas the values in the form of unused testimonial potentials are recognized in their present condition. Both children's towns were created within the Yugoslav post-war reconstruction of the building fund and the creation of new semantic nuclei. Therefore, the Pioneer cities are interpreted as separate spaces of utopia with the aim to provoke the change of (political) landscape and function in accordance with social needs, as well as to enable an undisturbed process of growing up of the youngest in line with the Yugoslav socialist ideology. After the breakup of Yugoslavia, they have been going through different transformations reaching the place of anti-utopia: however. their paths do not fundamentally differ. The Pioneer city of Belgrade today has the status of a "forgotten city", while the Pioneer city in Zagreb has been declared a cultural asset. Nevertheless, despite a different evaluation of their importance, neither of the two cities have a quality strategy for development and usage. These two examples somehow impose a reflection on the complexity behind the model of the "life with heritage", which we aspire to in modern heritological theories.

In 1927 painters Nasta Rojc and Lina Crnčić Virant, inspired by their British colleagues founded the Women's Art Club in Zagreb. From 1928 until 1940 the Club organized group exhibitions of its members. The main idea of the Club was to improve arts and crafts, to organize female exhibitions and to collaborate with other international women associations. The Club took part in the organisation of the exhibition of Bulgarian women artists and the exhibition of the Little Entente of Women held in 1938 in Zagreb. Women`s Art Club was an important factor of the female artists' emancipation – organizing the first female group exhibitions in Zagreb.

The paper discusses the accentual accommodation by speakers of the urban dialect of Zagreb (the capital of Croatia), which has a dynamic free accent, to the Standard Croatian (Neo-Štokavian) pitch accent (with rising and falling tones). The accommodation occurs in formal settings — the basis of this research is the corpus of 16 one-hour interviews with native Zagreb dialect speakers (8 male, 8 female) from a TV show on Croatian national television (HRT). The Zagreb dialect speakers cannot fully reproduce the prescribed standard accentuation, so they only approximate it by inconsistently changing the place of stress. The level of accommodation varies among speakers. The prescribed Croatian standard accentuation is different than in languages like English, because it cannot be acquired fully by many speakers due mainly to reasons of phonetic complexity. The basics of the Zagreb dialect accentuation and its complex relation to the standard language accentuation (due to many innovations in the dialect and a range of conservative and innovative varieties) are also analyzed. This paper is the first to describe the phenomenon in detail, based on concrete data.

Godine 1961. održan je prvi međunarodni festival savremene muzike u SFRJ – Muzički bijenale Zagreb (Muzički biennale Zagreb). Otvorivši jugoslovenskoj publici horizonte ka savremenoj evropskoj i američkoj muzici, Bijenale je postavio i pitanje u vezi sa stanjem jugoslovenske muzike, a koje je glasilo: „gde smo tu mi?“ Na taj način je Bijenale, uz opatijski simpozijum Nova muzika i muzičke interpretacije (održan 1962. godine) inicirao osnivanje nacionalnog festivala u Opatiji – Jugoslavenska muzička tribina (1964), kao mesta gde bi se jednom godišnje sagledala realna slika muzičkog stvaralaštva Jugoslavije. Ova smotra predstavljala je svojevrsnu „izložbu“, na kojoj bi svoja dela predstavili bukvalno svi – od mladih studenata kompozicije do afirmisanih imena jugoslovenske umetničke muzičke scene. Tako koncipirana, Jugoslavenska muzička tribina predstavljala je svojevrsnu pripremu jugoslovenskim kompozitorima za inostranu muzičku scenu, što znači – i za Muzički bijenale Zagreb. U radu je ukazano na međusobna strujanja između Zagreba i Opatije, odnosno na čvrstu povezanost i komplementarni odnos dva festivala., The first international festival of contemporary music in the Socialist Federal Republic of Yugoslavia was organized in 1961 – Music Biennale Zagreb, which immediately made of the city of Zagreb, as well of the whole country (that, because of its specific position, was a "union" of Eastern and Western avant-garde), a very important center on the European music stage. The first Music Biennale Zagreb, as an extremely powerful tool toward the democratization of the music and the culture in our society, got a very positive critique, because the new horizons toward the latest contemporary European and American music were opened to the Yugoslavi audience; but, on the other hand, the festival opened also a different question, relative only to us and to the music of Yugoslavia, and it was – „where is our place here?" That’s why Biennale, during a symposium New Music and Musical Interpretation which was organized one year later in Opatija, directly initiated the formation of new festival, of national character, called Yugoslav Music Tribune (1964), which would have been a yearly occasion to realize the real situation of musical production in Yugoslavia. The fact that the Yugoslav Music Tribune in Opatija represented, as its founder, Branimir Sakač, said, the instrument for mutual understanding, the news review about creation and mutual meeting, indicates the right idea of ​​Yugoslav Music Tribune as a kind of "exhibition" where everyone would present his own works – from young composition students to the prominent names of Yugoslav art music scene. This annual review of the entire music art production in Yugoslavia was, in fact, the only possible review form of the current state of the national music creativity. In this way, the Yugoslav Music Tribune since its founding has represented for Yugoslav composers a kind of preparation for the foreign music stage, and it meant, also, for the Music Biennale Zagreb. That’s why we can say that the first Yugos

