94 95Radionica arhitekture, Museum of Vučedol culture

Ovdje povijest nije sinitarizirana u šareni spektakl radi vašeg vizualnog užitka. Ovdje ljudi stvarno žive povijest povremeno ispresječenu nasiljem. 1 (1997.) Herbert Muschamp, kritičar arhitekture The New York Timesa

¶ Do prije dvadesetak godina Bilbao, nevelik gradić na sjeveru Španjolske, bio je gotovo nepoznat na karti Europe. Borio se s teškom industrijskom krizom, provincijskom zapuštenošću i povijesnim bremenom baskijskih političkih nemira. Ono što ga je lansiralo na zvjezdano nebo novih kulturnih prijestolnica jest arhitektura kao transformator razvoja, ponajviše zgrada

1 Citat iz The Miracle in Bilbao, članka Herberta Muschampa o Muzeju Guggenheim u gradiću Bilbau.

Vučedol efekt

The Vučedol

Effect History here has not been sanitized into a colorful spectacle for your viewing enjoyment. People are actually living history here, punctuated by periodic violence.1 (1997)Herbert Muschamp, architecture critic for The New York Times

¶ Until twenty years ago Bilbao, a small town in the north of Spain, was relatively unknown on the map of Europe and was experiencing a severe industrial crisis, provincial neglect and a historical burden of the Basque political activism. What put the city on the map of new cultural centres was architecture, as the generator of development, most notably the building of the

1 Quote from the article The Miracle in Bilbao, on Guggenheim museum in Bilbao by Herbert Muschamp.

Radionica arhitekture

Alen Žunić

Guggenheim Museum designed by Frank O. Gehry, built along the river. The then architecture critic for The New York Times, Herbert Muschamp, was, as many at the time, fascinated by the spectacular shape of the building and wrote one of the most famous eulogies when the museum was in the final stage of construction and had no other exhibits but the Snake by Richard Serra. Although it was impossible to apprehend the significance of the cultural practice for the town which was in the process of rising again, we can rightfully ask ourselves today whether such a branded project can be of any interest in the Croatian context and for our cultural industry which is in its infancy. Due to many reasons, it is not possible to simply copy the Bilbao effect to our region but it is definitely useful to observe the model of

arhitekti architects

napisao written by

fotografije photographs byportret portrait

Boris CvjetanovićAna Rako

Radionica arhitekture, Muzej vučedolske kultureMuseum of Vučedol culture, Vukovar, CroatiaMuzej vučedolske kulture, Vukovar, Hrvatska

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the revival of the neglected town by a successful formula of using cultural objects of a unique architectural manifestation as generators of development. ¶ Vukovar, one of the towns which suffered the utmost physical and demographic destructions, but also destructions of the identity, in the recent war, seems to be an ideal candidate for such a new beginning since the town, which has no industrial substrate of the factories Borovo or Vuteks, definitely has to develop a different philosophy of survival. In the recent years, with a large-scale reconstruction of demolished residential buildings, several historically valuable buildings were renovated, such as the Eltz Manor, the Francis-can Monastery and the picturesque Baroque town centre. It is interesting that Vukovar, although not originally planned as a tourist destination, is increasing directing recent investments towards such projects, such as memorial houses, the Battle of Vukovar Memorial and the Museum of Early History. ¶ In that stage of the reconstruction of the town, architect Goran Rako, and the team Radionica arhitekture, have left most significant trace. Their projects of the reinterpretation of the emblematic water tower in Mitnica neighbourhood for a complex memorial project (still not realized) or the demanding restoration of the Eltz Manor which today houses the Town Museum are well known. Apart from his active presence in Vukovar, Rako already had some experience with the typology of special museums,

