P. 1
Secessionism in Ljubljana

Secessionism in Ljubljana

|Views: 493|Likes:

More info:

Categories:Types, Brochures
Published by: Slovenian Webclassroom on Mar 05, 2010
Direitos Autorais:Attribution Non-commercial

Availability:

Read on Scribd mobile: iPhone, iPad and Android.
download as PDF, TXT or read online from Scribd
See more
See less

04/05/2011

pdf

text

original

LEGENDA | LEGEND

:
1

PRE©ERNOV TRG PRE©EREN SQUARE HAUPTMANNOVA HI©A HAUPTMANN HOUSE URBAN»EVA VELEBLAGOVNICA CENTROMERKUR | URBANC DEPARTMENT STORE CENTROMERKUR MESTNA HRANILNICA | CITY SAVINGS BANK DRÆAVNA OBRTNA ©OLA STATE SCHOOL OF CRAFTS NEM©KA HI©A | GERMAN HOUSE NEM©KO GLEDALI©»E - DRAMA GERMAN THEATRE - DRAMA MLADIKA NARODNA TISKARNA NATIONAL PRINTING HOUSE HRIBARJEVA HI©A | HRIBAR HOUSE MIKLO©I»EV PARK MIKLO©I» PARK KRISPERJEVA HI©A KRISPER HOUSE REGALLIJEVA HI©A REGALLI HOUSE DEGHENGIJEVA HI©A DEGHENGI HOUSE POGA»NIKOVA HI©A POGA»NIK HOUSE »UDNOVA HI©A | »UDEN HOUSE MIKLO©I»EVA ULICA MIKLO©I» STREET LJUDSKA POSOJILNICA PEOPLE’S LOAN BANK HOTEL UNION ZADRUÆNA GOSPODARSKA BANKA COOPERATIVE BANK BAMBERGOVA HI©A BAMBERG HOUSE ZMAJSKI MOST | DRAGON BRIDGE KATOLI©KA TISKARNA CATHOLIC PRINTING HOUSE MIKLAV»EVA VELEBLAGOVNICA MIKLAVC DEPARTMENT STORE LJUDSKA KOPEL | PUBLIC BATHS

2

3

4

5

10 16 15 14

6 7 11 12 8 13 9 21 10 20 11 25 18 17 13 22 12

19

9 8 4 2 1

3 14 23 15

16 17

18 24 19 20 7 21 6

22 23

24

25

TURISTI»NI INFORMACIJSKI CENTER TOURIST INFORMATION CENTRE
5

KAZALO / INDEX:
Uvod Foreword Pre[ernov trg Pre[ern Square Hauptmannova hi[a Hauptmann House Urban;eva veleblagovnica - Centromerkur Urbanc department store — Centromerkur Mestna Hranilnica City Savings Bank Dr/avna obrtna [ola National School of Crafts Nem[ka hi[a German House Nem[ko gledali[;e - Drama German Theatre — Drama Mladika - dekli[ki licej in internat Mladika — girls’ lyceum and boarding school Narodna tiskarna National printing house Hribarjeva hi[a Hribar House Miklo[i;ev park Miklo[i; Park Krisperjeva hi[a Krisper House Regallijeva hi[a Regalli House Deghengijeva hi[a Deghengi House Poga;nikova hi[a PogaËnik House :udnova hi[a »uden House Miklo[i;eva ulica Miklo[i;eva Street Ljudska posojilnica People’s Loan Bank Hotel Union Hotel Union Zadru/na gospodarska banka Cooperative Bank Bambergova hi[a Bamberg House Zmajski most ;ez Ljubljanico Dragon Bridge across the Ljubljanica river Katoli[ka tiskarna Catholic printing House Miklav;eva veleblagovnica Miklavc department store Ljudska kopel Public baths

Regallijeva hi[a - vhodna vrata \ Regalli House — entrance door

Regallijeva hi[a - detajl pomola \ Regalli House facade — detail of the bay

4 5 8 9 8 11 10 11 12 15 14 17 16 17 18 19 20 21 22 23 24 23 26 25 26 25 28 27 30 29 30 29 30 29 32 31 32 31 32 33 34 33 36 35 36 37 38 39 40 41 42 41

2

Portal UrbanËeve veleblagovnice - Centromerkurja Portal of the Urbanc department store — Centromerkur

3

UVOD
Na prehodu v 20. stoletje se je v ve; evropskih mestih razvila nova umetnostna smer, ki je imela skupni slogovni jezik, obenem pa razli;ne kulturne izraze in tudi razli;na imena> art nouveau (nova umetnost), Jugendstil (mladeni[ki stil), Modern Style (moderni slog), École de Nancy (nancyjska [ola), Glasgow Style (glasgowski slog), Modernisme (modernizem), stil Liberty (svobodni slog) in Sezession (secesija). Slednje ime se je uveljavilo za oznako te smeri v arhitekturi tudi pri nas. Nova smer je zajela vse zvrsti umetnosti, od arhitekture, slikarstva in kiparstva, ki so dotlej veljale za visoko umetnost, do uporabne umetnosti, gledali[;a, glasbe, literature, mode. Na ta na;in je izra/ala idejo, ki je pozneje postala osrednja ideja modernistov 20. stoletja. To je, da so vse umetnosti enake. Najvi[ji cilj nove umetnosti so bile tako imenovane celostne umetnine - Gesamtkunstwerke, kjer se v popolni usklajenosti prepletajo in dopolnjujejo v celoto dela razli;nih umetnostnih zvrsti. Novi slog je izrazito povezan z me[;anstvom. Povezan je z dolo;enimi mesti in manj z de/elami. Tako je npr. pomemben za Barcelono, in ne za Madrid, za Glasgow, in ne za London, za Pariz in Nancy, ne pa za Francijo. Me[;anstvo je bilo glavni porabnik nove umetnosti.V /elji, da bi se pribli/alo plemstvu, je veliko pozornosti namenjalo bli[;u svojega bivali[;a, ki je tako postalo celostna umetnina par excellence. Nova umetnost je pomenila prelom s tradicionalnim akademizmom, s posnemanjem starih slogov. Bila je za;etek moderne umetnosti, za katero je zna;ilno iskanje novega jezika, ki bi odseval novega duha. Izkoristila je tehni;ni napredek in nove mo/nosti, ki jih je ponujala industrija> nove materiale (/elezo, jeklo, steklo, /elezobeton) in nove tehnike. Razvijala je serijsko proizvodnjo, s katero so novi izdelki postali dostopni [ir[im mno/icam. Nova umetnost je bila tesno povezana z gospodarskim in dru/benim napredkom in s spremembami, ki so jih do/ivljala evropska mesta na prelomu 19. stoletja, s hitrim razvojem industrije in mno/i;no industrijsko proizvodnjo, z razvojem prometnih sredstev (/eleznica, avtomobil), telekomunikacij, z novimi viri energije, z dru/benimi in demografskimi spremembami itd.
4

Krisperjeva hi[a - detajl \ Krisper House - detail

FOREWORD
At the turn of the 20th century a new art style evolved in several European cities. It featured a common stylistic language while reflecting diverse cultural expressions and also different names> Art nouveau (new art), Jugendstil (youth style), Modern Style, École de Nancy (Nancy school), Glasgow Style, Modernism, Liberty Style and Sezession (Secessionism). The last became established to represent this architectural orientation in Slovenia too. It embraced all types of art from architecture, painting and sculpture, which till then had been regarded as high art, to the applied arts, theatre, music, literature and fashion. In this way it expressed an idea that subsequently became the central concept of 20th century modernists, i.e. that all arts are equal. The highest goal of Art nouveau was to create total works of art — where the so-called Gesamtkunstwerke — where the works of diverse kinds of art blend and enhance each other in perfect harmony to form a whole. The new style is distinctly connected with the wealthy middle class. It is linked to specific towns and cities, less so to regions. Thus, for example, it is important for Barcelona, not Madrid< for Glasgow, not London< for Paris and Nancy, not France. The
5