Godine 1961. održan je prvi međunarodni festival savremene muzike u SFRJ – Muzički bijenale Zagreb (Muzički biennale Zagreb). Otvorivši jugoslovenskoj publici horizonte ka savremenoj evropskoj i američkoj muzici, Bijenale je postavio i pitanje u vezi sa stanjem jugoslovenske muzike, a koje je glasilo: „gde smo tu mi?“ Na taj način je Bijenale, uz opatijski simpozijum Nova muzika i muzičke interpretacije (održan 1962. godine) inicirao osnivanje nacionalnog festivala u Opatiji – Jugoslavenska muzička tribina (1964), kao mesta gde bi se jednom godišnje sagledala realna slika muzičkog stvaralaštva Jugoslavije. Ova smotra predstavljala je svojevrsnu „izložbu“, na kojoj bi svoja dela predstavili bukvalno svi – od mladih studenata kompozicije do afirmisanih imena jugoslovenske umetničke muzičke scene. Tako koncipirana, Jugoslavenska muzička tribina predstavljala je svojevrsnu pripremu jugoslovenskim kompozitorima za inostranu muzičku scenu, što znači – i za Muzički bijenale Zagreb. U radu je ukazano na međusobna strujanja između Zagreba i Opatije, odnosno na čvrstu povezanost i komplementarni odnos dva festivala., The first international festival of contemporary music in the Socialist Federal Republic of Yugoslavia was organized in 1961 – Music Biennale Zagreb, which immediately made of the city of Zagreb, as well of the whole country (that, because of its specific position, was a "union" of Eastern and Western avant-garde), a very important center on the European music stage. The first Music Biennale Zagreb, as an extremely powerful tool toward the democratization of the music and the culture in our society, got a very positive critique, because the new horizons toward the latest contemporary European and American music were opened to the Yugoslavi audience; but, on the other hand, the festival opened also a different question, relative only to us and to the music of Yugoslavia, and it was – „where is our place here?" That’s why Biennale, during a symposium New Music and Musical Interpretation which was organized one year later in Opatija, directly initiated the formation of new festival, of national character, called Yugoslav Music Tribune (1964), which would have been a yearly occasion to realize the real situation of musical production in Yugoslavia. The fact that the Yugoslav Music Tribune in Opatija represented, as its founder, Branimir Sakač, said, the instrument for mutual understanding, the news review about creation and mutual meeting, indicates the right idea of ​​Yugoslav Music Tribune as a kind of "exhibition" where everyone would present his own works – from young composition students to the prominent names of Yugoslav art music scene. This annual review of the entire music art production in Yugoslavia was, in fact, the only possible review form of the current state of the national music creativity. In this way, the Yugoslav Music Tribune since its founding has represented for Yugoslav composers a kind of preparation for the foreign music stage, and it meant, also, for the Music Biennale Zagreb. That’s why we can say that the first Yugos

Bei dem folgenden Text handelt es sich um die Zusammenfassung einer unveröffentlichten Magisterarbeit, die 1996 von der Autorin an der Abteilung für Musikwissenschaft der Musikakademie der Universität in Zagreb verteidigt wurde (Nada Bezic, Knjižnica i zbirka arhivske grade hrvatskoga glazbenog zavoda u zagrebu.

