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Zavrtnica paper mill was founded in 1893 and inaugurated in 1895, containing production machinery made by Czech manufacturer. Stationery factory started production in 1909. After WWI wealthy Jewish family Freund became sole industry owner and established HQ in corner building 1 Ban Jelačić Sq., employing prominent architect Zlatko Neumann, pupil of Adolf Loos. In WWII Independent State of Croatia expropriated Zagreb Paper Industry and sent owners to concentration camps. After 1945 former Freund HQ building became HQ of IDB (Industrijski Projektni Zavod), one of profligate HVAC, MEP & AEC design offices of Socialist Yugoslavia, where chief architect Julije De Luca designed hotels around Yugoslav Adriatic Coast. In 1953 Zlatko Neumann designed additional paper facility at Žitnjak, built 1959- 1961 at Petruševac. After 1990 HQ building evolved into multifunctional building, Zavrtnica paper mill became startup incubator, stationery factory was dismantled in 2006, while Petruševac paper mill is currently abandoned.

Studying at the Vienna University of Technology and concurrently being the pupil of Adolf Loos, Zlatko Neumann was one of the most ardent propagators of the Raumplan. He transplanted Loos’ design practices modified to his landlords’ needs into Croatian society when apprenticing to the civil engineer and building entrepreneur Leo Neuberger and independently after 1931. As a German POW 1941-1945 he gave lectures in architectural design to prisoners and wrote an essay about the state of architecture. In 1947 the team including Vladimir Potoènjak and himself was awarded with design of the Yugoslav Government Presidency Building in Belgrade. In 1950s his own architectural office designed schools, apartment and industry buildings in Zagreb. With life being a kaleidoscope of miracles, he reinvented his expression from clean white boxes of the Raumplan to the infinite meshed surfaces of his last designs.

Rapid development of Imperial Austrian railways in the middle of 19th century secured a Südbahn branch node near Zagreb in 1862-1865. After 1867 Hungarian State Railways network was extended from Budapest through Zagreb to the Adriatic Sea. Main Railway Station was opened in 1892. Zagreb city planners from early 20th century believed that existing railway network permanently restricts further city development and produced plans containing costly bypass tracks. Railway engineers assumed that the node was initially appropriately set and proposed lifting of railway to viaducts where needed. Selected lines were lifted in 1930s and plans for lifting Main Railway Station were made. Further parts were lifted in 1960s. Central Marshaling Yard was completed in 1978. After that only necessary maintenance works were conducted. Instead of tuneling central parts of railway node the alternative is to recompose Main Railway Station on viaducts, analogous to new Vienna or Berlin Main Railway Stations.

Studying at the Vienna University of Technology and concurrently being the pupil of Adolf Loos, Zlatko Neumann was one of the most ardent propagators of the Raumplan. He transplanted Loos’ design practices modified to his landlords’ needs into Croatian society when apprenticing to the civil engineer and building entrepreneur Leo Neuberger and independently after 1931. As a German POW 1941-1945 he gave lectures in architectural design to prisoners and wrote an essay about the state of architecture. In 1947 the team including Vladimir Potočnjak and himself was awarded with design of the Yugoslav Government Presidency Building in Belgrade. In 1950s his own architectural office designed schools, apartment and industry buildings in Zagreb. With life being a kaleidoscope of miracles, he reinvented his expression from clean white boxes of the Raumplan to the infinite meshed surfaces of his last designs.

The monograph Who is Mr. Viktor Kovačić K.H.A.? (Croatian) is the natural sequel of the monograph Architect Viktor Kovačić: Life and Work issued in 2003 (Croatian & English). Jurić tackles the critical reception of the architect’s work in the period 1896-1945 juxtaposed with architect’s writings, including the seminal article Modern Architecture issued in 1900. He further analyses the dichotomy between the disregarding attitudes predominantly given by Iso Kršnjavi following by his entourage and generally accolade attitudes from the first modern architectural critics as Vladimir Lunaček, Kosta Strajnić or Ljubomir Micić, to finally conclude that Viktor Kovačić was a truly Modernist, torn between expectations and misunderstandings of the Croatian society of its time. The monograph contains inventoried texts written by the architect himself, further comprises an anthology of critical texts about the architect from the period 1896-1943. The monograph serves as a valuable compendium of material published long time ago in a different number of sources, today not so easily available elsewhere.