Nova umetnost je razvila povsem nove estetske ideale, svobodnej[i in lahkotnej[i izraz. Navdih je iskala v rastlinskem in /ivalskem svetu, v folklornih motivih, nacionalni zgodovini, eksoti;nih kulturah in religijah ali pa tudi v geometrijskih oblikah itd. Ob koncu 19. stoletja je [e posebej zaznamovala arhitekturo, tako zasebno kot javno. V novem slogu in z novimi tehnolo[kimi metodami so bile na prelomu stoletja zgrajene /elezni[ke postaje, ban;ne stavbe in veleblagovnice, tr/nice, bolnice, [ole itd. Tako kot gospodarstvo in dru/ba se je tudi nova umetnost v Ljubljani uveljavljala poËasneje in pozneje kot v industrijsko razvitih evropskih mestih, [ele v za;etku 20. stoletja. Prva pomembna secesijska arhitektura, Zmajski most, je bil zgrajen leta 1901. Glavnina secesijskih stavb pa je bila zgrajena v prvem desetletju 20. stoletja med starim mestnim jedrom in /elezni[ko postajo ob Miklo[i;evi in v obrobju Miklo[i;evega parka. Ta del mesta je zato tudi dobil vzdevek secesijska Ljubljana.
KmeËka posojilnica, Trdinova 2 \ Agricultural Loan Bank, 2 Trdinova Street

middle class was the main consumer of Art nouveau. In the desire to approach the nobility, great attention was devoted to the splendour of their residences, which consequently became total works of art par excellence. Art nouveau signified a break with traditional academicism and the imitation of old styles. It marked the beginning of modern art, for which seeking a new language that would reflect the new spirit was a characteristic. It exploited technical progress and the new possibilities offered by industry> new materials (iron, steel, glass, reinforced concrete) and new technologies. It also developed mass production whereby new articles became accessible to a broad mass of consumers. Art nouveau was closely linked to economic and social progress and the changes that European cities underwent at the end of the 19th century> the rapid development of industry and mass industrial production, the growth in transport (railways, cars), telecommunications, new sources of energy, social and demographic changes, etc. Art nouveau developed entirely new aesthetic ideals and a more liberal and lighter means of expression. Inspiration was sought in the plant and animal kingdom, folklore motifs, national history, exotic cultures and religions as well as in geometrical forms. At the end of the 19th century Art nouveau had a significant influence on architecture, both private and public. Employing the new style and new technological methods, the turn of the century saw the construction of railway stations, banks and department stores, markets, hospitals, schools and other buildings. With the same lag as in economic and social development Art nouveau in Ljubljana began to be established later than in industrially developed European cities — not until the beginning of the 20th century, in fact. The first important Secessionist architecture, Zmajski most (Dragon Bridge), was built in 1901. The most significant Secessionist buildings were constructed in the first decade of the 20th century between the old city centre and the railway station along Miklo[i; Street and on the periphery of Miklo[i; Park. This part of the city therefore acquired the name Secessionist Ljubljana.

7

1

PRE©ERNOV TRG
Sedanji Pre[ernov trg se je razvil iz kri/i[;a, ki je /e v srednjeve[kem obdobju nastalo pred vhodom v obzidano mesto. Æe v 17. stoletju je bila zgrajena fran;i[kanska cerkev Marijinega oznanjenja, vendar so kri/i[;e izravnali in tlakovali [ele sredi 19. stoletja, potem ko so poru[ili mestno obzidje. Po velikem potresu ob koncu 19. stoletja so na trgu sezidali nove me[;anske pala;e, ki so se po vi[ini prilagodile vencu fran;i[kanske cerkve in trg zaprle> Mayerjevo pala;o (Pre[ernov trg 5), Frischovo (Pre[ernov trg 3) in Seunigovo hi[o (Pre[ernov trg 2) na za;etku :opove, na drugi strani Ljubljanice pa so zgradili Filipov dvorec (Stritarjeva 9) in Kresijo (Stritarjeva 6) po na;rtih gra[kega arhitekta Leopolda Theyerja. Poleg teh neohistori;nih pala; je bila v prvem desetletju na[ega stoletja v secesijskem slogu prenovljena Hauptmannova hi[a (Wolfova 2), in zgrajena Urban;eva hi[a, sedanji Centromerkur (Trubarjeva 1), prva ljubljanska veleblagovnica in ena najlep[ih secesijskih stavb v mestu. Med obema vojnama je na ju/ni strani med Wolfovo in Hribarjevim nabre/jem trg na novo zaokro/ilo zgodnjefunkcionalisti;no pro;elje Mayerjeve veleblagovnice (Wolfova 1), s Ple;nikovim Tromostovjem, oblikovanim po bene[kih vzorih z belimi balustrskimi ograjami in stopni[;ema, ki se spu[;ata proti re;nemu bregu, pa se je trg funkcionalno in vizualno raz[iril prek reke in dobil dana[njo podobo.

Pre[ernov trg \ Pre[eren Square

1

PRE©ERNOV TRG (PRE©EREN SQUARE)
Present-day Pre[eren Square developed from an intersection which in mediaeval times originated in front of the entrance to the walled city. The Franciscan Church of the Annunciation was built in the 17th century, but the road junction was levelled and paved only in the middle of the 19th century once the city walls were demolished. After the great earthquake at the end of the 19th century new bourgeois residences were built in the square. These were adapted to the height of the cornice of the Franciscan Church and enclosed the square> Mayer House (5 Pre[eren Square), Frisch House (3 Pre[eren Square) and Seunig House (2 Pre[eren Square) at the beginning of »opova Street. On the other side of the Ljubljanica river Filip Court (Filipov dvorec, 9 Stritarjeva Street) and Kresija (6 Stritarjeva Street) were erected according to the plans of the Graz architect Leopold Theyer. Besides these neohistorical buildings, the first decade of the 20th century saw the renovation of Hauptmann House (2 Wolfova Street) in the Secessionist style and the construction of Urbanc House, the present Centromerkur (1 Trubarjeva Street), which was the first department store in Ljubljana and one of the finest Secessionist buildings in the city. In the inter-war period, on the south bank, between Wolfova and Hribarjevo nabre/je (Hribar Embankment), the square was rounded off anew by the early functionalist facade of the Mayer department store (1 Wolfova Street). With Ple;nik’s Tromostovje

2

HAUPTMANNOVA HI©A, WOLFOVA 2
(ARHITEKT C. M. KOCH, 1904) Hauptmannova hi[a je bila zgrajena /e leta 1873. Bila in ena izmed redkih ljubljanskih stavb in edina na trgu, ki je skoraj nepo[kodovana pre/ivela ljubljanski potres. Po potresu je hi[o kupil Adolf Hauptmann, trgovec z barvami, in dal prenoviti pro;elje in streho doma;emu arhitektu Cirilu Metodu Kochu. Koch je hi[o obnovil v slogu modne dunajske secesije. Pro;elje je oblo/il z barvnimi kerami;nimi plo[;icami v geometrijskem motivu, streho, ki je danes /al spremenjena, pa je na zgornji strani zaklju;il s plo;evinastimi snegolovi v valoviti, nekako orientalski liniji. Koch je za pro;elje izbral kontrastne zeleno-modro-

8

9

rde;e barvne tone. Barvna pestrost ka/e na so;asne modne dunajske vzore, lahko pa jo povezujemo tudi s poklicem hi[nega lastnika.
3

URBAN»EVA VELEBLAGOVNICA — CENTROMERKUR,
TRUBARJEVA 1 (ARHITEKT FRIEDRICH SIGMUNDT, 1902—1903) Ljubljana je imela v za;etku 20. stoletja manj kot 40.000 prebivalcev. Trgovina je bila v rokah majhnih trgovcev, ki so imeli v starem delu mesta prete/no majhne, specializirane trgovine, modernej[e trgovine z velikimi izlo/benimi okni pa so po potresu zrasle predvsem na obmo;ju med starim mestnim jedrom in /elezni[ko postajo. Prvo veleblagovnico je dal zgraditi ljubljanski trgovec Felix Urbanc. Kot pove letnica na pro;elju, je bila zgrajena leta 1903, na;rte zanjo pa je narisal gra[ki arhitekt Friedrich Sigmundt. Zasnovana je po vzoru sodobnih veleblagovnic v velikih evropskih prestolnicah> Parizu, Dunaju Gradcu, Budimpe[ti. Glavno, komaj 5,5 metra [iroko enoosno pro;elje je obrnjeno proti trgu s portalom, ki ga poudarja polkro/ni nadstre[ek v obliki pahlja;asto razprtih cvetnih listov iz stekla in kovanega /eleza. Na polkro/ni atiki stoji
Hautmannova hi[a \ Hauptmann House

UrbanËeva veleblagovnica - notranjost Centromerkurja Interior of the Urbanc department store — Centromerkur

(Three Bridges) designed according to Venetian models with white balustraded railings and stairs that lead down towards the river bank, the square acts and visually extends across the river, thus acquiring its present-day appearance.
2

HAUPTMANN HOUSE, 2 WOLFOVA STREET
(ARCHITECT: C.M. KOCH, 1904) The Hauptmann House was built in 1873 and was one of the rare buildings in Ljubljana and the only one in the square that survived the earthquake almost undamaged. After the earthquake the house was bought by Adolf Hauptmann, a paints merchant, who commissioned the renovation of the facade and the roof to the local architect Ciril Metod Koch. Koch renovated it in the fashionable Viennese Secessionist style. The facade is clad in coloured ceramic tiles in a geometrical motif. The roof, which was unfortunately altered in the meantime, was concluded in the upper part with sheet metal snow guards with an undulating, somewhat oriental line. Koch selected contrasting green-blue-red colour shades for the facade. The colour diversity displays contemporary vogue Viennese patterns and could also be associated with the profession of the building owner.