This research aims to propose a tool to raise young citizens' awareness and preparedness towards emergency cases, especially floods, in Zagreb, Croatia. It seeks a possible way to build a bridge between past disaster experience and preparedness in today's life and future in the context of Croatian society. This paper focuses the status of awareness among young generations through analysis of social survey results in order to discuss what means would be necessary for the purpose of raising awareness and preparedness towards disaster risks. It also tries to find if computational tool, as way forward, can be effective as educational tool for awareness-raising. It concludes with a proposal of tool development to form a holistic approach regarding education for sustainable development of Zagreb.

This thesis investigates the connection between patterns of neighbourhood development and urban sustainability. The study focuses on comparing three neighbourhood patterns of distinctive urban forms in the city of Zagreb, Croatia. The analysis and comparison is based on 9 urban sustainability indicators representing 7 design concepts - compactness, sustainable transport, density, mixed land use, diversity, passive energy design and greening. Subsequently, a strategy for sustainable urban development is composed, consisting of concrete practical guidelines for each of the chosen neighbourhoods, ending with an urban sustainability strategy for the city as a whole. The analysis identifies the modernist case study neighbourhood of Utrina and the Lower Town urban block structure case study area as the most sustainable, with the single family settlement of Ljubljanica being the least sustainable. Indicators including transit proximity, pedestrian route connectivity, civic amenity proximity and pervious surface intensity proved to be valuable in determining guidelines for the specific urban sustainability strategies which focused on improving the conditions identified by the indicators that the analysis determined to be the least positive. Cities continue to be a laboratory for a wide range of study, and as the subject of sustainability increases in importance, the use of urban sustainability indicators for its detection and monitoring will grow comparatively. This study into the correlation between urban form and urban sustainability in a European city gives a taste of the possibility and importance of such projects.

This thesis investigates the connection between patterns of neighbourhood development and urban sustainability. The study focuses on comparing three neighbourhood patterns of distinctive urban forms in the city of Zagreb, Croatia. The analysis and comparison is based on 9 urban sustainability indicators representing 7 design concepts - compactness, sustainable transport, density, mixed land use, diversity, passive energy design and greening. Subsequently, a strategy for sustainable urban development is composed, consisting of concrete practical guidelines for each of the chosen neighbourhoods, ending with an urban sustainability strategy for the city as a whole. The analysis identifies the modernist case study neighbourhood of Utrina and the Lower Town urban block structure case study area as the most sustainable, with the single family settlement of Ljubljanica being the least sustainable. Indicators including transit proximity, pedestrian route connectivity, civic amenity proximity and pervious surface intensity proved to be valuable in determining guidelines for the specific urban sustainability strategies which focused on improving the conditions identified by the indicators that the analysis determined to be the least positive. Cities continue to be a laboratory for a wide range of study, and as the subject of sustainability increases in importance, the use of urban sustainability indicators for its detection and monitoring will grow comparatively. This study into the correlation between urban form and urban sustainability in a European city gives a taste of the possibility and importance of such projects.