Encouraged by professional papers regarding air raid shelters throughout and after the Spanish Civil War, building authorities in Zagreb obliged private landlords to organize the basement floor or its parts as a properly protected air raid shelter, when building new apartment house. During the World War II the Germans and their quisling followers excavated tunnel shelters chiefly below the Upper Town for protection against Allied bombing. Fallout shelters in Zagreb constructed on behalf of the Yugoslav People’s Army during the Cold War are threefold, started with refurbished and enlarged former air raid tunnel shelters underneath the socialist administration buildings, most of them being currently used by Croatian government. A couple of years ago the southern one below the Upper Town became famous as a tourist attraction. Further are structures incorporated to the foundations of government, hospital or office buildings during their construction as the cover for their occupants. The Independence of Croatia was proclaimed in 1991 in the shelter beneath the “INA” headquarters building. Third group contains detached structures in close vicinity of collective housing blocks, kindergartens or schools, built as underground massive reinforced concrete containers covered with soil and planted with grass, appearing almost invisible to an uninformed observer. These structures sheltered wide parts of Zagreb population from air raids of the Yugoslav Air Force in 1991. Later they fell into oblivion, although some of them served as warehouses for do-it-yourself Croatian entrepreneurs or as storages for belongings of people who were evicted from their fore-closured homes. In making the evacuation plan caused by great natural or man-made disasters, city government currently considers the idea to make existing fallout shelters overall refuges in the event of serious accident in nearby nuclear power plant in Slovenia, at the average distance of 25 miles from Zagreb.

The main goal was the data mining from primary sources as city archives, institutional archives, published architectural professional journals, further the field work as photographing and recognizing buildings from the period, to model the process of making architecture in Zagreb as deep and simultaneously as wide as possible. A collection of drawings scans, photographs, journals and books was / is / will be collected through the time. Research project itself was / is / will be conducted and performed by Darko Kahle, with the necessary consultancy of various experts from Zagreb and elsewhere, and with collegial support of some renowned Croatian scholars.

The Zagreb Institute of Technology (ZIT) including the Department of Architecture was founded as per decree on December 10th, 1918. The lecturing started on September 19th, 1919. The Institute was fused with the University of Zagreb as the School of Technology (STUZ) with its preserved internal organization on August 31st, 1926. After the WWII the School was gradually altered by inviting experienced architects as new lecturers (Bakrač, D. Galić, Gombaš, Seissel, Strižić, Šegvić, Turina) and consecutively keeping remarkable ones (Albini, Cota, Denzler, M. Kauzlarić, Vrkljan) while enhancing the teaching process by enlarging it from 8 to 9 terms, until the atomization into separate Faculties per approval on April 26th, 1956. This process was record­ed by Arch. Vladimir Kundić (1925-2006) during his student time from 1945 until 1952. The lecture notes he compiled during this period depict the full STEM curriculum enriched with art courses like freehand drawing, modeling or art history.

The book The Berlage Affair circumscribes the teaching career of Professor Vedran Mimica, from the School of Architecture of the University of Zagreb, through the former Berlage Institute in Amsterdam and later in Rotterdam, to the current Illinois Institute of Technology Architecture College in Chicago. Having the opportunity to pertain to the circle of architects and lecturers as Tadao Ando, Wiel Arets, Kenneth Frampton or Herman Hertzberger, he introduced Croatian colleagues to the global architectural network. Learning psychology in high school and being acquainted with typological approach of contemporary Zagreb School of Architecture, he discovered the Dutch structuralism. The book emphasizes interacting with students in both directions as one of basic approaches of the recent architectural theory and criticism in the shape of seminaries, interviews and workshops, therefore possesses a documentary value. His decision to include Zagreb and the Dalmatian coast in the process during the challenging time of the post-war and EU-negotiations Croatia was tremendous for the history and theory of recent movements in Croatian Architecture.