3

URBANC DEPARTMENT STORE — CENTROMERKUR,
1 TRUBARJEVA STREET (ARCHITECT: FRIEDRICH SIGMUNDT, 1902-1903) At the beginning of the 20th century Ljubljana had less than 40,000 inhabitants. Trade was in the hands of small merchants who had small, specialised shops predominantly in the old town

10

11

neobaro;ni kip Merkurja, boga trgovine in za[;itnika trgovcev. Notranj[;ina trgovske hi[e je enoten prostor z osrednjim monumentalnim stopni[;em, ki vodi v prodajno obhodno galerijo v prvem nadstropju. Stopni[;e nosita dve vrsti stebrov, na oboku med spodnjo in zgornjo vrsto stoji /enski kip, personifikacija obrti. Elegantna linija stopni[;a in lesene stopni[;ne ograje, spodaj zaklju;ene z dvema lesenima /enskima glavama, [tukaturni okras zidovin, rastlinski okras pohi[tva, dekorativni motivi na jedkanih steklih izlo/benih vitrin, oblikovanje lu;i in drugih detajlov odseva neposredne vplive belgijske in francoske razli;ice nove umetnosti, kar je v Ljubljani, ki se je sicer bolj zgledovala po dunajski secesiji, redkost. Urban;eva hi[a je ena najkakovostnej[ih ljubljanskih secesijskih celostnih umetnin, kjer se je oblikovanje arhitekture in notranje opreme zlilo v nelo;ljivo celoto. ?al je danes povsem neustrezno prenovljena in urejena.
4

Mestna hranilnica \ City Savings Bank

MESTNA HRANILNICA, »OPOVA 3
(ARHITEKT JOSIP VANCA©, 1903—1904) Mestna hranilnica ljubljanska je bila ustanovljena leta 1882. Bila je prva slovenska ban;na ustanova in kot taka konkurenca nem[ki Kranjski hranilnici, ki je bila dotlej najpomembnej[a v mestu. Na;rte za novo poslopje je izdelal Josip Vanca[ (1869 1933), sarajevski arhitekt, avtor [tevilnih pomembnih poslopij v Sarajevu, Zagrebu in [e posebej v Ljubljani. V prvem desetletju 20. stoletja je v Ljubljani zgradil Mestno hranilnico na :opovi ter Ljudsko posojilnico in hotel Union na Miklo[i;evi ulici, ki sodijo med najpomembnej[e secesijske stavbe v mestu. Pro;elje, na katerem se prepletajo histori;ni in secesijski dekorativni elementi, zaklju;uje ;elo z grbom mesta Ljubljane nad njim. Portal v srednji osi stavbe, poudarjen z nadstre[kom iz stekla in kovanega /eleza v obliki razprtih cvetnih listov, je skromnej[a razli;ica portalnega nadstre[ka Urban;eve hi[e. Nad vhodom je ohranjen edini avtenti;ni secesijski izvesek v Ljubljani.

quarter. More modern stores with large display windows were built after the earthquake mainly in the new town quarters — the area between the old town centre and the railway station. The construction of the first department store was commissioned by the Ljubljana merchant trader Felix Urbanc. As written on the facade it was erected in 1903 according to the plans of the Graz architect Friedrich Sigmundt. It was designed on the model of contemporary department stores in large European metropolises> Paris, Vienna, Graz and Budapest. The main single axis facade, barely 5.5 metres wide, is turned towards the square with a portal accentuated by a semicircular projecting roof in the form of fan-shaped blossom petals made of glass and forged iron. The neo-Baroque statue on the top of the semicircular attic represents Mercury, the god of commerce and protector of merchants and traders. The interior of the department store is a uniform space with a central monumental staircase that leads to the circular sales gallery on the first floor. The staircase is supported by two rows of columns. On the flank between the lower and upper rows is the statue of a woman — the personification of crafts. The elegant line of the staircase and the wooden staircase banister (finished below with two wooden female heads), stuccowork on the walls and plant-like ornamentation of the furnishings, decorative motifs on the original etched glass display windows, lighting designs

12

13

V notranj[;ini, v prvem nadstropju, je bolj ali manj pristno obnovljena ban;na dvorana, eden redkih secesijskih ambientov. V njej je ohranjen [tukaturni okras v enakih motivih kot na pro;elju, avtenti;ni lestenci in kosi prvotnega pohi[tva, jedkana stekla in oprema pa so izdelani na novo.
5

and other details reflect the direct influence of Belgian and French variations of Art nouveau — a rarity in Ljubljana — which was otherwise modelled on Viennese Secession. Urbanc House is one of the finest and most elaborate Secessionist works of art in Ljubljana where the architectural design and internal furnishings blend to form an inseparable whole.
4

DRÆAVNA OBRTNA ©OLA - SREDNJA ©OLA LJUBLJANA, A©KER»EVA 1
ˇ (ARHITEKT VOJTEH DVORAK, 1909—1911) Cesarsko kraljeva dr/avna obrtna [ola, ki je bila uradno ustanovljena z vladnim odlokom leta 1911, je bila namenjena izobra/evanju slovenske mladine iz vseh slovenskih de/el monarhije. Monumentalno pala;o obrtne [ole na vogalu Emonske in Slovenske je dala zgraditi mestna ob;ina, na;rte je naredil ;e[ki arhitekt Vojteh Dvorˇ ak iz Prage. Tedanji /upan Ivan Hribar je stavbo ozna;il kot “eno najlep[ih [olskih poslopij v monarhiji in najlep[e na slovenskih tleh”. Pro;elje je oblo/eno z bogatim figuralnim in rastlinskim okrasom v secesijskem slogu>
Dr/avna obrtna [ola \ State School of Crafts

MESTNA HRANILNICA (CITY SAVINGS BANK), 3 »OPOVA STREET
(ARCHICTECT: JOSIP VANCA©, 1903-1904) The Ciy Savings Bank was founded in 1882 and was the first Slovene banking institution. As such it competed with the German Carniola Savings Bank, which till then had been the most important in the city. The plans for the building were drawn by Josip Vanca[ (18691933), an architect from Sarajevo and the designer of numerous important edifices in Sarajevo, Zagreb and particularly in Ljubljana. In the first decade of the 20th century he designed several monumental buildings in Ljubljana one after the other — the City Savings Bank in »opova and the People’s Loan Bank and Hotel Union in Miklo[i;eva Street, which are considered to be among the most important Secessionist buildings in the city. The facade, a blend of Historicist and Secessionist ornamental elements, is concluded on the top with a gable bearing the coat-ofarms of the city of Ljubljana. The portal in the central axis of the building, emphasized by the projecting roof made of glass and forged iron in the shape of spread blossom petals, is the more modest variant of the projecting roof of Urbanc House, both influenced by the Franco-Belgian Art nouveau. The only authentic Secessionist signboard in Ljubljana is preserved above the entrance. In the interior, on the first floor, is the more or less authentically renovated bank hall — one of the few with a secessionist ambience. The stucco ornamentation is preserved and features the same motifs as on the facade. The authentic chandeliers and pieces of original furniture, etched glass and fittings were made anew.

14

15

otro[ka doprsja z obrtni[kimi emblemi, portreti pomembnih znanstvenikov in umetnikov. Levo in desno ob glavnem vhodu sta dve otro[ki figuri, levo deklica z grbom mesta Ljubljane, desno de;ek z grbom de/ele Kranjske.
6

NEM©KA HI©A, SLOVENSKA CESTA 11
(ARHITEKTURNI BIRO ERNEST SCHÄFER IZ LIBERCA, 1913—1914) Stanovanjsko hi[o je dal zgraditi pokojninski sklad Kranjske hranilnice za svoje uslu/bence. Kranjska hranilnica je bila najstarej[i denarni zavod na Slovenskem. Ustanovljena je bila leta 1820 prete/no z nem[kim kapitalom, zato so ljudje tudi hi[o, ki jo je zgradila, poimenovali Nem[ka hi[a. Na;rte za stavbo so izdelali v arhitekturnem biroju Ernesta Schäferja iz Liberca na :e[kem, oblikovana je v slogu dunajske secesije. Bogato arhitekturno ;lenjena pro;elja (pomoli, balkoni, loggie) krasijo geometrijski vzorci iz kerami;nih plo[;ic. Otro[ki kipi iz /gane gline z venci, pentljami oziroma girlandami na vseh treh pro;eljih so pove;ani posnetki kipcev znamenite delavnice Wiener Keramik in so bili verjetno izdelani na Dunaju.
Dr/avna obrtna [ola - detajl fasade \ State School of Crafts — facade detail

Nem[ka hi[a - detajl fasade \ German House — facade detail

5

STATE SCHOOL OF CRAFTS, NOW THE LJUBLJANA EDUCATION CENTRE,
ˇ 1 A©KER»EVA STREET (ARCHITECT: VOJTEH DVORAK, 1909-1911) The imperial royal State School of Crafts, which was officially founded by government decree in 1911, was intended for the education of young Slovene craftsmen from all Slovene provinces of the Austro-Hungarian monarchy. The monumental edifice of the craft school, located on the corner of Emonska and Slovenska streets, was commissioned by the city council to the Czech architect Vojteh Dvorˇ ak from Prague. The then mayor, Ivan Hribar, labelled the building as “one of the finest school buildings in the monarchy and the most beautiful on Slovene land.” The facade is faced with rich figural and vegetal ornamentation in the fashionable Secessionist style> busts of children with craft emblems and portraits of important scientists and artists. To the left- and right-hand side of the entrance are two children’s figures> on the left a young girl with the coat-of-arms of the city of Ljubljana, on the right a boy with the coat-of-arms of the province of Carniola.