Syftet med denna uppsats är att ifrågasätta den rådande västerländska historieskrivningen. Genom att undersöka Mimara-museets konstsamling i Zagreb och samlaren Ante Topic Mimara (1898-1987) vill jag problematisera förhållandet mellan västerländsk historieskrivning och Östeuropa. Utifrån museikatalogen (1989) och artiklar av Thomas Hoving och Konstantin Akinsha har jag undersökt vem denne kroatiske samlare var och hur han samlade. Två olika sidor beskrivs. En tydlig nationalistisk syn på samlingen, samlaren och museet ges av katalogen medan artiklarna beskriver en systematisk konsttjuv och förfalskare med kontakter hos flera högt uppsatta europeiska politiker och ledare. Med Carol Duncan undersöks syftet med Mimaras donation av konstsamlingen till Kroatien liksom museets utformning och det budskap som förmedlas. Flera likheter finns med de amerikanska donatorer som Duncan beskriver, inte minst drömmen att genom sitt museum bli odödlig och historisk. Samlingens innehåll diskuteras i relation till den västerländska konstens kanon och James Elkins teorier om konsthistoriens form. Tillsammans med Gill Perry och Colin Cunninghams redogörelse för vad den klassiska konstens kanon innehåller konstaterar jag att det har varit den sortens samling Mimara velat skapa. Även liknelsen som man från museets sida gjorde vid öppnandet 1987 genom att hävda det som ”Zagrebs Louvre” beskriver vilket perspektiv som museet och Mimara haft. För att försöka besvara uppsatsen frågeställning om varför Östeuropa har uteslutits och fortfarande utesluts i konsthistoriekonstruerandet använde jag mig av Tom Sandqvist och David Carrier. Den huvudsakliga anledningen är enligt dessa två den historiskt ideologiska skillnaden mellan öst och väst, i kombination med de kulturella likheterna. Östeuropa har alltså betraktats som annorlunda men inte tillräckligt exotiskt för att inkluderas som till exempel afrikansk och asiatisk konst som har en given plats i konsthistoriska översiktsverk. I uppsatsen under

Syftet med denna uppsats är att ifrågasätta den rådande västerländska historieskrivningen. Genom att undersöka Mimara-museets konstsamling i Zagreb och samlaren Ante Topic Mimara (1898-1987) vill jag problematisera förhållandet mellan västerländsk historieskrivning och Östeuropa. Utifrån museikatalogen (1989) och artiklar av Thomas Hoving och Konstantin Akinsha har jag undersökt vem denne kroatiske samlare var och hur han samlade. Två olika sidor beskrivs. En tydlig nationalistisk syn på samlingen, samlaren och museet ges av katalogen medan artiklarna beskriver en systematisk konsttjuv och förfalskare med kontakter hos flera högt uppsatta europeiska politiker och ledare. Med Carol Duncan undersöks syftet med Mimaras donation av konstsamlingen till Kroatien liksom museets utformning och det budskap som förmedlas. Flera likheter finns med de amerikanska donatorer som Duncan beskriver, inte minst drömmen att genom sitt museum bli odödlig och historisk. Samlingens innehåll diskuteras i relation till den västerländska konstens kanon och James Elkins teorier om konsthistoriens form. Tillsammans med Gill Perry och Colin Cunninghams redogörelse för vad den klassiska konstens kanon innehåller konstaterar jag att det har varit den sortens samling Mimara velat skapa. Även liknelsen som man från museets sida gjorde vid öppnandet 1987 genom att hävda det som ”Zagrebs Louvre” beskriver vilket perspektiv som museet och Mimara haft. För att försöka besvara uppsatsen frågeställning om varför Östeuropa har uteslutits och fortfarande utesluts i konsthistoriekonstruerandet använde jag mig av Tom Sandqvist och David Carrier. Den huvudsakliga anledningen är enligt dessa två den historiskt ideologiska skillnaden mellan öst och väst, i kombination med de kulturella likheterna. Östeuropa har alltså betraktats som annorlunda men inte tillräckligt exotiskt för att inkluderas som till exempel afrikansk och asiatisk konst som har en given plats i konsthistoriska översiktsverk. I uppsatsen under

This entry outlines some of my experiences while attending a library conference in Zagreb (Croatia) March 2 - 5, 2006. From what I saw, librarianship in Croatia is similar to librarianship in the United States except the profession does not seem to be graying. From a cultural point of view, Croatia is a mixture of old and new providing opportunities for a great deal of diversity.