Muzej Vučedol dobio je jedinstvene oblike

meandrirajuće rampe

Museum in Vučedol has also received a unique

form of a meandering ramp

Serrae. Iako se tada nije mogla sagledati sva važnost kulturne prakse za grad u ponovnom uzdizanju, danas se s pravom možemo pitati kako jedan takav brendirani projekt može biti zanimljiv za hrvatski kontekst i kulturnu industriju koja je tek u povojima. Naravno, zbog više razloga nije moguće jednostavno kopirati Bilbao-efekt na našim prostorima, ali

many major architecture studios. Cooperation with the young, respect given to them (and their guidance) is what makes the Radionica team innovative and prevents repetition, no matter how many times they do the same architectural typology. ¶ The Archaeological Museum in Vučedol, not far from Vukovar, has also received a unique form of a meandering ramp resulting

first through the tender for the Museum of the Battle of Neretva, which remained only on paper, and then, together with his creative team, in Narona, where they built a museum around ancient archaeological sites exposed in situ. A look on the list of the authors of Radionica arhitekture reveals that the credit is regularly given to all participants, which is rare in

Muzeja Guggenheim Franka O. Gehryja, podignuta uz rijeku. Tadašnji kritičar arhitekture The New York Timesa Herbert Muschamp bio je, kao i mnogi, očaran spektakularnom obli-kom objekta te je o toj građevini napisao jednu od najpo-znatijih lauda dok je muzej još bio u fazi završnih radova, a u njemu nije bilo nikakva postava osim izloška Snake Richarda

tlocrt

plan

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je svakako vrijedno promotriti model obnove zanemare-noga grada iskušanim receptom korištenja kulturnih obje-kata jedinstvene arhitektonske pojavnosti kao generatora razvoja područja. ¶ Upravo se Vukovar, jedan od gradova koji je u nedavnome ratu doživio najveća fizička i demografska, ali i identitetska razaranja, čini kao idealan poligon za takav novi početak – grad koji danas više nema industrijski sup-strat Borova ili Vuteksa nužno mora razviti drukčiju filozo-fiju opstanka. Posljednjih se godina, uz intenzivnu obnovu razrušenih stambenih objekata, ondje rekonstruiralo i nekoliko povijesno vrijednih arhitektonskih dominanta poput dvorca Eltz, franjevačkoga samostana i slikovite barokne jezgre. Zani-mljivo je da Vukovar, iako u ideji obnove nije bio kodiran kao turistička destinacija, sve više nedavnih investicija usmjerava upravo prema takvim projektima, poput spomen-domova, memorijala bitke za Vukovar, ali i muzeja starije povijesti. ¶ U toj dionici obnove grada najznačajniji je autorski trag ostavio arhitekt Goran Rako s timom Radionice arhitekture. Poznati su njihovi projekti reinterpretacije amblematskoga vodotornja na Mitnici za složeni memorijalni program (još nerealiziran) ili restauratorski program zahtjevne obnove dvorca Eltz koji danas ponovno udomljuje Gradski muzej. Uz aktivnu prisut-nost u Vukovaru, Rako je i ranije imao iskustava s tipologi-jom posebnih muzeja, prvo kroz natječajni rad Muzeja bitke na Neretvi, koji je ostao samo na papiru, a potom sa svojim kreativnim timom u Naroni, gdje grade muzej oko antičkih arheoloških nalaza izloženih in situ. Pogleda li se popis nave-denih autora Radionice arhitekture, može se primijetiti da

from a specific functional organization and the need to create the connection between the collection in the interior and the outdoor archaeological park planned on a high terrain verti-cal alignment. But why is it important to reach a high level of architecture in Vukovar by the building itself, considering the fact that Vučedol is already an international cultural brand? The first reason is the need to introduce new powerful author signatures in Vukovar, which has lost numerous authentic values and thus, by the small Bilbao-effect, draw the atten-tion of visitors. However, what is more important is an objec-tive museological fact that, after war destructions, plunder of exhibits and the earlier dislocation of the most important Vučedol findings (the famous Vučedol Dove is kept in Zagreb since 1938), there are almost no authentic artefacts in Vučedol (sic!), so the attractive architecture of the museum and the virtual plan of the collection (Vanja Ilić) carry the bigger part of the responsibility of the presentation of the archaeological locality. ¶ The Indo-European population of the old Vučedol ethnic group inhabited the prominent loess plateau high above the Danube River already in the early Neolithic period (Starčevo stratum dates from c. 5000 bc), but in the long duration of life on this location the emphasis is on the period of the Eneolithic Vučedol culture (2900–2300 bc), famous for a high level of art of incrusted black ceramic, the oldest European calendar, as well as the technological achievements of the first metallurgy north of the Mediterranean! ¶ It was not easy to fit a contem-porary building into such a locality abounding in prehistoric findings and beautiful landscape, which would not compete