6

GERMAN HOUSE, 11 SLOVENSKA ROAD
(ARCHITECTS STUDIO OF ERNEST SCHAFER FROM LIBEREC, 1913-1914) This residential building was commissioned by the pension fund of the Carniola Savings Bank for its employees. Carniola Savings Bank was the oldest monetary institution in Slovenia. It was founded in 1820, primarily with German capital, hence its common name — German House. The plans for the building

16

17

7

NEM©KO GLEDALI©»E — DRAMA, ERJAV»EVA 1 (ARHITEKT ALEXANDER GRAF,1909—1911)
Narodnostna nasprotja med nem[kim in slovenskim me[;anstvom so se na prelomu 19. stoletja tako zaostrila, da so ustanavljali vzporedne kulturne ustanove, nem[ke in slovenske. Ljubljana je tedaj dobila slovensko gledali[;e — sedanjo Opero, nem[ko usmerjeni me[;ani, zdru/eni v Deutscher Theaterverein in Laibach, pa so ob pomo;i Kranjske hranilnice in z dr/avnimi dotacijami zgradilil svoje, nem[ko gledali[;e — sedanjo Dramo. Na;rte za Dramo so dali narediti dunajskemu arhitektu Alexandru Grafu, ki je zgradil tudi ve; gledali[kih stavb za nem[ko narodnostno skupnost na :e[kem. Ljubljansko gledali[;e je pravzaprav posnetek gledali[;a, ki ga je pred tem Graf zgradil v Ústíju na Labi. Notranj[;ina avditorija je klasi;no historicisti;no oblikovana, pro;elje pa ka/e secesijske elemente. Srednja os stavbe z vhodom je poudarjena z nadstre[kom na stebrih, z balkonom in s trikotnim zalomljenim ;elom, ki ga je prvotno krasil napis Deutsches theater v secesijskem [tukaturnem okvirju. Bogato dekorirana notranj[;ina je razdeljena na dva dela, na avditorij z vestibulom, garderobami in foyerjem ter na oder.
Nem[ko gledali[Ëe - Drama \ German Theatre — Drama

were elaborated in the architects’ studio of Ernest Schafer from Liberec in the present day Czech Republic, and it was designed in the Viennese Secessionist style. The rich architecturally articulated facade (bays, balconies and loggias) is adorned with geometrical patterns made from ceramic tiles beneath the roof cornice. The children’s statues made of baked clay with the wreaths, bows and garlands on all three facades are the enlarged copies of statues from the renowned Wiener Keramik workshop and were probably made in Vienna.
7

GERMAN THEATRE — DRAMA, 1 ERJAV»EVA STREET
(ARCHITECT: ALEXANDER GRAF, 1909-1911) The national antagonism between the German and Slovene population at the end of the 19th century intensified to the level that parallel cultural institutions (German and Slovene) were founded. Ljubljana at that time acquired the Slovene Theatre — the present day Opera, while the Germans were associated in the Deutscher Theaterverein in Laibach. With the assistance of Carniola Savings Bank and state subsidies they built their own German theatre — the present Drama. The plans for Drama were designed by the Viennese architect Alexander Graf. Namely, it was Graf who built many theatre buildings for the German ethnic community in the present day Czech Republic. The Ljubljana theatre was in fact a copy of the theatre that Graf built in Ústí nad Labem before then. The interior of the auditorium is of a classical historicist design while the facade displays Secessionist elements. The central axis of the building is accentuated by the entrance in the porch supported by columns, the balcony and the triangular gable front. The latter initially featured the inscription “Deutsches Theater” in a Secessionist stuccowork frame. The richly decorated interior is divided into two parts> the auditorium with the vestibule, wardrobes and foyer, and the stage.

18

19

8

MLADIKA — DEKLI©KI LICEJ IN INTERNAT — ZDAJ ZUNANJE MINISTRSTVO RS, PRE©ERNOVA 25
(©OLA ARHITEKT MAKS FABIANI, 1906—1907, INTERNAT ARHITEKT CIRIL METOD KOCH, 1910—1912) Finan;no je ustanovitev dekli[ke gimnazije podprl re[ki trgovec J. Gorup pl. Slavenski. Z njegovim denarjem je bilo ustanovljeno dru[tvo Mladika, ki je skrbelo za lai;no [olanje deklet in v ta namen leta 1896 ustanovilo tudi vi[jo [olo, poznej[i licej. Mestna ob;ina je za gradnjo [ole podarila zemlji[;e, na;rte za stavbo pa so naro;ili Maksu Fabianiju. {ola je bila dokon;ana leta 1907, leta 1910 so ji prizidali telovadnico ob {ubi;evi, leta 1912 pa so po na;rtih C. M. Kocha na isti parceli zgradili [e internat. Modernisti;na arhitektura [ole odseva regionalno in lokalno tradicijo Ljubljane. Asketsko neornamentirano pro;elje je obdelano v dveh kontrastnih barvah, dveh razli;nih materialov, rde;e opeke za podstavek, lizene, stolp z uro in poudarjene vogale ter vmesnih sten iz belega ometa.
Mladika

8

MLADIKA — GIRLS’ LYCEUM AND BOARDING SCHOOL, NOW THE MINISTRY OF FOREIGN AFFAIRS OF THE REPUBLIC OF SLOVENIA, 25 PRE©ERNOVA STREET
(LYCEUM DESIGNED BY MAKS FABIANI, 1906-1907; BOARDING SCHOOL DESIGNED BY CIRIL METOD KOCH, 1910-1912) The founding of the girls’ lyceum was supported financially by the Rijeka merchant J. Gorup von Slavenski. His capital was used to found the Mladika society, which provided lay schooling for girls and to that end in 1896 founded the high school, the later lyceum. The city council gave land for the construction of the school and Maks Fabiani was commissioned to make the plans for the building. The school was completed in 1907 and the gymnasium in {ubi;eva Street was erected in 1910. The boarding school was built in 1912 on the same site according to the architectural plans of C.M. Koch. The modernist architecture of the school reflects the regional and local tradition of Ljubljana. The austere non-ornamented facade is made in two contrasting colours originating from two different materials> red brick for the pedestal, protruding borders, clocktower and accentuated corners as well as the intermediate walls rendered in white. A portico is placed at the entrance between two right-angled wings and the clock-tower, which is covered by a bell-shaped roof similar to that on the Town Hall tower. The only decoration of the facade are the owls — symbols of wisdom, which are mounted on the portico keystone. The granite relief on the blind facade of the gymnasium shows four girls with garlands and the coats-of-arms of Ljubljana and Josip Gorup. The boarding school, the work of architect Ciril Metod Koch, was constructed between 1910 and 1912 at the edge of Tivoli Park. Its facade, made similar to that of the school in two contrasting shades, is more typical of the Secessionist style. It is adorned with stucco ornamentation using plant motifs on the partition wall that encircles the whole building. Both buildings, the lyceum and boarding school, have been renovated and nowadays form the head office of the Ministry of Foreign Affairs.

20

21

Vhod je postavljen v portik med obema pravokotnima kriloma. Nad njim je stolp z uro, pokrit z zvon;asto streho, ki spominja na stolp mestne hi[e. Edina dekoracija pro;elja so sove, simboli modrosti na sklepniku portika in granitni relief na slepem pro;elju telovadnice, ki prikazuje [tiri deklice z girlandami, med katerimi sta grba Ljubljane in Josipa Gorupa. Internat, delo arhitekta Cirila Metoda Kocha, je bil zgrajen med letoma 1910 in 1912 prav ob robu Tivolskega parka. Njegovo pro;elje, ki je obdelano podobno kot [ola v dveh barvnih tonih, je bolj tipi;no secesijsko, okra[eno s [tukaturnium okrasom v vegetabilnih motivih na delilnem zidcu, ki obkro/a celotno stavbo. Danes sta oba objekta, [ola in internat, prenovljena v sede/ ministrstva za zunanje zadeve Republike Slovenije.
9

9

NATIONAL PRINTING HOUSE, 1 TOM©I»EVA STREET
(ARCHITECT: CIRIL METOD KOCH, 1903-1904) The national printing house was the first one in Slovenia that was planned for large print runs. The Slovene daily Slovenski narod among others was printed here. The structure consisted of the production plant in the yard and an office and residential building in the street. The latter is still preserved, its facade and entrance hall being adorned with rich stuccowork with plant motifs in the Secessionist style.

10

HRIBAR HOUSE, 2 TAV»ARJEVA STREET
(ARCHITECT: MAKS FABIANI, 1902-1903) The land between the present streets of Slovenska, Tav;arjeva, Dalmatinova and Cigaletova was bought by Josip Gorjup after the earthquake of 1895 and bestowed upon the city council to build a girls’ high school. The city council then sold the land as building plots, the proceeds being intended for the construction of the school. To support the project the plots of land were purchased by the Slovene patriots> mayor Ivan Hribar, factory magnate Anton Deghenghi, the brothers Josip and {tefan Poga;nik, the Ljubljana clockmaker Franc »uden and Alojzij Vodnik, on which they built their residences. Their national consciousness was demonstrated also by the fact that they commissioned the plans to Slovene architects. Ivan Hribar commissioned Maks Fabiani to draft the plans for his house and invited him to participate in many urban projects after the earthquake. Fabiani produced the plan in strict classical antique proportions. For the basic module he chose a cube which alternated with half squares on the ground floor. The square is also used as the basic module in the facade sections and the basic motif of the facade ornamentation in roughcast mortar and fine rendering. The ornamentation is, however, limited to narrow strips of the protruding bays above the windows, featuring classical lion heads. The facade design displays Baroque undulations in three shallow window bays that extend from the first floor to the roof cornice. Fabiani used a similar motif in the Artaria Mansion in Vienna in 1900 and subsequently also in several other residential villas outside of Ljubljana.