The use is discussed of the oscillation speed of soil particles or rock caused by explosive detonations in a blast hole as a criterion for evaluating the potential of seismic activity to cause structural damage. An analysis is presented of research into blasting in sedimentary rock deposits, mainly limestone and dolomite. The results were used to develop a geological strength index (GSI), ranging from about 30 to 55, which, by applying the RMR or Q classification, can be used to assess rock masses as poor to acceptable. The Vukov Dol limestone open pit near Zagreb was used as a model. Test blasts and seismic measurements were used to determine the dependence of oscillation speed on the quantity of explosives and, based on the results, the allowed quantity of explosives per level of ignition was determined in compliance with DIN standard 4150. The correlations were used as a basis for verifying results from other localities, with the relative seismic sensitivity (RSO) of each rock mass being defined first. RSO values for each location and the three categories of structure covered in DIN 4150 were determined. Nomograms and graphs are presented which enable simple preliminary determination of the allowed quantity of explosives per ignition level., The use is discussed of the oscillation speed of soil particles or rock caused by explosive detonations in a blast hole as a criterion for evaluating the potential of seismic activity to cause structural damage. An analysis is presented of research into blasting in sedimentary rock deposits, mainly limestone and dolomite. The results were used to develop a geological strength index (GSI), ranging from about 30 to 55, which, by applying the RMR or Q classification, can be used to assess rock masses as poor to acceptable. The Vukov Dol limestone open pit near Zagreb was used as a model. Test blasts and seismic measurements were used to determine the dependence of oscillation speed on the quantity of explosives and, based on the results, the allowed quantity of explosives per level of ignition was determined in compliance with DIN standard 4150. The correlations were used as a basis for verifying results from other localities, with the relative seismic sensitivity (RSO) of each rock mass being defined first. RSO values for each location and the three categories of structure covered in DIN 4150 were determined. Nomograms and graphs are presented which enable simple preliminary determination of the allowed quantity of explosives per ignition level.

Кад je 1242. године татарска вojcкa пројурила данашњим Загребом настојећи ухватити краља Белу IV и његове дворјанике који су бјежали према jyгy, оставила je за собом пустош. Татари додуше нису ништа могли учинити кралевско] утврди кoja je стајала на већем брежуљку уз поток Медвешчак, али су зато уништавали бискупско и кралевско подграђе.

О ставу Joвана Јовановића Змаја према Хрватима, њиховoj политици и њиховим политичарима, као и о односу Хрвата према Змajy писано je доста. Стога данашњим истраживачима који се позабаве тим питањем npeocтaje да неком новом појединошhy само допуне оно што je вeh речено или исправе понеки погрешно протумачени догађaj . Овај прилог има управо такав задатак

Gravel and sand from the river bed in the Zagreb area of Croatia is used in the construction industry but after classification contains too high a level of organic impurity in the form of coal particles: 0.5% to 2% at minus 4 mm and more at smaller sizes. The limit in the Croatian standard for organic impurities in construction sand is 1%. Gravity separation tests for removal of coal were performed on sand and gravel samples of six size classes with three different coal contents using the jig, the shaking table and the spiral. Best results were obtained with the jig, where sand recovery ranged from 73 to 80%, with coal content 5-6 times lower than that in the feed. The spiral showed good sand recovery of 98% but reduced coal content only by 3-5 times. The shaking table gave intermediate values. On the basis of the results, a flowsheet is proposed with a line of air jigs., Gravel and sand from the river bed in the Zagreb area of Croatia is used in the construction industry but after classification contains too high a level of organic impurity in the form of coal particles: 0.5% to 2% at minus 4 mm and more at smaller sizes. The limit in the Croatian standard for organic impurities in construction sand is 1%. Gravity separation tests for removal of coal were performed on sand and gravel samples of six size classes with three different coal contents using the jig, the shaking table and the spiral. Best results were obtained with the jig, where sand recovery ranged from 73 to 80%, with coal content 5-6 times lower than that in the feed. The spiral showed good sand recovery of 98% but reduced coal content only by 3-5 times. The shaking table gave intermediate values. On the basis of the results, a flowsheet is proposed with a line of air jigs.