priznanja redovito idu svim suradnicima, što je rijetkost u mnogim većim uredima. Upravo pitanje suradnje s mladim snagama, njihovo uvažavanje (i usmjeravanje) jest ono što stvara inovativnost tima Radionice, u kojoj nikad nema ponav-ljanja uzoraka bez obzira koliko puta radili istu arhitektonsku tipologiju. ¶ Tako je i Arheološki muzej Vučedol nedaleko od Vukovara dobio jedinstveni oblik meandrirajuće rampe proi-zašlu iz osobite funkcionalne organizacije i potrebe stvaranja veze unutarnjega postava s otvorenim arheološkim parkom planiranim na visokoj terenskoj niveleti. Zašto je međutim u Vukovaru važno već samom zgradom postići visoku razinu arhitekture, uz neosporno saznanje da Vučedol već jest među-narodni kulturni brend? Prvi je razlog potreba da Vukovar, koji je nepovratno izgubio mnoge autentične vrijednosti, u obnovi inaugurira nove snažne autorske rukopise i tako barem malim Bilbao-efektom privuče pažnju posjetitelja. Međutim, još je važnija objektivna muzeološka činjenica da nakon rat-nih uništavanja, pljačke izložaka i ranije dislokacije najvažnijih vučedolskih nalaza (znamenita golubica još se od 1938. čuva u Zagrebu), pravih artefakata na Vučedolu gotovo i nema (sic!), tako da upravo na atraktivnoj arhitektonici muzeja i virtual-nome scenariju postava (na kojemu radi Vanja Ilić) ostaje velik dio tereta prezentacije arheološkoga lokaliteta. ¶ Indoeurop-ska populacija staroga vučedolskog etnikuma istaknuti je lesni plato smješten visoko iznad Dunava naselila još u vrijeme ranoga neoliotika (starčevački sloj datiran je oko 5000. g. pr. Kr.), no u dugome životnom trajanju na ovome mjestu nagla-šena važnost pripada vremenu bakrenodobne vučedolske

against the main topic. The Vučedol Museum was planned as a modest, unobtrusive structure adjusted to the slope of the hill into which it was tucked, and situated in the woodland and vineyards of the Danube Valley. It is the topic of the soil and the great river. On the building facade full stripes of the wall struc-ture are coated in brick, burnt loam in a special colour, which alternate with continuous glass panels opening the transpar-ent face of the museum to the Danube. The selection of the material for the facade is visibly contextual so bricks look as if they are a substance just extracted from the hill, baked in a cast and stacked along the slope of the hill. The configuration of the building is dynamic, constantly rising and shifting, transformed

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kulture (2900. – 2300. g. pr. Kr.), relevantne po visokoj umjet-ničkoj razini izrade inkrustirane crne keramike, najstarijemu europskom kalendaru, ali i po tehnološkim dometima prve metalurgije sjeverno od Mediterana! ¶ Na takav lokalitet, pre-gnantan prapovijesnim vrijednostima i prelijepim krajolikom, nije bilo lako uklopiti suvremeni objekt koji neće konkurirati glavnoj temi. Vučedolski je muzej projektiran kao samoza-tajna, nenametljiva struktura prilagođena padini brežuljka, u koju se uvukla smještena u šumovitu i vinogradima obasutu

into a slightly curved ramp which climbs towards the archaeo-logical site like a serpentine. This motion is also followed by the functional disposition of the interior exhibition areas adjusted to the topography of the terrain, as well as the outdoor prome-nade on the green walk-in roof. ¶ The interior gives the impres-sion of a Neolithic cave, dug under the hill, warm and safe but semi-dark and rough to the touch which, in the interpretation of the author, is emphasized by anthracite black rustic con-crete of the inner walls. The impression is somewhat spoiled