NARODNA TISKARNA, TOM©I»EVA 1
(ARHITEKT CIRIL METOD KOCH,1903—1904) Narodna tiskarna je bila prva tiskarna v Sloveniji, ki je bila urejena za veliko proizvodnjo. V njej so tiskali med drugim tudi Slovenski narod. Obsegala je proizvodno poslopje na dvori[;u in poslovno- stanovanjski objekt ob ulici. Slednji je [e
Narodna tiskarna- detajl notranjosti \ National Printing House — detail of the interior

22

23

vedno ohranjen, njegovo pro;elje in vhodno ve/o krasi bogat [tukaturni okras z rastlinskimi motivi v secesijskem slogu.
10

HRIBARJEVA HI©A, TAV»ARJEVA 2
(ARHITEKT MAKS FABIANI, 1902—1903) Zemlji[;a med sedanjimi Slovensko, Tav;arjevo, Dalmatinovo in Cigaletovo je po potresu 1895 kupil Josip Gorup in ga podaril mestni ob;ini za gradnjo vi[je dekli[ke [ole. Mestna ob;ina je nato zemlji[;a prodala kot stavbne parcele, izkupi;ek pa namenila gradnji [ole. V podporo projektu so parcele pokupili slovenski rodoljubi, /upan Ivan Hribar, tovarnar Anton Deghenghi, brata Josip in {tefan Poga;nik, ljubljanski urar Franc :uden, Alojzij Vodnik in na njih dali zgraditi svoje hi[e, svojo narodno zavest pa so izkazali tudi s tem, da so na;rte naro;ili slovenskim arhitektom. Ivan Hribar je na;rte za svojo hi[o naro;il Maksu Fabianiju, katerega je po potresu povabil k sodelovanju tudi pri [tevilnih drugih mestnih nalogah. Fabiani je na;rt zasnoval v strogo klasi;nih anti;nih proporcih. Za osnovni modul je izbral kocko, ki se v pritli;ju izmenjuje s polovi;nim kvadrom. Kvadrat je tudi osnovni modul pro;elne ;lenitve in osnovni motiv pro;elne dekoracije v grobem in finem ometu. Sicer pa je okras omejen na ozke pasove nad okni izstopajo;ih pomolov, v katere so vgrajene anti;ne levje glavice.
Hribarjeva hi[a

Miklo[iËev park - zahodna fasada \ Miklo[iË Park — west facade

11

MIKLO©I»EV PARK (MIKLO©I» PARK)
The square in front of the Palace of Justice with the original symbolic name of Slovenski trg (Slovene Square) was laid out by Ljubljana city council after the earthquake, the project being financially supported by the government in Vienna too. The plans for the urban architectural layout of the square were designed by Maks Fabiani in 1900. Fabiani designed a square uniformly enclosed by buildings of the same height with corners accentuated by small turrets. This concept especially suited the wishes of mayor Ivan Hribar that post-earthquake Ljubljana should be renovated on the model of Prague. The initial park layout was produced according to the plans of Waclav Hejnic, a Czech gardener who came to Ljubljana from Vienna in order to decorate the city for the emperor’s visit. He then stayed and was appointed the city gardener. The park was almost completely enclosed by buildings between 1900 and 1907, creating the finest Secessionist ambience in Ljubljana. Unfortunately, the city council redesigned the park just before the Second World War with two diagonal paths, thus erasing the original design.

12 KRISPER HOUSE, 20 MIKLO©I»EVA STREET (ARCHITECT: MAKS FABIANI, 1900-1901)

The first house in the square was designed by Maks Fabiani himself, thus revealing how he conceived the appearance of the square. The plan for it was commissioned by the lawyer Valentin Krisper. The facade was designed in a light Secessionist style
24 25

Pro;elje je v tlorisu baro;no vzvalovano v tri plitve okenske pomole, ki segajo od prvega nadstropja do stre[nega venca. Podoben motiv je Fabiani uporabil /e pri pala;i Artaria na Dunaju leta 1900, pozneje pa tudi pri nekaterih drugih stanovanjskih vilah zunaj Ljubljane.
11

MIKLO©I»EV PARK
Trg pred sodnijsko pala;o s simboli;nim imenom Slovenski trg je dala urediti ljubljanska mestna ob;ina po potresu, projekt pa je finan;no podprla tudi vlada na Dunaju. Na;rte za urbanisti;no arhitektonsko ureditev trga je napravil Maks Fabiani leta 1900. Fabiani je na;rtoval enotno zazidavo trga z enako visokimi stavbami, na vogalih poudarjenimi s stolpi;ki, kar je [e posebej ustrezalo /eljam takratnega /upana Ivana Hribarja, da Ljubljano po potresu prenovi po vzoru Prage. Prvotna parkovna ureditev je bila izvedena po na;rtih Vaclava Hejnica, ;e[kega vrtnarja, ki je pri[el v Ljubljani z Dunaja, da bi okrasil mesto za obisk cesarja, nato pa je ostal in bil imenovan za mestnega vrtnarja. Park je bil skoraj v celoti obzidan med 1900 in 1907 in je postal najlep[i secesijski ambient v Ljubljani. Æal ga je mestna ob;ina tik pred drugo vojno preuredila z dvema diagonalnima potema in tako zabrisala prvotno zasnovo.

Krisperjeva hi[a \ Krisper House

12 KRISPERJEVA HI©A, MIKLO©I»EVA 20 (ARHITEKT MAKS FABIANI, 1900—1901)

based on the model of contemporary Viennese architecture and adorned with typical stylised flower and plant motifs in elegant lines that recall Horta’s popular motif — “coup de fouet” or “whiplash”. Certain tiny details made from forged iron> a bell, peephole, letter-box and door handles, recall the Belgian variant of Art nouveau. Regretfully, some of them have already disappeared from the house and are preserved only in pictures. As Fabiani himself wrote, the vegetal Secessionist ornamentation was used at the explicit wish of the owner, the town councillor Valentin Krisper.
13 REGALLI HOUSE, 18 MIKLO©I»EVA STREET (ARCHITECT: FRAN BERNEKER, 1904-1906)

Prvo hi[o na trgu je na;rtoval Maks Fabiani sam in tako pokazal, kako si je zamislil obzidavo trga. Na;rt zanjo mu je naro;il ljubljanski odvetnik Valentin Krisper. Pro;elje je oblikoval v lahkotnem secesijskem slogu po vzoru sodobne dunajske arhitekture in ga okrasil s tipi;nimi cvetli;nimi in
Miklo[iË park - skica \ Miklo[iË park — sketch

The plans for the neighbouring Regalli House were produced by Fran Berneker, who was a sculptor by profession and creator of one of the finest monuments in Ljubljana, that of Primo/ Trubar in Tivoli Park. The corner building with a bay and turret above it dominates the south-eastern corner of Miklo[i; Park. The facade is finished with an undulating cornice above the windows of the second floor and adorned with green glazed ceramic tiles. Berneker’s work also includes the copper door of the building featuring two shallow reliefs that show allegories of Night and Day. Even the stone atlantes that support the corner turret were made according to Bernekar’s proposals. All three houses on the opposite, western side of the square along Cigaletova Street were designed by the Slovene architect Ciril Metod Koch in the fashionable Secessionist style.

26

27

rastlinskimi stiliziranimi motivi v elegantni liniji, ki spominja na Hortov priljubljen motiv “udarca z bi;em”. Na belgijsko razli;ico nove umetnosti spominjajo tudi nekateri drobni detajli iz kovanega /eleza, zvonec, kukalo, po[tni nabiralnik in kljuke. Nekateri od njih so /al s hi[e /e izginili in so ohranjeni le na slikah. Kot je Fabiani sam zapisal, je rastlinski secesijski okras uporabil na izrecno /eljo lastnika, ob;inskega svetnika Valentina Krisperja
13 REGALLIJEVA HI©A, MIKLO©I»EVA 18 (ARHITEKT FRAN BERNEKER, 1904 - 1906)

Na;rte za sosednjo, Regallijevo hi[o je naredil Fran Berneker, sicer kipar po poklicu in avtor enega najlep[ih ljubljanskih spomenikov, spomenika Primo/u Trubarju v Tivolskem parku. Stavba s pomolom in stolpi;em nad njim zaklju;uje jugovzhodni vogal Miklo[i;evega parka, pro;elje je zgoraj zaklju;eno z vencem v obliki valovnice nad okni drugega nadstropja in okra[eno z glaziranimi kerami;nimi plo[;icami zelene barve. Bernekerjevo delo so tudi bakrena vrata v stavbo, z dvema plitkima reliefoma, ki prikazujeta alegoriji No;i in Dneva. Tudi kamniti plastiki atlantov, ki nosita vogalni pomol, sta bili narejeni po Bernekarjevi predlogi.
Regallijeva hi[a \ Regalli House

PogaËnikova hi[a \ PogaËnik House

14 DEGHENGI HOUSE, 5-7 DALMATINOVA STREET (ARCHITECT: CIRIL METOD KOCH, 1904, FINAL PLAN BY VILJEM TREO)

This corner building is accentuated with a turret crowned with a bell-shaped roof. According to Koch’s original plan the facade was richly embellished with typical Secessionist plant ornamentation. However, the actual facade that was built is considerably more modest. The ornamentation is made only with differently structured mortar in combination with red brick on the ground floor and rendered facade of the upper storeys.
15 POGA»NIK HOUSE, 1 CIGALETOVA STREET (ARCHITECT: CIRIL METOD KOCH, 1902)