The present state of the abandoned quarries in the area of Medvednica national park, in close vicinity to Zagreb, Croatia, is presented. An approach to their restoration which incorporates the selection of materials and forms of restoration which may be self financing, is proposed. The Kostanjek site is examined as an example and the possibilities of housing and small scale industrial building are explored. The stability of the area is examined., The present state of the abandoned quarries in the area of Medvednica national park, in close vicinity to Zagreb, Croatia, is presented. An approach to their restoration which incorporates the selection of materials and forms of restoration which may be self financing, is proposed. The Kostanjek site is examined as an example and the possibilities of housing and small scale industrial building are explored. The stability of the area is examined.

The design of underground spaces, whether tunnels or radioactive waste repositories, includes the application of similar technologies. Tunnel excavation by blasting inevitably results in damage of the rock mass around the excavation profile, which emerges as the expanding of existing cracks and the appearance of new cracks as a result of a change in physical and mechanical properties of the rock mass. Requirements concerning the design of deep geological repositories regarding damaged rock are the same as if not more rigorous than for tunnel design, since measures to isolate radioactive waste material from surrounding structures include less damaged rock mass performing as a natural barrier. In this study, research directed towards determining the depth of the damaged zone was carried out during tunnel excavation on the Zagreb-Dubrovnik highway. Different methods were applied, such as geodetic excavation profile mapping, visual inspection of boreholes, seismic cross-hole tomography and measuring velocity of oscillation. Detected damage is further classified into: overbreak detected in investigation boreholes; forming of peels on borehole walls; formation of new cracks and expansion of existing fractures. Drilling and blasting parameters were correlated with the depth and size of the damaged zone., The design of underground spaces, whether tunnels or radioactive waste repositories, includes the application of similar technologies. Tunnel excavation by blasting inevitably results in damage of the rock mass around the excavation profile, which emerges as the expanding of existing cracks and the appearance of new cracks as a result of a change in physical and mechanical properties of the rock mass. Requirements concerning the design of deep geological repositories regarding damaged rock are the same as if not more rigorous than for tunnel design, since measures to isolate radioactive waste material from surrounding structures include less damaged rock mass performing as a natural barrier. In this study, research directed towards determining the depth of the damaged zone was carried out during tunnel excavation on the Zagreb-Dubrovnik highway. Different methods were applied, such as geodetic excavation profile mapping, visual inspection of boreholes, seismic cross-hole tomography and measuring velocity of oscillation. Detected damage is further classified into: overbreak detected in investigation boreholes; forming of peels on borehole walls; formation of new cracks and expansion of existing fractures. Drilling and blasting parameters were correlated with the depth and size of the damaged zone.

The possible closure for environmental reasons of aggregate quarries in the Zagreb region in Croatia, in particular those in the Medvednica Nature Park, is discussed in relation to the environmental effects of transporting material from alternative sources. An analysis is presented of the greenhouse gas emissions from the quarrying operations and of the emissions resulting from loaded and empty trucks used to transport material over a distance of 100 km. It is suggested that more appropriate spatial planning is required in the decision-making process and that miners, geologists and other geoscientists should be involved in the process., The possible closure for environmental reasons of aggregate quarries in the Zagreb region in Croatia, in particular those in the Medvednica Nature Park, is discussed in relation to the environmental effects of transporting material from alternative sources. An analysis is presented of the greenhouse gas emissions from the quarrying operations and of the emissions resulting from loaded and empty trucks used to transport material over a distance of 100 km. It is suggested that more appropriate spatial planning is required in the decision-making process and that miners, geologists and other geoscientists should be involved in the process.