The architect Edvin Šmit (Edwin Karl Schmidt), one of the most potent and creative Croatian architects from the Late Modern and Postmodern period, started in the closing years of 1970ies to design and to build a quintessential masterwork, probably the hardest achieve­ment of an architect itself: his own house, known as the Family House Šmit in Sveta Nedelja. Architect and architecture critic Mr. Toni Bešlić enriched Croatian architectural community with a book upon the subject, where he equidistantly and faithfully draws his argument, starting with brief and present explanation of the theoretical paradigm of his analytical methods of the villa typology. He subsequently guides us through context, concept and form of House Schmidt and concludes with the expansion of its meaning networks in the context of Croatian and world architectural streaming of those times. The book enhances the body of recent Croatian architectural theory with necessary scientific analysis of the one of most puissant houses realized in Croatia in the twentieth century, unfortunately completely rebuilt in recent time.

Soon after the end of the Second World War Yugoslav architects together with other building professionals were collectivized in a few governmentally or municipally owned project and construction entities. The building activity recovered in following years through construction of collective housing blocks and industry facilities. The article analyses mutual competition in housing design between groups of architects whether of governmental, municipal or academic provenience, encouraged by the competition process for administrative buildings in the future New Belgrade in 1946-47. In 1949 a scarce group of architects inside the project entities started to run their own ateliers, who became de facto a nucleus of reprivatized architectural design offices of almost all leading architects in 1952-54. The design authorities of architects as a whole were in any case impeded by attempts to prescribe housing layouts or restraints to the experienced building techniques.

The article enlightens the virtually unknown work of the Architect Zlatko Neumann after 1945. As one of the design architects of a seminal government b uilding in the socialist Yugoslavia in 1947, he immensely contributed to the suspended beauty of a slender H-beam shape of the today ”Palace of Serbia”. In 1954, he effectually started an independent architecture practice as a Central Executive Officer [CEO] of the Architectural Design Office ”Neuman” (sic!) and was active there until his retirement in 1963., Članak prikazuje engleskom govornom području dosad nepoznato djelovanje arhitekta Zlatka Neumanna od 1945. gotovo sve do njegove smrti 1969. godine. Kao jedan od projektanata palače Saveznoga izvršnog vijeća [SIV] u Beogradu 1947., dao je enorman doprinos suspregnutoj ljepoti tlocrtnog oblika blago svinutoga H-profila današnje „Palate Srbije”. Godine 1954. započeo je praktično neovisnu arhitektonsku praksu kao direktor Arhitektonskoga projektnog biroa „Neuman” (sic!) sve do umirovljenja 1963. godine.

After her seminal book on Architect Lavoslav Horvat, a distinguished Croatian member of Modern Movement between the World Wars and further, architectural historian and Deputy Chairwoman of the City Institute for Conservation of Cultural and Natural Heritage in Zagreb Zrinka Paladino dignified us with her new book on Professor Emeritus Nikola Filipović, the doyen of Croatian Architecture in the second half of twentieth century and beyond. In a confident and pleasant manner this book exemplifies his threefold character as an Architect, a Researcher and a Teacher. The book includes excerpts of Professor's doctoral thesis from the year 1980 under the title "The Family House: Emphasis-Idea- Reality" (Supervisor Late Professor Emeritus Andrija Mohorovičić), based on juxtaposition of Zagreb School of Modern Architecture and classical masters of Modern Movement with more recent works of The New York Five and illustrated with brilliant drawings of analyzed houses. Zrinka Paladino succeeded to draw Professor's immense complex architectural achievement in an extraordinary light and enjoyable manner.

Važnost djela arhitekta Zlatka Neumanna između dva svjetska rata temelji se na činjenici da je bio učenikom, a poslije i suradnikom arhitekta Adolfa Loosa, zatim u presađivanju značajnih dijelova Loosovih ideja u hrvatsko društvo, kako bi konačno prerastao svoga učitelja postavljajući nove standarde u stambenoj arhitekturi i dizajnu interijera koji će nakon Drugoga svjetskog rata rezultirati paradigmom školskih zgrada, društvenih centara i industrijskih postrojenja., The importance of Architect Zlatko Neumann’s work between the World Wars is established in his apprenticeship by Architect Adolf Loos, then in transplanting Loos’ ideas in significant parts of Croatian society and finally in overgrowing his late master work by setting new standards in residential architecture, interior design and to a paradigm which paved the way to schoolhouses, community centers and industrial facilities after the Second World War.