This building is distinguished by an elegant portal which is adorned by a stucco relief of a female figure in the Secessionist style with extended arms holding branches.
16 »UDEN HOUSE, 3 CIGALETOVA STREET (ARCHITECT: CIRIL METOD KOCH, 1902)

The adjacent building, on the corner of Tav;arjeva, was commissioned to C. M. Koch by the Ljubljana clockmaker Fran »uden, whose emblem also originally adorned the bay facade between the windows of the upper store. The corner bay is accentuated with a small turret crowned with a square slab above the roof. This supports the roof in the form of a globe. The facade is richly embellished with curved lines cut into the plaster, ceramic tiles, golden ornamentation below the roof projection and stylised plant motifs on the forged iron balconies’ railings and roof posts.
28 29

Vse tri hi[e na nasprotni, zahodni strani trga ob Cigaletovi je na;rtoval slovenski arhitekt Ciril Metod Koch v secesijskem slogu.
14 DEGHENGIJEVA HI©A, DALMATINOVA 5-7 (ARHITEKT CIRIL METOD KOCH, 1904, IZVEDBENI NA»RT VERJETNO ARHITEKT V. TREO), je poudarjena s pomolom, ki se zgoraj kon;uje z zvon;asto kritim stolpi;em. Po prvotnem Kochovem na;rtu je bilo pro;elje bogato dekorirano s tipi;nim rastlinskim secesijskim okrasom, izvedeno pro;elje pa je precej skromnej[e. Dekoracija je izvedena zgolj z razli;no strukturiranimi ometi v kombinaciji ope;no rde;ega pritli;ja in ometanega pro;elja zgornjih nadstropij. 15 POGA»NIKOVA HI©A, CIGALETOVA 1 (ARHITEKT CIRIL METOD KOCH, 1902), se odlikuje z elegantnim portalom, nad katerim je v [tuku izdelan relief /enske figure v secesijskem slogu z raz[irjenimi rokami, v katerih dr/i rastlinske vejice. 16 »UDNOVO HI©O, CIGALETOVA 3 (ARHITEKT CIRIL METOD KOCH, 1902), na vogalu s Tav;arjevo je dal zgraditi ljubljanski urar Fran :uden, ;igar emblem je prvotno krasil tudi pro;elje pomola med okni zgornjega nadstropja. Vogalni pomol je
Posojilnica \ People’s Loan Bank

»udnova hi[a \ »uden House

The south side of the square long remained uncompleted and was closed by the wall of the former Verov[ek ironware shop. Not until 1922 was the south-eastern corner opposite Bamberg House spatially closed with the building of the Mutual Savings Bank. The Trades Union building of an entirely functionalist design was erected adjacent to it in the 1960s. It was built according to the plans of the architect Edo Mihevc and neither the scale, nor the design conforms to the character of the square and its architecture.
17

MIKLO©I»EVA ULICA (MIKLO©I»EVA STREET)
The street was designed at the beginning of the 20th century. Secessionist buildings of the highest quality were built in the lower section between Pre[eren Square and Miklo[i; Park. Its upper section from Pra/akova Street towards the railway station was not laid out until the inter-war period.

18 PEOPLE’S LOAN BANK, 4 MIKLO©I»EVA STREET (ARCHITECT: JOSIP VANCA©, 1907)

This building features a typical Secessionist facade with Wagnerian ornamental elements such as, for example, a flattened roof conclusion, ceramic facing and balconies with shallow threesided bays in the Fabiani style. On the roof above the central

30

31

poudarjen s stolpi;em, ki se nad streho zaklju;uje s kvadratno plo[;o. Ta nosi streho v obliki globusa. Pro;elje je bogato okra[eno z valovnicami na zidcu med nadstropji, s kerami;nimi plo[;icami, zlatim okrasom pod stre[nim napu[;em in stiliziranimi rastlinskimi motivi na kovanih ograjah balkonov in stre[nih nosilcev. Ju/na stranica trga je ostala dolgo nedokon;ana, zaprta z zidom nekdanje Verov[kove trgovine z /eleznimi izdelki. {ele leta 1922 so jugovzhodni vogal nasproti Bambergove hi[e zazidali s stavbo Vzajemne posojilnice, ob njej pa so v [estdesetih letih zgradili povsem funkcionalisti;no zasnovano pala;o sindikatov po na;rtih arhitekta Eda Mihevca, ki niti v merilu niti v oblikovanju ne ustreza naravi trga in njegove arhitekture.
17

MIKLO©I»EVA ULICA
je bila urejena v za;etku 20. stoletja. V spodnjem delu med Pre[ernovim trgom in Miklo[i;evim parkov je bila pozidana z najkakovostnej[imi secesijskimi pala;ami. Njen zgornji del od Pra/akove proti postaji pa je bil urejen [ele med obema vojnama.

Hotel Union

projection are two seated figures, barefoot and with exposed shoulders, holding a pouch, beehive and cartridges on which are depicted a bee and an ant, the symbols of thrift, diligence and capital wealth.
19 HOTEL UNION, 1 MIKLO©I»EVA STREET (ARCHITECT: JOSIP VANCA©, 1903-1905)

18 LJUDSKA POSOJILNICA, MIKLO©I»EVA 4 (ARHITEKT JOSIP VANCA©, 1907)

Stavba ima tipi;no secesijsko pro;elje z wagnerjanskimi dekorativnimi elementi, kot so npr. potla;en stre[ni zaklju;ek, kerami;na preobleka fasade in fabianijevski plitvi tristransko zaklju;eni pomoli. Na strehi nad osrednjim rizalitom sta dve sede;i figuri, bosi in razkritih ramen, opremljeni z mo[nji;kom, panjem in kartu[ama, na katerih sta upodobljeni ;ebela in mravlja, simbola var;nosti, marljivosti in denarnega bogastva.
19 HOTEL UNION, MIKLO©I»EVA 1 (ARHITEKT JOSIP VANCA©, 1903—1905)

The first modern, distinctly functionally designed hotel building and also the largest edifice in the city at that time boasted the grandest ceremonial hall in the whole Balkans (in this part of Europe). Due to the complex iron roof construction it was also regarded as an outstanding technological achievement. The whole building, the external facade and interior with all its furnishings and rich collection of etched glass, was designed in the ornamental Secessionist style according to the plans of architect Josip Vanca[. The etched glasses have, unfortunately, now been replaced with copies.
20 COOPERATIVE BANK, 8 MIKLO©I»EVA STREET (ARCHITECT: IVAN VURNIK, 1921)

Prvi moderni, izrazito funkcionalno zasnovani hotelski objekt in na za;etku 20. stoletja najve;ja stavba v mestu, se je pona[al z najve;jo in najbolj reprezentativno dvorano na vsem Balkanu, ki je zaradi zahtevne /elezne stre[ne konstrukcije veljala tudi za izreden tehnolo[ki dose/ek. Celoten objekt, tako zunanje pro;elje kot tudi notranj[;ina z vso notranjo opremo in bogato zbirko jedkanih stekel, je bil oblikovan v dekorativnem secesijskem slogu po na;rtih arhitekta Josipa Vanca[a.
32

The Cooperative Bank in Miklo[i;eva is undoubtedly one of the most prominent buildings in Ljubljana. Its richly adorned facade with vibrant colours stands out from the urban surroundings, although it was built in the heart of the Secessionist town quarter which is already quite rich in colour. It is one of the finest examples of architecture in the so-called national style which
33

20

ZADRUÆNA GOSPODARSKA BANKA,
MIKLO©I»EVA 8 (ARHITEKT IVAN VURNIK, 1921) Zadru/na gospodarska banka na Miklo[i;evi je nedvomno ena najznamenitej[ih ljubljanskih stavb. Z bogato okra[enim /ivobarvnim pro;eljem izstopa iz svojega urbanisti;nega konteksta, ;eprav je bila zgrajena v jedru secesijske ;etrti mesta, ki je /e nasploh barvno precej pestra. Je eden najlep[ih primerov arhitekture tako imenovanega narodnega sloga, s katerim se je arhitekt Ivan Vurnik ukvarjal ne samo v svojem arhitekturnem opusu, ampak tudi pri na;rtovanju notranje opreme in umetnoobrtnih izdelkov. Stavba se odlikuje s poslikano ban;no dvorano, ki zavzema celotno pritli;je obcestnega in dvori[;nega trakta. Slikana dekoracija zavzema ves del dvorane, vklju;no s stebri in dvori[;ni del dvorane. Dvorana je osvetljena skozi steklen strop, sestavljen iz majhnih modrih steklenih kvadratov, vanj pa je vgrajen dekorativni pas raznobarvnih stekelc. Barvni vitra/i v dekorativnih geometrijskih motivih krasijo tudi stopni[;no ve/o v prvih dveh nadstropjih obcestnega trakta. Poslikava dvorane in pro;elja je delo arhitektove soproge Helene Vurnik, odli;ne dekorativne slikarke, po rodu sicer
Zadru/na gospodarska banka - detajl notranjosti \ Cooperative Bank — detail of the interior Bambergova hi[a \ Bamberg House

architect Ivan Vurnik used not only in his architectural work, but also in the design of the interior fittings, furnishings and craftwork. The building is distinguished by the painted bank hall that occupies the whole ground floor of the road and courtyard section. The painted decorations cover the whole part of the hall adjacent to the road including the columns. The hall itself is illuminated through a glass ceiling consisting of small blue glass squares into which are fitted ornamental strips of glass fragments of various colours. The coloured glass partitions in decorative geometrical motifs also adorn the stairwell in the first two storeys. The painting of the hall and facade is the work of the architect’s wife Helena Vurnik, a superb decorative artist who was Viennese by birth. She collaborated in her husband’s study and creation of typical Slovene architecture. The geometrical ornament in a red, blue and white colour combination of the Slovene tricolour is enhanced with motifs from the wealth of Slovene iconography> a stylised Slovene landscape of pine forests and wheat fields as well as vines that incorporate the motif of women attired in Slovene national dress.
21