L’article s’intéresse aux changements urbains qu’a connus Zagreb au tournant du siècle, sous l’angle d’une tension entre continuité et discontinuité dans le tissu et dans le discours, au cours du « long âge de la modernisation ». L’étude d’une place de Zagreb et de ses réaménagements sert d’illustration à un « espace contesté » [Low et Laurence-Zúñiga, 2003], dans lequel sont actualisés, interrogés et négociés les principaux thèmes sociaux, politiques, économiques et culturels de l’actualité urbaine postsocialiste. Cette controverse locale illustre l’enchevêtrement des processus politiques et économiques nationaux plus larges (postsocialisme, transition vers l’économie de marché) et des tendances mondiales (néolibéralisme, consumérisme, développement de la société civile).

Ever since the early 2000s, there has been considerable research on the contribution of cultural ecosystem services (CES) to human wellbeing. However, their application in planning has lagged because they differ profoundly from other kinds of ecosystem services. Moreover, most studies on practical aspects of CES have been carried out in high-income countries. In contrast, socialist and post-socialist perspectives have rarely been addressed despite studies indicating that socialist regimes used to provide abundant urban green and blue spaces (UGBS), which are considered the main providers of CES in urban areas. This thesis addressed this gap by exploring how urban planning in Zagreb, Croatia, incorporated, enabled and responded to CES across different socio-political and ideological periods, i.e. socialist (1945-1991) and post-socialist (after 1991) regimes. The study involved the collection and analysis of spatial data (historical aerial images), planning documents (historical urban plans), and interviews with 88 participants (park users, gardeners, urban planners, academics, and local activists). To facilitate analysis, a new framework for researching planning considerations of CES was devised, named the “hatch and grow” strategy. Four case study units were selected based on the time of construction and the presence of specific types of UGBS: (1) the Lower Town, (2) Trnsko and Siget neighbourhoods, (3) Savica Neighbourhood, and (4) Jarun and Vrbani neighbourhoods. The spatial analysis of aerial images and urban plans of Zagreb confirmed the hypothesis that the provision of UGBS peaked in the socialist period and virtually died out in the post-socialist period. Subsequent content analyses of urban plans and interview transcripts confirmed the more beneficial role of the utilitarian socialist approach to urban nature for human–nature interactions compared to the capital-oriented post-socialist urban planning. While interviewed park users indicated a number of CES gen

[Abstract] This paper intends to enlighten the relationship between the architect and the client on the example of the construction of the church of Our Lady of Lourdes in Zagreb whose construction started in 1934 and today is almost finished. The project is a result of continuous cooperation between the architects Zorana Sokol-Gojnik and Igor Gojnik and the representative of the Franciscan Province, liturgist Ante Crncevic, who was in charge of the liturgical program, and Ivan Maletic, who was in charge of organizing the construction and financing.In this project, every architectural gesture and every place in the space has been carefully considered in an open and confidential dialogue between the architect and the liturgical theologian, in real mutual trust, humility, and teachability. The role of the architect is that of a conductor or director who must constantly keep the entire space under control and bring the parts into harmonious relationships., [Resumen] Este artículo pretende iluminar la relación entre el arquitecto y el cliente a partir del ejemplo de la construcción de la iglesia de Nuestra Señora de Lourdes en Zagreb, cuya construcción se inició en 1934 y hoy está casi terminada. El proyecto es el resultado de la colaboración continua entre los arquitectos Zorana Sokol-Gojnik e Igor Gojnik y el liturgista representante de la provincia franciscana Ante Crncevic, que estuvo a cargo del programa litúrgico, e Ivan Maletic, que estuvo a cargo de la organización de la construcción y financiación.En este proyecto, cada gesto arquitectónico y cada lugar del espacio ha sido cuidadosamente considerado en un diálogo abierto y confidencial entre el arquitecto y el teólogo litúrgico, en una verdadera confianza mutua, humildad y mútua apertura. El papel del arquitecto es el de un conductor o director que debe mantener constantemente bajo control todo el espacio y lograr que las partes establezcan relaciones armoniosas.