Ovaj članak nastavlja se na članak "Građevinski propisi za grad Zagreb u razdoblju od 1919. do 1931. godine i Građevinski zakon iz 1931. godine" a prikazuje povijest građevinskih propisa grada Zagreba od stupanja na snagu Građevinskoga zakona do proglašenja Federativne Narodne Republike Jugoslavije potkraj 1945. godine. Generalnim regulacionim planom i Građevinskim pravilnikom definiran je razvoj grada Zagreba kao centralno planiranoga grada s blokovskom jezgrom i vrtnim stambenim naseljima.

Građevinski tip zagrebačke uglovnice Novoga građenja nastao je početkom tridesetih godina 20. stoljeća kao reprezentativna kuća s elementima koji su bili preuzeti iz ranijih razdoblja i prilagođeni elementima oblikovanja Novoga građenja. Takav se način kompozicije zadržao nakon Drugoga svjetskog rata u promijenjenim ekonomskim odnosima kod oblikovanja uglovnica.

Za graditeljsku povijest Zagreba u razdoblju od 1850. do 1918. godine značajno je da su 1857. godine oktroirani građevinski propisi prema političkom značenju Zagreba kao pokrajinske prijestolnice Austrijskog carstva, koji su uvjetovali izradu prvoga regulacijskog plana 1865. godine. Regulacijskim planom iz 1888. godine određen je opseg prostornog razvoja tadašnjeg Zagreba u dvije prirodne cjeline: blokovsko područje i ljetnikovački predjeli.

Istraživanjem je obuhvaćeno područje omeđeno Ilicom, Trgom bana Josipa Jelačića, Bakačevom ulicom, Vlaškom ulicom i Maksimirskom cestom, te sjevernom međom gradskog područja u razdoblju od 1928. do 1945. godine. Ukupno je popisano 1949 zgrada, od toga 1881 stambena kuća. Od ukupnoga broja stambenih kuća Novoga građenja u Zagrebu 52% otpada na jednokatne vile Novoga građenja u sjevernim dijelovima Zagreba. Za nastajanje, razvoj i definiciju zagrebačke škole Novoga građenja mjerodavna je analiza stambenih kuća Novoga građenja u sjevernim dijelovima Zagreba u razdoblju od 1928. do 1945. godine.

Statističkom su analizom obuhvaćene 532 kuće predane na uporabu u razdoblju od 1935. do 1945. godine, koje zadovoljavaju definiciju zagrebačke ugrađene najamne kuće. Prosječna kuća toga tipa ima dva do tri stambena kata iznad prizemlja, jedan jednosobni i jedan dvosobni stan na stubište, jednostrešni kosi krov prema ulici, s ravnim krovom prema dvorištu, kao i strogo osno simetričnu plohu pročelja. Kvaliteta ovog razdoblja jest afirmacija Novoga građenja u kompoziciji pročelja zagrebačke ugrađene najamne kuće.

Dvokatne i višekatne ugrađene kuće pojavile su se u Zagrebu odmah nakon ujedinjenja Kaptola i Gradeca 1850. godine, prema novomu Građevinskom redu nakon njegova stupanja na snagu 1857. godine, odnosno prema planu obnove starih i gradnje novih zgrada iz 1888. poslije razornog potresa 1880. godine. Između 1892. i početka Prvoga svjetskog rata nekoliko je novih tipova ugrađenih kuća konačno uobličilo Donji grad, područje pravokutnih građevnih blokova između željezničkih pruga, planiranih sklopova kasarni i sjevernih gradskih obronaka., Three-and-more story attached houses in Zagreb emerged sequentially after the unification of Gradec and Kaptol in 1850, according to the first modern Building code after its enforcement in 1857 and according to the new Building renewal and improvement plan of 1888 after the devastating earthquake in 1880. From 1892 to the beginning of the First World War a few new types of attached houses finally shaped the Lower Town, an area of rectangular building blocks between the railway lines, planned barracks areas and the northern slopes of the city.

U članku je katalogizirano i analizirano 40 projekata i realizacija od 1923. do 1941. koje je arhitekt Vladimir Šterk potpisao na području tadašnjega Zagreba. Iz analize proizlazi jasnoća u slaganju tlocrta, spretnost u primjeni različitih konstruktivnih sklopova i neprestana mijena u oblikovanju − od uklapanja klasičnih elemenata u očišćenu plohu pročelja preko umetanja tekstura u plohe kubičnog tijela do prekidanja kubičnog tijela klasičnim oblicima.