BAMBERG HOUSE, 16 MIKLO©I»EVA STREET
(ARCHITECT: MAKS FABIANI, 1906-1907) The building on the corner of Miklo[i;eva and Dalmatinova streets was commissioned by Otomar Bamberg, manager of the I. Kleinmayr&Bamberg printing works and bookshop in Ljubljana. He also built a printing works adjacent to the house in Dalmatinova. The plans for the building were designed by Maks Fabiani. The modernist facade does not display any more traces of

34

35

Dunaj;anke, ki je sodelovala tudi pri mo/evem raziskovanju in ustvarjanju tipi;ne slovenske arhitekture. Geometrijski ornament v rde;e-belo-modri barvni kombinaciji slovenske trobojnice se dopolnjuje z motivi iz bogate slovenske ikonografije> stilizirano slovensko pokrajino smrekovih gozdov in /itnih polj ter vinske trte, v katero je vkomponiran motiv /ena v slovenski narodni no[i.
21

BAMBERGOVA HI©A,
MIKLO©I»EVA 16 (ARHITEKT MAKS FABIANI, 1906—1907) Pala;o na vogalu Miklo[i;eve in Dalmatinove je dal zgraditi Otomar Bamberg, vodja tiskarne in knjigarne I. Kleinmayr &Bamberg v Ljubljani. Ob hi[i na Dalmatinovi je zgradil tudi tiskarno. Na;rte za stavbo je napravil Maks Fabiani. Modernisti;no pro;elje ne ka/e ve; sledov secesije, ampak bolj odseva lokalno poznobaro;no tradicijo patricijskih pala;. :lenjeno je z mogo;nimi lizenami v rusticiranem ometu. Kerami;ni reliefi bradatih mo/ v beli barvi na modri podlagi so delo avstrijskega kiparja in keramika Huga Franza Kirscha, portreti pa predstavljajo verjetno osebe, povezane s tiskarstvom.

Zmajski most \ Dragon Bridge

22

ZMAJSKI MOST »EZ LJUBLJANICO
(ARHITEKT JURIJ ZANINOVI∆, 1900—1901)
22

the Secessionist style, but is more a reflection of the local late Baroque tradition of patricians’ residences. It is articulated with mighty border sections in rusticated mortar. The ceramic reliefs of the bearded men in white on a blue background are the work of the Austrian sculptor and ceramics tiler Hugo Franz Kirsch. The portraits most likely represent people associated with printing.

Zmajski most ;ez Ljubljanico, ki je nadomestil starej[ega lesenega, ker je ta postal zaradi ve;jega in modernej[ega prometa preozek, je dala zgraditi mestna ob;ina. Zaradi var;evanja so se mestni mo/je odlo;ili za /elezobetonsko konstrukcijo, ki je bila cenej[a od kamnite in hkrati tudi modernej[a. Kljub temu pa so konstrukcijo oblekli v betonske plo[;e in jo dekorativno obdelali v secesijskem slogu po na;rtih dalmatinskega arhitekta Jurija ZaninoviÊa. Po njegovih na;rtih so bile izdelane betonske obloge, balustrade in tudi skulpturalni okras. Zmaji iz bakrene plo;evine so postali simbol Ljubljane. Most je eden najpristnej[ih primerov secesijske arhitekture v Ljubljani in prva prava /elezobetonska konstrukcija v mestu.

DRAGON BRIDGE ACROSS THE RIVER LJUBLJANICA
(ARCHITECT: JURIJ ZANINOVI∆, 1900-1901) Dragon Bridge, which spans the river Ljubljanica, replaced an older timber bridge because it became too narrow to cope with larger and more modern means of transport. It was commissioned by the city council and, in order to economise, the city officials chose a reinforced concrete construction which was cheaper than stone while also being more modern. Nevertheless, the structure was faced with stone slabs and ornamentally worked in the Secessionist style according to the plans of the Dalmatian architect Jurij ZaninoviÊ, who created the concrete facing, balustrades and sculptural ornamentation. The dragons made of copper sheeting became the symbol of Ljubljana. The bridge is one of the purest examples of Secessionist architecture in Ljubljana and the first genuine reinforced concrete structure in the city.

36

37

23

KATOLI©KA TISKARNA, KOPITARJEVA 6 (1907-1908)
Leta 1887 je Katoli[ko tiskovno dru[tvo v Ljubljani kupilo staro tiskarno in jo preuredilo za svoje namene. Leta 1908 je dru[tvo zgradilo novo pala;o na Poljanskem nasipu in vanjo preselilo tiskarno. Pala;a je bila prva /elezobetonska industrijska stavba v Ljubljani z notranjo /elezobetonsko skeletno konstrukcijo. Proizvodne dvorane so podpirali osmerokotni /elezobetonski stebri, postavljeni v dveh vzdol/nih vrstah, celotna konstrukcija pa po;iva na 60 centimetrov debelih obodnih zidovih. Pro;elje v secesijskem slogu je okra[eno z zna;ilnimi wagnerjanskimi okrasnimi motivi okrog oken in pod stre[nim napu[;em. Na vogalu stavbe je pod stre[nim napu[;em pet enakih reliefnih portretov bradatih mo/, ki poosebljajo tiskarje. Pod njimi so grbi slovenskih de/el> {tajerske, Gori[ke, Koro[ke, Istre, Trsta in Kranjske. Po drugi vojni je tiskarno prevzelo podjetje Ljudska pravica, nato ;asopisno podjetje Dnevnik, ob koncu devetdesetih let prej[njega stoletja, ko je tiskarna prenehala delovati, je bila stavba prenovljena za potrebe pravne fakultete.
Katoli[ka tiskarna \ Catholic Printing House

Zmajski most - detajl \ Dragon Bridge — detail

23

CATHOLIC PRINTING HOUSE, 6 KOPITARJEVA STREET
(1907-1908) In 1887 the Catholic Printing Society in Ljubljana purchased an old printing house and adapted it for its own requirements. In 1908 the Society erected a new building in Poljanski nasip and moved the printing works there. The new building was the first reinforced concrete industrial building in Ljubljana with an internal reinforced concrete frame construction. The large working halls were supported by octagonal reinforced concrete columns standing in two parallel rows. The whole structure still stands on 60cm thick side peripheral walls. The facade in the Secessionist style is adorned with characteristic Wagnerian ornamental motifs around the windows and under the roof projection. On the corner of the building beneath the cornice are five identical relief portraits of bearded men that personify printers. Beneath them are the coats-of-arms of the Slovene provinces> {tajerska, Gori[ka, Koro[ka, Istria, Trieste and Kranjska. After the Second World War the printing works were taken over by the company Ljudska Pravica, then by the newspaper publishers Dnevnik. At the end of the 1990s, when the printing works ceased operation, the building was renovated to house the Law Faculty.

38

39

24

MIKLAV»EVA VELEBLAGOVNICA, EPICENTER,
MESTNI TRG 23 (ARHITEKT KARL BRÜNNLER, 1914) Stavbo nekdanje veleblagovnice je dal zgraditi trgovec Franc Drofenig. Na;rte za prezidavo je naro;il pri ljubljanski stavbni dru/bi Viljem Treo, izdelal pa jih je njen arhitekt Karl Brünnler. V pritli;ju in prvem nadstropju je bila urejena enotna prodajna hala z lo;enimi prodajnimi pulti, povezana v sredini s stopni[;em, v tretjem nadstropju pa enaka dvorana, namenjena skladi[;u. {tirinadstropno pro;elje je oble;eno v ;rn poliran marmor, velike okenske odprtine, v spodnjih nadstropjih skoraj kvadratnih oblik, pokrivajo skoraj celo povr[ino pro;elja. Kovinsko in stekleno pro;elje deluje povsem funkcionalisti;no, le zlat okras stre[nega venca in okra[en nadstre[ek nas [e spominjata na secesijske vzore iz preloma stoletja. Miklav;eva veleblagovnica je bila eden redkih objektov, kjer se je novi slog izrazil na povsem moderen na;in ne samo z okrasom pro;elja, ampak tudi v njegovi celotni konstrukciji. Je namre; prvo moderno monta/no pro;elje v Ljubljani. Danes velja stavba za enega uspe[nej[ih primerov vklju;itve modernega sloga v zgodovinsko mestno tkivo.