Vučedolski je muzej projektiran kao

samozatajna, nenametljiva

struktura prilagođena padini brežuljka

The Vučedol Museum

was planned as a modest, unobtrusive

structure adjusted to the slope of the hill

presjek

section

detalj

detail

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okolicu Podunavlja. To je tema zemlje i tema velike rijeke. Na pročelju zgrade pune vrpce zidne strukture obložene su ope-kom, pečenom ilovačom posebne boje, no u naizmjeničnome slogu neprekinutim staklenim vrpcama koje transparentno lice muzeja širokim vizurama otvaraju prema Dunavu. Odabir gradiva za fasadu naglašeno je kontekstualan pa opeka djeluje kao netom iz brežuljka izvučena supstanca, ispečena u kalupu i opet složena uz padinu brijega. U svojoj konfiguraciji zgrada je muzeja dinamična, u stalnome uspinjanju i pomaku, pre-tvorena u lagano zakošenu rampu koja se poput serpentine penje na arheološki lokalitet. Taj tok kretanja prati i unutraš-nja funkcionalna dispozicija izložbenih prostora prilagođenih topografiji terena, kao i vanjska šetnica na zelenome prohod-nom krovu. ¶ A u interijeru gotovo da se krećete špiljom neoli-tičkoga vremena ukopanom pod brijeg, toplom i sigurnom, no polumračnom i taktilno grubom, što je u interpretaciji autora naglašeno antracitno crnim rustičnim betonom unutarnjih

by the too artificial parquet floor, which could be replaced by an equally dark raw concrete glaze, as a better and cheaper solution more suitable for the ambience. The path through the interior of the museum is one-way; the zigzag communication follows mild ramps in a constant upward movement and the theme sequences of the future collection are dilated by trans-verse wall partitions. The crescendo of moving through this inner serpentine culminates in the highest final point of the collection, from where it is possible to continue the tour on

vanjsku krovnu šetnicu i penjanjem na sam arheološki plato budućeg arheološkog parka. Tim ispreplitanjem interijera i eksterijera postignut je doista dojmljiv kontrapunkt milenija, gdje su geometrične terase 21. stoljeća pozicionirane uz 7000 godina star lokalitet s tragovima zemuničkih jama. Ostaje nam još vidjeti interijersku finalizaciju toga zanimljivog muzeja – nadajmo se prije nego što ga zapuštena okolina i bujno raslinje potpuno ne sakriju.

the outdoor roof promenade ascending to the archaeological plateau of the future archaeological park. This interweaving of the interior and the exterior has resulted in a really impressive counterpoint of millennia, with geometric terraces of the 21st century positioned next to a 7000-year-old site with the traces of dugouts. We are still to see the finalisation of the interior of this interesting museum, hopefully before it is completely covered by the neglected environment and thick underbrush.

zidova. Dojmu ponešto smeta tek previše umjetan parketni pod kojemu bi, zbog dosljednoga ugođaja, bolja, a i jeftinija zamjena mogla biti jednako tamna, sirova betonska glazura. Put kroz unutrašnjost muzejskog interijera jednosmjeran je, cik-cak lomljenom komunikacijom prati blage rampe u stal-nom uzgonu, a tematske sekvence budućega postava dilati-rane su poprečnim zidnim pregradama. Kretanje unutrašnjom serpentinom svoj krešendo nalazi na najvišoj zaključnoj točki postava, gdje je razgledavanje moguće nastaviti izlaskom na

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