Prosječna stambena kuća Novoga građenja u sjevernom Zagrebu od 1928. do 1945. jest zidanica s armiranobetonskim stropovima, izvedena iz tlocrta ugrađene najamne kuće, kubično oblikovanoga građevnog tijela, koje je zbog zagrebačke klime izbušeno prozorskim otvorima poredanim u prozorske osi sa skladnim odnosom površine prema površini zida. Aditivno koncipirana kompozicija pročelja implicira historicističke načine kompozicije u slikovitom oblikovanju građevnoga tijela stambenih kuća Novoga građenja.

Koncepcija izložbe "Iskorak Vladimira Turine", te izbor i stručna obrada građe djelo su afirmirane kustosice mr. sc. Hele Vukadin-Doronjga, dok likovno i prostorno oblikovanje izložbe potpisuju dizajnerice Dora Bilić i Tina Müller. Izložba je popraćena katalogom kojega je uredila autorica izložbe, a grafičko i likovno oblikovanje potpisuje Krunoslav Vlahović za LASERplus. Pjesme grupa Azra, Haustor, Majke, Deep Purple, The Doors, Pink Floyd, Led Zeppelin, The Clash, Ramones, Sex Pistols, The Stooges i drugih tvore zvučnu kulisu izložbe, koju je kompilirala autorica. Ono što ... se podrazumijeva ..., jesu autoričina suvremenost u izboru teme, kompetentnost u analizi materijala muzejskog fundusa i metodičnost u odabiru izložaka koji će prezentirati zadanu temu. Naročito odabir izložaka zbog svoje sadržajnosti posjetitelju izložbe omogućuje studiranje izvedenih i neizvedenih projekata, a zatim i deriviranje metode Turinina stvaralaštva. Zato ovu izložbu možemo smatrati prvim zaokruženim prikazom opusa toga arhitekta, koji zaslužuje atribuciju monografskog. Zapravo, izložbom "Iskorak Vladimira Turine" autorica je uspjela prikazati raskoš stvaralačkoga talenta arhitekta u godinama poslije Drugog svjetskog rata. Nameće se zaključak da je autorici potrebno otvoriti mogućnost da napiše knjigu-monografiju o Vladimiru Turini, koji zasigurno spada medu deset najvećih hrvatskih arhitekata dvadesetog stoljeća.

Zagrebačka ugrađena najamna kuća prema onodobnim je mjerilima anakronizam, i to zbog toga što su tadašnji društveni odnosi bili uglavnom u zanatskoj, a ne industrijskoj fazi. Prilikom oblikovanja svojih kuća zagrebačko društvo preuzima ono što se toga trenutka nosi u svijetu - u doslovnom smislu riječi moderno. Neosporna kvaliteta tog anakronizma jest kontinuitet visokog standarda srednjeg sloja građevne supstancije. Značenje zagrebačke ugrađene najamne kuće za postanak arhitekture Novog građenja i za razvoj zagrebačke škole jest u kontinuitetu prihvaćanja novoga i koegzistenciji novoga sa starim. Zagrebačka ugrađena najamna kuća kao reprezentant zagrebačke škole ima svoju nesumnjivu europsku, pa i svjetsku vrijednost.

In 1965, at the 12th International Conference of Critics, Artists and Art Scholars, held in Rimini, Verucchio and San Marino and devoted to the theme Art and Technology, Italian art critic Giulio Carlo Argan declared that Yugoslavia had overcome the problem of the relationship between art and technology. His statement concerned to the cultural milieu of Zagreb that Argan had known from the early Sixties. In the same year, Palma Bucarelli, the chief curator of the Rome National Gallery, attended the Brezovica conference held for Nova tendencija 3, to present a project in which the museum had a significant role as a state institution that had to encourage contemporary art in order to free artists from the pressures of the art market and private art galleries. In 1963, another art scholar, Umbro Apollonio, the curator of the Venice Biennale Archive for Contemporary Arts who had directly participated in the Venice exhibition Nuova tendenza 2, claimed that Italian Public Art School needed a new relationship between teaching and industries. My presentation aims to highlight how Argan, Bucarelli, Apollonio and other Italian scholars hoped for the state to intervene in the Italian art system and also how their ideas were inspired by the Croatian political and cultural situation of the 1960s.