24

MIKLAVC DEPARTMENT STORE, NOW EPICENTER,
23 MESTNI TRG (ARCHITECT: KARL BRUNNLER, 1914) The building of the former department store was commissioned by the merchant Franc Drofenig. The plans for its construction were ordered from the Viljem Treo building company, and were produced by its architect Karl Brünnler. A uniform retail area was laid out on the ground and first floor with separate sales counters and was connected by a central staircase. An equal space located on the third floor was intended as a warehouse. The four-storey facade is faced in black polished marble. The large, almost square window openings in the lower storeys cover the entire surface area of the facade. The metal and glass facade acts in a completely functional manner only the golden ornamentation of the roof cornice and embellished roof projection recall the fashionable Secessionist styles from the turn of the century. The Miklavc department store is one of the rare buildings where the new style was expressed in an entirely modern way, not only through the façade ornamentation, but also in its entire structure. It is in fact the first modern prefabricated facade in Ljubljana. Today the building is considered as one of the most successful examples of integrating the modern style in the historic urban fabric of Ljubljana.

25
MiklavËeva veleblagovnica \ Miklavc department store

PUBLIC BATHS, NOW PIZZERIA NAPOLI,
7 PRE»NA STREET (ARCHITECT: WILHELM BRUCKNER & CO. FROM GRAZ, 1899-1901) In the concern to modernise the city after the earthquake a public baths was built. It was supposed to enable poorer inhabitants to bath at an affordable price. The building was erected according to the model of the public baths in Lips. An attic rises like scenery above the double entrance on the truncated corner. Below it is concluded as a scroll, and above as a triangle. The building is accentuated with a single-storey hexagonal tower. The neoRomanic facade is divided by semicircularly concluded mullion windows and protruding borders in a contrasting white and blue combination.

40

41

25

LJUDSKA KOPEL, PIZZERIA NAPOLI, PRE»NA 7
(ARHITEKT WILHELM BRÜCKNER & CO, GRAZ, 1899—1901) V skrbi za modernizacijo mesta so po potresu zgradili tudi ljudsko kopel, ki naj bi omogo;ila tudi revnej[emu sloju prebivalstva kopanje po nizki ceni. Stavba je bila zgrajena po vzoru ljudske kopeli v Lipskem. Nad dvojnim vhodom na prisekanem vogalu se kot kulisa dviguje atika, spodaj volutasto zaklju;ena, zgoraj trikotna. Stavba je poudarjena z enonadstropnim [esterokotnim stolpom, neoromanska pro;elja ;lenijo polkro/no zaklju;ene bifore in lizene v kontrastni belo-modri kombinaciji.

Ljudska kopel \ Public baths

Fotografija na naslovnici \ Cover photo> Zadruæna gospodarska banka \ Cooperative Bank
Izdajatelj \ Edited by> Zavod za turizem Ljubljana \ Ljubljana Tourist Board Gregor;i;eva 7, SI - 1000 Ljubljana, Tel. + 386 (0)1 \ 426 71 14, Faks \ Fax + 386 (0)1 \ 425 33 58 E-mail> info@ljubljana-tourism.si, www.ljubljana-tourism.si Tekst \ Text> Breda Miheli; Prevod \ Translation> Mark Valentine Skica \ Sketch> Nina Gor[iË, Matej Nik[iË, Mark Wollrab Fotografije \ Photographs> Branko CvetkoviË, Nina Gor[iË, Miran Kambi;, Egon Ka[e, Breda MiheliË, Aldo Pavan, Borut Æigon, Arhiv Uprave republike Slovenije za kulturno dedi[;ino (INDOK center), Arhiv Zavoda za turizem Ljubljana AD & D> Agencija Arih Grafi;ni prelom \ Prepress> Studio DTS Printed by> Gorenjski tisk Ljubljana, september \ September 2004

42

43

TuristiËni Informacijski Center Ljubljana - TIC
Stritarjeva ulica, tel. (0)1\ 306 12 15, faks (0)1\ 306 12 04 e-mail> tic@ljubljana-tourism.si Odprto> 1.6. - 30.9.> 8.00 - 21.00, vsak dan 1.10. - 31.5.> 8.00 - 19.00, vsak dan - informacije in turisti;ne publikacije o Ljubljani (prospekti, na;rti, koledar prireditev) - vodstva po mestu (redna in naro;ena)< turisti;ni vlakec< ladjica< spominki - Turisti;na kartica Ljubljane - osnovne informacije in publikacije o Sloveniji - rezervacije preno;i[;< izleti

ljubljana card
turistiËna kartica ljubljane | ljubljana tourist card la carta turistica di lubiana | die tourist card von ljubljana

Slovenski TuristiËni Informacijski Center - STIC
Krekov trg 10, 1000 Ljubljana tel. (0)1\ 306 45 76, faks (0)1\ 306 45 80 e-mail> stic@ljubljana-tourism.si Odprto> 1.6. - 30.9.> 8.00 - 21.00, vsak dan 1.10. - 31.5.> 8.00 - 19.00, vsak dan - informacije o slovenski turisti;ni ponudbi, o prireditvah, dogodkih in ponudbi turisti;nih krajev - Turisti;na kartica Ljubljane - spominki iz Ljubljane in Slovenije - internetni koti;ek za obiskovalce - rezervacije preno;i[;< izleti - vstopnice za kulturne, zabavne, [portne in druge prireditve

tridnevna kartica ugodnosti turistom in drugim obiskovalcem mesta omogoËa: • brezplaËne ali cenejπe oglede muzejev, galerij in prireditev • brezplaËen prevoz z javnimi mestnimi avtobusi, popuste pri prevozih s taksiji in rent-a-car-ji • ugodnejπe cene organiziranih turistiËnih ogledov in spominkov • popuste pri prenoËitvah, v gostinskih lokalih, noËnih klubih in barih • cenejπe nakupovanje v trgovinah cena: 3.000 sit, veljavnost: 3 dni oz. 72 ur a three-day privilege card for tourists and other visitors to ljubljana: • free or discount tickets to museums, galleries and events • free travel on city buses, discounts on taxi fares, reduced rates for car rentals • lower prices of guided sightseeing tours and souvenirs • discounts on accommodation rates and restaurant,night club and bar bills • shopping discounts price: 3.000 tolars, validity: 3 days or 72 hours

TuristiËna Informacijska Pisarna
?elezni[ka postaja, Trg OF 6, tel. (0)1\ 433 94 75, faks (0)1\ 430 05 51 e-mail> ticzp@ljubljana-tourism.si Odprto> 1.6. - 30.9.> 8.00 - 22.00, vsak dan 1.10. - 31.5.> 10.00 - 19.00, vsak dan

Ljubljana Tourist Information Centre - TIC
Stritarjeva Street, SI - 1000 Ljubljana tel. +386 (0)1\ 306 12 15, fax +386 (0)1\ 306 12 04 e-mail> tic@ljubljana-tourism.si Open> 1.6. - 30.9.> 8.00 - 21.00, daily 1.10. - 31.5.> 8.00 - 19.00, daily - information and publicity editions on Ljubljana (brochures, maps, calender of events) - sightseeing tours (regular and on request)< tourist train< tourist boat< souvenirs - Ljubljana Tourist Card - basic information and publicity editions on Slovenia - booking of accommodation and excursions

Slovenian Tourist Information Centre - STIC
Krekov trg 10, SI - 1000 Ljubljana tel. +386 (0)1\ 306 45 76, fax +386 (0)1\ 306 45 80 e-mail> stic@ljubljana-tourism.si Open> 1.6. - 30.9.> 8.00 - 21.00, daily 1.10. - 31.5.> 8.00 - 19.00, daily - information on Slovenia’s tourism offer and events taking place in tourist towns across the country - Ljubljana Tourist Card - souvenirs of Ljubljana and Slovenia - Internet corner - booking of accommodation and excursions - tickets to cultural, entertainment, sports and other events

program ponudbe ljubljane za vse okuse v treh dneh! | ljubljana in three days for every taste!
prodajna mesta v ljubljani | sales outlets in ljubljana:
turistiËni informacijski centri | tourist information centres: stic, krekov trg 10,tic, stritarjeva ulica, tic (æelezniπka postaja | railway station), trg of 6 grand hotel union, mikloπiËeva 1, grand hotel union-garni, mikloπiËeva 9,celica hostel , metelkova 8, park hotel, tabor 9, lpp (potniπka blagajna | ticket office),trdinova 3, city hotel ljubljana, dalmatinova 15, hotel lev, voπnjakova 1, m hotel, derËeva 4, tour as,mala ulica 8, rumeni taksi / yellow taxi

Tourist Information Office
Railway Station, Trg OF 6, SI - 1000 Ljubljana tel. +386 (0)1\ 433 94 75, fax +386 (0)1\ 430 05 51 e-mail> ticzp@ljubljana-tourism.si Open> 1.6. - 30.9.> 8.00 - 22.00, daily 1.10. - 31.5.> 10.00 - 19.00, daily

www.ljubljana-tourism.si

TuristiËni Informacijski Center Ljubljana - TIC Ljubljana Tourist Information Centre - TIC
Stritarjeva ulica \ Stritarjeva Street, SI - 1000 Ljubljana, Slovenia Tel.> +386 (0)1 ⁄ 306 12 15, Fax> +386 (0)1 ⁄ 306 12 04 e-mail> tic@ljubljana-tourism.si, http> ⁄ ⁄ www.ljubljana-tourism.si

SECESIJSKA LJUBLJANA
ART NOUVEAU LJUBLJANA

You're Reading a Free Preview

Descarregar
scribd
/*********** DO NOT ALTER ANYTHING BELOW THIS LINE ! ************/ var s_code=s.t();if(s_code)document.write(s_code)//-->